pnobelysk
Diamond Member
Joined: November 2009
Posts: 10,116
|
Post by pnobelysk on May 13, 2018 22:18:19 GMT -5
^I was surprised about the lack of males, however not surprised about ed and Bruno not performing. I think they both have accepted their album eras have ended and are taking some down time out for the public eye
|
|
Verisimilitude
8x Platinum Member
'90s Zealot
Joined: July 2010
Posts: 8,959
|
Post by Verisimilitude on May 14, 2018 12:18:32 GMT -5
^I was surprised about the lack of males, however not surprised about ed and Bruno not performing. I think they both have accepted their album eras have ended and are taking some down time out for the public eye Well, it was nice while it lasted... Also: "The Middle" will be performed.
|
|
pnobelysk
Diamond Member
Joined: November 2009
Posts: 10,116
|
Post by pnobelysk on May 14, 2018 21:53:56 GMT -5
Welp I certainly was wrong. Awkward
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 14, 2018 23:08:33 GMT -5
|
|
aussie1
2x Platinum Member
Joined: March 2018
Posts: 2,243
|
Post by aussie1 on May 15, 2018 4:34:36 GMT -5
Well the lineup of performers is pretty great minus a few pee breaks.
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 15, 2018 7:19:38 GMT -5
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 15, 2018 7:20:30 GMT -5
|
|
|
Post by wayneashleymusic on May 15, 2018 19:23:39 GMT -5
Excited for Kelly to host! But puzzled at the lack of male artists, including the most nominated of the night. Nothing from Kendrick Lamar, Bruno Mars and Ed Sheeran... and no rap? I'm not confused... I'm HERE FOR IT!! Macklemore is repping for the rap community. It sure would be nice to give the men all of the presentation duties lol.
|
|
rfucom
Diamond Member
Beerbongs fanatic
Joined: December 2008
Posts: 10,082
|
Post by rfucom on May 16, 2018 7:31:34 GMT -5
Sad no post malone performance.
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 16, 2018 9:40:25 GMT -5
Pop Shop Podcast: Kelly Clarkson Is Ready For the 'Sink or Swim' Challenge of Hosting the Billboard Music Awards 5/15/2018 by Keith Caulfield , Katie Atkinson
Welcome to the new episode of the Billboard Pop Shop Podcast, your one-stop-shop for all things pop on Billboard's weekly charts. In addition, you can always count on a lively discussion about the latest pop news, fun chart stats and stories, new music, and guest interviews with music stars and folks from the world of pop.
Casual pop fans and chart junkies can hear Billboard co-director of charts Keith Caulfield and Billboard deputy editor, digital, Katie Atkinson, every week on the Pop Shop Podcast, which can be streamed on Billboard.com or downloaded in iTunes. (Click here to listen to the previous Tuesday’s edition of the show on Billboard.com).
On the latest show, we’re joined by pop superstar Kelly Clarkson for a special edition of the podcast, as we preview the 2018 Billboard Music Awards! Clarkson will be hosting and performing on the show, which will air live on NBC on May 20 at 8 p.m. ET.
Towards the beginning of our chat Clarkson — who called in during a break in rehearsals on The Voice, where she’s a coach alongside Blake Shelton, Adam Levine and Alicia Keys — we asked her if this indeed was the first time she’s hosted anything. “Uh, yup!” she says, laughing, “So, it’s like, sink or swim!”
PODCAST - CLICK ON IT
While it’s safe to assume Clarkson will handle hosting duties swimmingly, is she nervous about taking on the gig? “I think I'm so nervous and terrified that I'm like past it.”
“You know, like it's just not real,” she says. “I might be in denial, and honestly, we have so much going on. Like I'm literally at The Voice rehearsals right now for my contestants so there's just so much going on. Literally there is no day off between now and then, so I think that's good 'cause I'll just keep being busy. And also, we just planned something super fun so I'm excited about it. Now I'm more excited about it.”
What might be the super fun thing planned? Clarkson is mum on the subject, and she won’t even reveal what song she’ll be singing on the show. “It's actually a surprise what I'm singing.” Other surprises on the show might be what actually comes ...........
