jenglisbe
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Post by jenglisbe on Feb 15, 2018 17:43:22 GMT -5
I can think of dozens of women who have released or are releasing albums in the next couple months who are more deserving of a nomination over Taylor. Please. There are so many deserving women for these awards and other praise. It sucks that it has taken so long for this issue to come up and it sucks that this is the way people are now decide, DUHHH, lets award sum womennn. I had a conversation with someone the other day about how women are always dismissed when it comes to music and musical discussions, yet I'd say 80% of the music I love is by women. Why don't people see what I see lmao Plenty of women have won major awards at the Grammys, though. I know the timing of the Bruno/male sweep was poor this year, but that doesn't mean women can't win big at the Grammys. I'm not addressing this at anyone in particular; I just don't understand the backfire this year apart from Neil Portnow's comments.
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shayonce
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Post by shayonce on Feb 16, 2018 5:02:22 GMT -5
taylor won't get any general nominations. pop nominations are tricky but considering her first(and probably biggest hit of this era) single snubbed, I don't see the bright future for song categories. maybe album If they don't add pop committee.
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shayonce
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Post by shayonce on Feb 16, 2018 5:09:10 GMT -5
I can think of dozens of women who have released or are releasing albums in the next couple months who are more deserving of a nomination over Taylor. Please. There are so many deserving women for these awards and other praise. It sucks that it has taken so long for this issue to come up and it sucks that this is the way people are now decide, DUHHH, lets award sum womennn. I had a conversation with someone the other day about how women are always dismissed when it comes to music and musical discussions, yet I'd say 80% of the music I love is by women. Why don't people see what I see lmao Plenty of women have won major awards at the Grammys, though. I know the timing of the Bruno/male sweep was poor this year, but that doesn't mean women can't win big at the Grammys. I'm not addressing this at anyone in particular; I just don't understand the backfire this year apart from Neil Portnow's comments. it's about overall disregard, discrimination that women suffered so long time. more than just grammy or big 4 categories. it's about how the female artists are treated in general like the op said "how women are always dismissed when it comes to music and musical discussions".
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Post by Devil Marlena Nylund on Feb 16, 2018 7:43:57 GMT -5
I mostly agree that the timing of the Grammy wins was poor. Women have had years where they overwhelmingly performed better than men. This just happened to be a year where women weren't prominent across the board. But it would be interesting to look back and see how the Grammys awarded music in years when music was heavily female-leaning.
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Deleted
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Post by Deleted on Feb 16, 2018 15:20:01 GMT -5
I mostly agree that the timing of the Grammy wins was poor. Women have had years where they overwhelmingly performed better than men. This just happened to be a year where women weren't prominent across the board. But it would be interesting to look back and see how the Grammys awarded music in years when music was heavily female-leaning. It would take me some time to comb through all the categories, but for now here is a list of all solo female wins in AOTY (lead artist wins only): Judy Garland (1962) Barbra Streisand (1964) Carole King (1972) Bonnie Raitt (1990) Natalie Cole (1992) Whitney Houston (1994) Alanis Morrissette (1996) Celine Dion (1997) Lauryn Hill (1999) Norah Jones (2003) Dixie Chicks (2007) Taylor Swift (2010) Adele (2012) Taylor Swift (2016) Adele (2017) 15 out of 60, or 25%, of AOTY winners thus far are from women.** There are three other years (1978, 1982, and 2009) where the winning album was from a duo/group that included a woman (or two), bringing us to 18/60, or 30% female AOTY winners. I also tried accounting for the repeat winners, but that still led to a 25% or 30% ratio. There is only one year where all the AOTY nominees were women (1999), but eight years where all the nominees were male (1960, 1961, 1963, 1969, 1977, 1983, 2001, 2013) and another seven years where the only female nominee(s) were part of a duo/group involving both genders (1970, 1971, 1973, 1978, 1979, 1984, 2009). As much as it seems that women have dominated recently, that was really only true in the '90s. This decade looks female dominant at first glance, but it's just two women with repeat wins, and those two happen to be the two biggest selling pop stars of their time. On that note, what is really telling to me is that ALL of the female winners listed were huge commercial successes for their times. I couldn't find sales figures on the '62 and '64 nominees - at that time, gold was the highest cert you could receive, and based on $1 million in sales rather than # of copies sold. That said, as far as I can tell Garland was the best seller at the time she was awarded (Garland was up against West Side Story, which of course dwarfed Garland's 13 weeks at #1 with its own 54; but due to her album being released in July and WSS in October, Garland was probably still perceived as even with or ahead of the soundtrack when voting took place). Streisand was one of only two albums in her year to receive a gold cert. From 1972 to 2017, there were only three years (1990, 1999, 2007) where a winning woman was not the best-selling (or tied as best selling) album of the nominees. For 1990 and 2007, the winning album, like Garland's, was released far ahead enough of the better selling album that the winner was probably the best selling album at the time voting took place. 1999 was the all-ladies year, making sales moot. We already knew the context of Portnow's asinine statement, but this really crystallizes it, and underscore's your point about women being dismissed when it comes to musical discussion. The standard for women 'stepping up' is 'being popular,' and because of that, there is no chance for a female Beck or Herbie Hancock, or even an Arcade Fire/The Suburbs situation (a respectable 765k sold, but the lowest selling album of the nominees that year). There are also virtually no female legacy acts winning this award, although it's hard to discern whether this is ageist sexism at play or genre bias sexism (the only 'legacy' acts to win AOTY are invariably rock). When women step up in the ways that an artist should step up - stellar writing, superior vocals, critical acclaim, social commentary, cultural impact - it's ignored, because Portnow and his ilk do not perceive those qualities as useful or necessary or maybe even possible from women. Women are meant to be popular, pretty, and inoffensive (and all of this is still not a guarantee that you will win if there is a Beck or Arcade Fire in the mix). It's pretty all-or-nothing. **for purposes of these stats, I'm counting groups as one singular act.