READ THE REST HERE: www.billboard.com/articles/columns/podcasts/8456279/pop-shop-podcast-kelly-clarkson-interview-billboard-awards-bbmas
|
|
slowmo
Platinum Member
Joined: December 2003
Posts: 1,466
|
Post by slowmo on May 16, 2018 17:26:02 GMT -5
|
|
Gary
Diamond Member
Joined: January 2014
Posts: 45,688
|
Post by Gary on May 17, 2018 7:40:29 GMT -5
Janet Jackson Goes Deep on Her Early Challenges, Upcoming Music & the Joy of Motherhood
News
By David Ritz | May 17, 2018 8:17 AM EDT Janet Jackson
Janet Jackson remains the same, in many ways, as when we first met 29 years ago, while she was shooting the “Rhythm Nation” video at a power plant in Pasadena, Calif. She was 23. For hours, I watched her perfect the paramilitary moves of a thrilling dance exhorting the world to break the color line. She was fierce. At the end of the day, I was invited into her trailer, where she had changed from a take-charge black uniform to oversize jeans and loose white T-shirt. Here, she was hardly fierce at all. Instead, she was reticent, even timid. She was so soft-spoken that I had to lean in to make out her words. She was uncomfortable speaking to a stranger and, with elaborate politeness, made it clear that the shorter the interview, the better.
This was three years after the massive success of 1986’s Control -- her first Billboard 200 No. 1, now certified five-times platinum by the RIAA -- and I expected at least a little self-satisfaction or swagger. There was none. Her success almost seemed like a source of embarrassment. Speaking about her private life and professional accomplishments was obviously painful. So instead, we talked about music -- by other people. Joni Mitchell, Sade, Nina Simone. She glowed at the mention of Marvin Gaye, whom she called “our John Lennon.”
As Jackson slowly revealed the seriousness of her artistic vision for Janet Jackson’s Rhythm Nation 1814 and its precedent in work like Stevie Wonder’s Songs in the Key of Life, her ambition became obvious. In her whisper-quiet way, she articulated the grandeur of her artistic dreams. Her confidence, deep and steely strong, was wrapped in a remarkable sweetness.
Nearly three decades later, having just turned 52, her passions are unchanged: pursuing grand artistic endeavors while protecting her privacy. Her self-effacing demeanor -- still sweet, still barely audible -- defies even a hint of braggadocio, in spite of the achievements that have earned her the Icon Award at the 2018 Billboard Music Awards (BBMAs): No. 1 albums in four consecutive decades; roughly 32 million albums sold in the United States, according to a Billboard estimate (based on RIAA certifications, Nielsen Music data and archival reports); 40 hits on the Billboard Hot 100, including 10 No. 1s; and on and on. Yet for all the consistencies of character, the Janet I’ve encountered recently is undoubtedly changed, in large part because she’s now a mom.
Our recent discussions begin in December 2017 in her spacious Midtown Manhattan apartment. Before we start talking, she tenderly bathes, powders and eases her 1-year-old son, Eissa, into a peaceful slumber. (Jackson married Eissa’s father, the Qatari businessman Wissam Al Mana, in 2012, and the two separated in early 2017.) Wildly in love with the child asleep in the next room, she’s now freer with her feelings. She laughs more frequently and with greater abandon. And although the artistic ambition I sensed when we met decades earlier is intact, there’s now an eagerness to reflect on that ambition.
I meet Jackson again in May, in the living room of her hotel suite in Malibu, Calif. It’s an overcast morning, the sea and sky a blur of gloomy gray, but Jackson, dressed in simple black sweats, is upbeat. Her hair is gathered in a tight bun above her head. No makeup, no jewelry. “Once a tomboy,” she says, “always a tomboy.” She’s svelte, the result of readying herself for the latest leg of her State of the World Tour, a summer run that includes sets at the Essence, Panorama and Outside Lands festivals, as well as her performance at the BBMAs.
Despite the hectic sprint to rehearse for the shows while recording new songs for an as-yet-unannounced release, Jackson appears to have resolved that pernicious parenting-versus-career conundrum, doing both with grace. She and I pick up where we left off in New York, digging into her music and the history swirling around it. Using characteristically precise, thoughtful language, she puts her legacy in a context of collaboration and the steady conquering of her own struggles with self-confidence.
Eleven studio albums: six in the 20th century, five in the 21st and all beginning at age 16. Let’s go back to the very beginning, when your first two records -- 1982’s Janet Jackson and 1984’s Dream Street -- were released. Excitement was in the air. Music was always my heart, and now I was getting to sing my heart out. The songs were good, but they weren’t me. [She only began co-writing most of her songs on Control.] That was a little confusing. I knew I had something to say, I knew I had to assert myself. I also knew I had to go through the painful process of what my brothers had gone through. I had to thank my father for his help and then move on. I had to assert myself.
And take control. Control was undoubtedly the break-through. But I think the concept is sometimes misunderstood. I’m a believer. I know that God has absolute control. I’ve never wavered in that belief. I don’t mean I don’t get controlling -- most artists do. But I also know that turning myself into a control freak goes against my character. I’m much more a collaborator than a controller. So I saw control, even as a 20-year-old, in modest and limited ways. For example, I agreed to be produced by Jimmy Jam and Terry Lewis. That was critical because they were not controlling. They let me be me. They encouraged me to tell my story, express my attitudes and step forward with my convictions. They encouraged me to write. I also had the control to select choreographers and video directors who could channel -- and help me shape -- my own dance moves, turning them into visual poetry. I didn’t control those wonderfully creative people, and they didn’t control me. It was more about molding fruitful partnerships. And based on those partnerships and the success of Control, I could move on and assert myself even more boldly.
Rebbie Jackson, Janet Jackson, LaToya Jackson & Michael Jackson Jackson siblings Rebbie, Janet and LaToya with Michael as he accepts the best male pop vocal Grammy in 1984. Doug Pizac/AP Images
Can we pause a second to listen to the title track to Rhythm Nation together? Sure. [Closes her eyes.] I remember after doing the rough demo, I had a vision for the video. I was determined to create a longform version because I believed the song merited it. I asked Gil Friesen, my A&R man at A&M, if I could drive him through the hills of Malibu in my Jeep and play him the song. The top was down, the wind blowing, the sun blazing and the music blasting.
“It’s great,” said Gil, “but you’re really talking about an expensive shoot. It’ll cost a fortune. I’m not sure we have the budget.” I cranked up the volume and played it again. When Gil asked to hear it a third time, I knew he’d agree [to the shoot].
May Gil [who died in 2012] rest in peace. He was a music-loving man who also saw I needed to sing about issues that were important to me -- like racism. He understood my need to protest. I was truly fortunate that my early mentors -- especially label owners Herb Alpert and Jerry Moss -- were completely artist-oriented. They not only allowed me to go my own way, they urged me to do so.
The general notion is that as Marvin Gaye went from What’s Going On to Let’s Get It On, you went from Rhythm Nation to 1993’s janet. janet. had a deeply sensual edge because that’s what I was going through in my life. I was discovering freedom in physical pleasure and loved writing about sexuality. I tried to do it subtly and tastefully, but I also wanted to push the boundaries a bit.
I have an unreleased track from that period that underlines your point. I want to play you your version of Sylvia Robinson’s “Pillow Talk” that never made the record. [Smiles as the song plays.] Not sure what I was thinking when I excluded it. Now that I’m hearing it for the first time in years, maybe I made a mistake. Maybe it should have gone on the record. Maybe I just wasn’t willing to do a cover because of my eagerness to hone my craft as a writer.
I have other powerful memories about janet. -- how honored and moved I was to have the great opera diva Kathleen Battle sing with me on “This Time.” That was something of an innovation. In contrast, it was great to include Chuck D’s rap on “New Agenda.” I didn’t want this album to ignore serious issues. I was heavy into the work of Maya Angelou when, late one night and unable to sleep, I wrote that song’s lines: “Because of my gender, I’ve heard no too many times/Because of my race, I’ve heard no too many times/But with every no I grow in strength/That’s why as an African-American woman, I stand tall with pride.” Those lines live in my mind. They’re something of a mantra.
Talking about pride -- early on, you were embraced by the gay pride movement. It’s a loving, all-embracing community that has always inspired me. I don’t often listen to my own work, but when I go back to [1997’s] Velvet Rope, I put on “Together Again” and remember the friends I lost to AIDS. It was important to me to honor them not mournfully but joyously in a celebratory song. Their spirit did so much to bolster mine. Sometimes when people talk about Velvet Rope, they call it my edgiest or sexiest record. Yet the heart of the record is not about sex at all. It’s about how, in defiance of death, we will all be “together again.” It’s an anthem to undying love.
The other highlight of Velvet Rope was working with Q-Tip, another master. I had long loved A Tribe Called Quest. Then, on “Got Til It’s Gone,” when we were able to combine Tip with the sublime Joni Mitchell, I was in heaven.
Tell me about singing with Luther Vandross. Your duet, “The Best Things in Life Are Free,” was included in your retrospective album Design of a Decade: 1986-1996.
Total treat. Luther’s place in the pantheon of soul crooners is secure. You have to go back to Sam Cooke to find a singer with Luther’s sensitivity and finesse. I adore his voice. Such flexibility. Perfect pitch. Perfect enunciation. A singer’s singer. I was also glad to do a dance song, and Luther was gracious enough to adapt to my rhythmic style. Because of his genius, it came off perfectly. Trends will come and go, but Luther’s artistry will endure forever.
The 21st century starts off with two albums -- 2001’s All for You and 2004’s Damita Jo -- where it feels like you’ve made a conscious decision to lighten up.
I did. I felt like I was taking myself a little too seriously. Art is serious stuff, but when an artist -- or least an artist like me -- loses her sense of humor or her feeling for pure fun, something goes missing. Every once in a great while, I have to go back and bring out that little girl inside of me who can simply blow off steam and try to spread joy. As someone who has battled depression, that’s not only important, it’s vital. Sometimes purely happy music is the best medicine I can ingest.
Missy Elliott, an incredible artist who has been there for me as a loyal friend and strong sista, did a fabulous remix on “Son of a Gun” from All for You, leading to our video together. That was big fun. We got together again on “The I” from [2008’s] Discipline, when I was working with Rodney Jerkins and Jermaine Dupri. I also loved collaborating with Kanye West on “My Baby” from Damita Jo. This was 2004, College Dropout time, when the world was just recognizing his talent.
Jumping ahead a few years, I recall witnessing an especially difficult moment in your life: You were recording at Rodney Jerkins’ studio in L.A. -- a year after your brother had passed [in 2009] -- and you happened to glance at a magazine with a picture of Michael and said, “I still can’t believe it.”
That brings up a precious memory. It happened in the early ’80s. I was 16 and in between my first two records. Michael was recording [1982’s] Thriller. He invited me to the studio where he was about to sing “P.Y.T.” and asked me to help out on background vocals. Since we had been singing together forever, I knew it’d be easy. I jumped at the chance. I loved being one of the P.Y.T.’s and was especially proud -- I hope this doesn’t sound like bragging -- that when the record was mixed, my single background voice was the one featured. I can’t tell you how good that made me feel.
On your most recent album, 2015’s Unbreakable, “No Sleeep” was the single. It has a romantic tinge, but I’m wondering whether the idea came about because, as a new mom, a waking infant kept you up all night.
[Laughs.] I wrote that story over Jimmy and Terry’s track before the baby was born! So obviously, it wasn’t anything I was going through. You could say, though, that I might have been anticipating sleepless nights. I’d also add that sleepless nights, no matter how tiring, are some of the times that I do my best writing.
Talk about the music you’re writing now. I wish I could. I’m not trying to avoid the question and be secretive, but the truth is that I don’t try to analyze the creative process while it’s still ongoing. I’m very intuitive about writing. Anything can inspire me. This morning, I saw this lovely elderly Japanese woman walking down the streets of Hollywood wearing an adorable bonnet with bright red flowers. She might be a song. I remembered an especially painful chapter in my early life last night before going to bed. That might be a song. I woke up this morning and heard a bird chirping in a rhythm that captivated my heart. Maybe that will turn into a new groove. Like everyone else, my feelings are fluid. My ideas are fleeting. I like to keep it that way. I can’t decide in advance what a song or an album concept will be. I have to let those songs and concepts come to me rather than chase them down.
I’m glad I’m not methodical or self-conscious as a writer. It’s important that I maintain a let-it-happen-when-it-happens approach. I don’t want to strain or stress. I want to be a channel for whatever images and emotions are running through my imagination. Spontaneity is so important to me. It allows for surprise, and, for me, surprise is what breaks up the boredom of daily life. When I finally get to the music that genuinely expresses what I’m experiencing in the moment, I feel free. Music does that for me. Its healing properties are extraordinary.
So much of your music over these past four decades has been about putting out positive messages, whether personal or societal. Given today’s state of the nation, are you discouraged? No. I’m anxious. I’m angry. I’m certainly concerned, but when I hear new artists finding their voices, just as I found mine, I’m optimistic. Young artists are exhibiting more courage than ever. Music is more alive than ever. And more relevant. We women artists -- and women in general -- are saying we will not be controlled, manipulated or abused. We’re determined not to fall back to those days of emotional and even physical enslavement. It’s a blessing to be alive today and join in the fight for equality among all human beings.
You mentioned younger artists. Which ones impress you the most? Daniel Caesar is proving that romantic R&B is alive and well. Kendrick Lamar and J. Cole are proving that brilliantly original storytelling is one of hip-hop’s great gifts to world culture. SZA is proving that young women still possess extraordinary vocal skills and style.
I also have a special place in my heart for Bruno Mars. Bruno was really the first music my son responded to. During and after his birth, I comforted myself with Brazilian jazz, music that always relaxes me. Then when the baby began crawling, Bruno was breaking out big and on the radio all the time. That delighted both of us. Bruno is a throwback to the days when the greatest artists could do it all: write, sing, dance, produce.
So here you are, a single mom of 52, about to run into the studio, make new music, learn new dance moves and then embark on a grueling tour. What is the source of your drive?
The drive is in my DNA. I couldn’t lose it if I wanted to, and I don’t. Motivation is something I treasure. Besides, for all its difficulties, this is the life I love. I’m surrounded with a team of dancers, singers and musicians I love. I’m supported by fans that have stuck by me through thick and thin. They mean the world to me. Now more than ever, performing, whether in the studio or onstage, brings me a satisfaction I find nowhere else.
Like millions of other women, I’ve struggled with low self-esteem my whole life. I’m doing better in that regard. My inclination toward harsh self-criticism and even self-negation has dramatically eased up. I believe in all the different methods of help -- smart psychology, vigorous exercise and sincere spirituality.
God is the greatest healer of all and the most potent force in the universe. In my world, though, God is so often expressed through music, and it’s music that beats back the negative forces. It’s music that drowns out those voices that say I’m not enough. It’s music, and its divine source, that gifts me with the knowledge that harmony is still possible.
And while we’re talking about positivity, let me also say that my son, even in his short 17 months on the planet, has showed me that love, no matter how deeply you believe you have experienced that emotion, can always go deeper. Love is limitless. And for someone like me, raised in show business where self-concern is always a priority, how fortunate I am now to be concerned, first and foremost, with the welfare of someone else. Day after day and night after night, holding my baby in my arms, I am at peace. I am blessed. I feel bliss. In those moments, all is right with the world.
THE HITS: AN UNABRIDGED HISTORY
With over 100 total No. 1s -- making for more than 300 weeks spent leading various Billboard charts -- Jackson has almost too many smashes to tally. So we narrowed it down to her 10 songs and seven albums that have topped the Hot 100 and Billboard 200, respectively.
1986 July 5: Control Two weeks at No. 1, five-times platinum Oct. 11: “When I Think of You” Two weeks
1989 Oct. 7: “Miss You Much” Four weeks, platinum Oct. 28: Janet Jackson’s Rhythm Nation 1814 Four weeks, six-times platinum
1990 March 3: “Escapade” Three weeks Oct. 27: “Black Cat” One week, gold
1997 Oct. 25: The Velvet Rope One week, three-times platinum Dec. 11: “Again” Two weeks, platinum June 5: janet. Six weeks, six-times platinum
1993 May 15: “That’s the Way Love Goes” Eight weeks, platinum
1991 Jan. 19: “Love Will Never Do (Without You)” One week, gold
1998 Jan. 31: “Together Again” Two weeks, gold
2000 Aug. 26: “Doesn’t Really Matter” Three weeks, gold
2001 April 14: “All for You” Seven weeks May 12: All for You One week, two-times platinum
2008 March 15: Discipline One week
2015 Oct. 24: Unbreakable One week
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 17, 2018 8:32:28 GMT -5
|
|
Gary
Diamond Member
Joined: January 2014
Posts: 45,688
|
Post by Gary on May 17, 2018 12:37:26 GMT -5
2018 Billboard Music Awards Presenters Announced
News
By Shanté Honeycutt | May 17, 2018 11:33 AM EDT
Hailey Baldwin, Nick Jonas and Tyra Banks are among this year's presenters.
The 2018 Billboard Music Awards are just a few short days away, and the all-star lineup of presenters is here.
NBC and Dick Clark Productions announced Thursday (May 17) that Hailey Baldwin, Tyra Banks, Alison Brie, The Chainsmokers, Ciara, Andy Cohen, Simon Cowell, Darren Criss, Halsey, Tip “T.I.” Harris, Justin Hartley & Chrissy Metz, Nick Jonas & Mustard, Chloe Kim, Mila Kunis, Padma Lakshmi, Des Linden, Julia Michaels, French Montana, Ne-Yo, Derek Hough & Jenna Dewan, Evan Ross & Ashlee Simpson, Grace VanderWaal and Rebel Wilson will all bestow the top prizes to this year’s winning artists.
The presenters join host and performer Kelly Clarkson, as well as BTS, John Legend, Shawn Mendes, Dua Lipa, Ariana Grande, Camila Cabello, Khalid, and Jennifer Lopez who will also take to the stage during the three-hour telecast. Collaborations by Christina Aguilera featuring Demi Lovato, Macklemore and Kesha, Salt-N-Pepa featuring En Vogue and Zedd, Maren Morris & Grey will be featured on the BBMA stage as well. The 2018 Icon Award recipient, Janet Jackson, will showcase her greatest hits during a highly anticipated performance.
The Billboard Music Awards will broadcast live from the MGM Grand Garden Arena in Las Vegas on Sunday, May 20 at 8 p.m. ET / 5 p.m. PT on NBC. Voting is currently open for the Billboard Chart Achievement Award and Top Social Award. Check out the full list of nominees here.
|
|
|
Post by collegedropout on May 17, 2018 16:51:51 GMT -5
The 15 Greatest Billboard Music Awards Performances Ever
This weekend, the Billboard Music Awards will return to Las Vegas for another star-studded event that is not to be missed. Over the years, viewers have been dazzled by legends and newcomers alike baring their souls and giving iconic performances during the telecast, whose 2018 ceremonies will air live on NBC at 8 p.m. ET/5 p.m PT this Sunday (May 20). This year's three-hour event commemorates 60 years of the Billboard Hot 100 chart -- and many current chart-toppers are expected to deliver performances that will be discussed for years to come. Ahead of the show, Billboard is recapping the 15 greatest performances to ever grace the BBMAs stage. 15. Rihanna and Britney Spears, "S&M" (2011) Decked out in a white leather ensemble with her hands chained together, Rihanna took to the Billboard stage to perform her unabashedly sex-positive single "S&M" in 2011. About halfway through, Britney Spears -- who was featured on the single's much-hyped remix -- appeared in a coordinating black bodysuit and mask. The "I’m A Slave 4 U" singer dropped her own verse, before the pair harmonized on the song’s chorus and matched each other’s choreography move for move. They concluded their bedroom-ready performance in the most fitting way: a playful pillow fight. 14. Hole, "Malibu" (1998) With an introduction from friend Drew Barrymore, the Courtney Love-fronted band gave us grunge and confetti for their performance of "Malibu." Love's raspy voice melded perfectly with that of her bandmate Melissa Auf der Maur and the performance's multi-axe attack proved there's no such thing as too much guitar. 13. Shania Twain, "(If You're Not In It for Love) I'm Outta Here" (1995) Shania Twain rocked the house with her performance of "(If You’re Not In It for Love) I’m Outta Here" at the '95 Billboard Music Awards. The track -- which peaked at No. 1 on the Hot Country Songs chart in 1996 -- truly showed off Twain’s powerful vocals. Her performance at the awards show also shined with its simplicity; just Twain twirling and singing center stage with a band backing her up. 12. Alicia Keys, Angie Stone & Eve, "A Woman's Worth / Brotha" (2001) Keys delighted the audience with her signature piano and sang "A Woman’s Worth" with the accompaniment of a full band and backup singers. About two minutes in, she introduced soulstress Angie Stone to perform a funked-up remix of Stone's hit single "Brotha," as photos of prolific black men flashed on the screen. The already spectacular show was further enhanced when the pair was joined by E-V-E, who dedicated her rap verse to "all the strong brothas." 11. Janet Jackson, "The Pleasure Principle" / "So Excited" (2006) Janet demonstrated that 20 years after her debut, she was in "Control" as she performed a mashup of her hits "The Pleasure Principle" and "So Excited" during the 2006 BBMAs. Following a montage of her career-spanning visuals, Ms. Jackson emerged solo from a cloud of smoke to deliver her timeless choreography. From there, the energy of the moment went into full effect when she was joined by dancers during "So Excited" for a performance that was full of spins, flips and floor slides. 10. *NSYNC, "Just Got Paid" (2000) *NSYNC covered Johnny Kemp’s new jack swing classic for their 2000 album No Strings Attached. That same year, the boy band took their rendition to the Billboard Music Awards and brought the song to life while wearing vibrant fur coats. The dynamic quartet emerged from an oversized book and delivered an entertaining walk through the song’s lyrics with all the necessary props. The performance descended into a party with "booty shaking all around" and it wouldn’t have been complete without the a capella break (beatboxing included). 9. Beyoncé, "Me, Myself and I" (2003) Beyoncé appeared to be her "own best friend" on stage while performing the 2003 ballad "Me, Myself, and I," only accompanied by replicas of her likeness through a multi-paneled mirror. Bey’s performances are often limitless, and she took the song into the crowd to croon directly to OutKast, among other members of the audience. Upon returning to the stage, it was revealed that the reflections in the mirror were actually dancers made to look like the singer -- and she was then joined by rows of blonde-fringed clones who helped her close out the show. 8. P!nk, "God Is a DJ" (2003) Years before she incorporated circus-worthy acrobatics into her live shows, P!nk flipped and defied gravity at the 2003 Billboard Music Awards. During her performance of the inspirational Try This hit "God Is A DJ," the stage was fittingly set to look like a turntable and the dancers busted moves all around. P!nk also cemented her badass reputation when she fell into the backup dancers' arms through a trust fall, and later sang upside down -- prompting cheers all around. 7. Bruno Mars, "Treasure" (2013) The spirit of the 1970s was alive and well with Bruno Mars’ 2013 performance of "Treasure." For starters, the stage was essentially a disco ball brought to life as many of the mirrored light fixtures lit up the set. Mars and his band, The Hooligans, also gave off Soul Train vibes as they coordinated dance moves in matching red suits. They even delivered an iconic dance break during the bridge, which truly rocked the house and turned into a party as confetti fell from the ceiling to their flawless harmonies. 6. Mariah Carey, "I Still Believe" (1998) In 1998, Mariah Carey accepted a historic Billboard Hot 100 award for having the most No. 1s on the chart of any female artist, with a total of 13 chart-topping singles -- an honor she still holds, now clocking in at 18 No. 1s. Following an introduction from Stevie Wonder and Queen Latifah, Carey gave a chill-inducing performance of her "I Still Believe" ballad, a Brenda K. Starr cover. Fans could not contain their screams during the set, especially when MC's backing choir joined in for some untouchable harmonies. 5. Kesha, "It Ain't Me Babe" (2016) All eyes were on Kesha as she took to the Billboard Music Awards stage in 2016 for her first televised performance since undergoing a very public legal battle with her former mentor Dr. Luke. A vision in white, the star covered Bob Dylan’s "It Ain’t Me Babe" and the emotional, stripped-down performance featured only her, a pianist and a violinist on stage with the lights down low. Kesha’s sentimental delivery showcased a new side of the pop star, and prompted applause with every verse. 4. Miguel, "Adorn” (2013) L.A. singer Miguel brought his seductive blend of alt-R&B to the BBMAs to perform his single "Adorn," from 2012's Kaleidoscope Dream. Clad in a crisp white suit, Miguel delivered dreamy harmonies and showed off his moves -- splits and all. The set design was equally captivating with its trippy screen projections of phrases and mood-setting colors. Although one of Miguel's stage jumps will forever live in infamy, the overall performance confirmed his star power. 3. Celine Dion, "The Show Must Go On" (2016) In January 2016, Celine Dion tragically lost both her brother and husband to cancer in the same week. Months later, the veteran singer earned the Icon Award at the BBMAs and delivered a performance that further cemented her iconic status. Dion's flawless rendition of Queen's cinematic 1990 ballad was backed by a full orchestra, and she proved that indeed, "the show must go on" in honor of her loved ones. 2. Whitney Houston, "I Have Nothing" (1993) Whitney Houston swept the 1993 Billboard Music Awards, taking home a total of 11 awards. During the show, the powerhouse singer brought down the house with a performance of "I Have Nothing," from the soundtrack of The Bodyguard. The track -- which peaked at No. 4 on the Billboard Hot 100 that year -- showed off Houston's expansive vocal range, and her peerless performance at the awards ceremony can still induce goosebumps 25 years later. 1. Prince, "Let's Go Crazy / Frankenstein / Fix Ur Life Up" (2013) A true rock star, Prince gave the crowd ammunition to "live out loud" and more with his fiery 2013 performance at the BBMAs. After receiving the Icon Award, the Purple One presented a rousing mashup of his 1984 classic "Let's Go Crazy" with the newer jam "Fix Ur Life Up." The legendary performer, who died in 2016, also shredded on stage with an epic cover of The Edgar Winter Group's instrumental track "Frankenstein" in between his own songs, sounding just as vital at age 54 as he had at any point in the prior three and a half decades. www.billboard.com/articles/news/bbma/8456248/billboard-music-awards-greatest-performances-ever-top-15
|
|
jdanton2
Diamond Member
Joined: October 2003
Posts: 11,613
|
Post by jdanton2 on May 18, 2018 15:10:27 GMT -5
Khalid also performing with Normani.
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 18, 2018 15:19:45 GMT -5
|
|
dwhite725
Gold Member
Joined: December 2016
Posts: 871
|
Post by dwhite725 on May 19, 2018 3:14:01 GMT -5
Who watches the Twitter red carpet? I was so confused withEricka hosting the red carpet for the Grammys. I thought it was for a tv channel not twitter. Now I know. Good for twitter
|
|
jenglisbe
Diamond Member
Joined: January 2005
Posts: 34,535
|
Post by jenglisbe on May 19, 2018 13:30:40 GMT -5
I’m excited for the Janet performance and award.
The Macklemore/Kesha performance seems random.
I don’t think I can take Kelly Clarkson for 2 hours.
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 19, 2018 14:03:12 GMT -5
3 hours.
|
|
Deleted
Joined: January 1970
Posts: 0
|
Post by Deleted on May 19, 2018 14:08:42 GMT -5
I’m excited for the Janet performance and award. The Macklemore/Kesha performance seems random.I don’t think I can take Kelly Clarkson for 2 hours.They're going on a tour together starting on June 6th So it's to promote that I'm pretty sure Besides they're good friends and both good performers And what's wrong with KC, she's is a humble and hilarious but relatable down to earth queen
|
|
jenglisbe
Diamond Member
Joined: January 2005
Posts: 34,535
|
Post by jenglisbe on May 19, 2018 14:12:37 GMT -5
I’m excited for the Janet performance and award. The Macklemore/Kesha performance seems random.I don’t think I can take Kelly Clarkson for 2 hours.They're going on a tour together starting on June 6th So it's to promote that I'm pretty sure Besides they're good friends and both good performers And what's wrong with KC, she's is a humble and hilarious but relatable down to earth queen Ok the tour makes sense; that song is just old and more so wasn’t even a big hit. Kelly annoys me; she’s too extra. Nothing “wrong” with her, she seems like a fine person, and it’s great if people like her, I just can’t take her rambling for more than 30 seconds.
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 19, 2018 14:15:29 GMT -5
|
|
leonagwen
Diamond Member
#LiteralLegender
Joined: November 2011
Posts: 14,823
|
Post by leonagwen on May 19, 2018 14:53:12 GMT -5
How stupid for the American Idol finale to be on at the same time as this.
|
|
pnobelysk
Diamond Member
Joined: November 2009
Posts: 10,116
|
Post by pnobelysk on May 20, 2018 9:17:32 GMT -5
^I just posted in the idol thread how shocked I was at how weak their finale lineup is and now I know why. I’m sure some acts at the billboard music awards woudlve performed at both if the dates had been different
|
|
Gary
Diamond Member
Joined: January 2014
Posts: 45,688
|
Post by Gary on May 20, 2018 9:43:02 GMT -5
American Idol not the same show it used to be
|
|
Focus
Diamond Member
"peace out my babies" ~ Kelly Hoodson tm yoKC ~ "hackers..You've been CLARKSONED"!
Joined: January 2005
Posts: 15,591
|
Post by Focus on May 20, 2018 12:27:39 GMT -5
Six non-televised winners:
|
|
|
Post by Queen of Insomnia. on May 20, 2018 14:35:25 GMT -5
The big 3:
|
|
kanimal
3x Platinum Member
Joined: May 2014
Posts: 3,043
|
Post by kanimal on May 20, 2018 15:29:59 GMT -5
^I just posted in the idol thread how shocked I was at how weak their finale lineup is and now I know why. I’m sure some acts at the billboard music awards woudlve performed at both if the dates had been different I'd assume most of the celebrity performances are going to be on Monday, though? And The Voice has a pretty weak lineup for Tuesday as well (and keep in mind that they allowed some performers to pre-record; not that anyone performing in Las Vegas tonight would have an issue getting to LA by Tuesday anyway). And that's also on NBC, so there wouldn't be any network blockage issues. So the lineup issues probably aren't just due to the Billboards.
|
|
|
Post by Mayman on May 20, 2018 18:41:41 GMT -5
Any info on who is opening the show?
|
|