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Post by Devil Marlena Nylund on Feb 16, 2018 16:37:55 GMT -5
Wow, ok, that's interesting. One thing I had wondered is that, during years where women overwhelmingly controlled sales and the pop charts, how were awards distributed that year compared to when women were, as a whole, having a soft year (like 2017). Were men still awarded even when women dominated? Likewise, when black artists dominated (ie, 2004 era and 2017), how were awards distributed? It's just interesting to see the lengths the Academy (and others really) go to award white men when the musical conversation was elsewhere.
Your comment about there not being a female Beck or Arcade Fire is one I never realized before and it stings. Those left-field noms are what I love about the Grammys. When Ray LaMontagne got nominated for Song of the Year that time, completely out of nowhere (or so I thought), I was living for that. It's disappointing to think a woman might not get that sort of out-of-the-blue recognition but it makes sense. Those random noms for the big awards tend to favour a musician's musician. The type of artist musicians sit around and talk about. And from my exposure with those types of people, it's almost always male artists.
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Deleted
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Post by Deleted on Feb 16, 2018 20:02:04 GMT -5
Wow, ok, that's interesting. One thing I had wondered is that, during years where women overwhelmingly controlled sales and the pop charts, how were awards distributed that year compared to when women were, as a whole, having a soft year (like 2017). Were men still awarded even when women dominated? Likewise, when black artists dominated (ie, 2004 era and 2017), how were awards distributed? It's just interesting to see the lengths the Academy (and others really) go to award white men when the musical conversation was elsewhere. Your comment about there not being a female Beck or Arcade Fire is one I never realized before and it stings. Those left-field noms are what I love about the Grammys. When Ray LaMontagne got nominated for Song of the Year that time, completely out of nowhere (or so I thought), I was living for that. It's disappointing to think a woman might not get that sort of out-of-the-blue recognition but it makes sense. Those random noms for the big awards tend to favour a musician's musician. The type of artist musicians sit around and talk about. And from my exposure with those types of people, it's almost always male artists. In the interest of fairness, the Grammys has almost always favored musicians who sell a lot over those who don't, lol. In the 20th century, for men this usually meant heavily favoring the legacies and rock artists. The 21st century for male AOTY winners has been a more equal mix of legacy/rock guys and contemporary acts. But as far as left-field noms go men definitely have better chances than women. I think the only two 'left field' women to even get nominated were Lorde (who shouldn't even be viewed as left-field based on the universal acclaim she received, but here we are) and Sara Bareilles in 2014. Looking at the pop album category might tell a different story, although it will be a limited story since that category didn't exist until 97 or 98, I think. We already know that rock, alt, and hip-hop are all male winners (except for Alabama Shakes, I think?) So that leaves only r&b and country to pick apart, but since those two genres so rarely win AOTY I don't know that anything revealed there should be compared to AOTY, really. ROTY/SOTY might paint a different pictur tooe; I'll see about that later. I already know that BNA favors women more than men, but I might look at that category too just to see if there are any other distinct patterns. As for distribution of awards being in correlation to whichever gender dominated the year more, my hunch is that there won't really be much of one, for a couple of reasons.
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tinawina
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Post by tinawina on Feb 18, 2018 11:48:49 GMT -5
I think if there was ever a year for female “artist” acts to get nods this will be it. If academy is going to be on the lookout for women this year it makes sense to look where the buzzed about “artist” women lately are coming from... which right now is country, r&b (especially neo-soul, alt-r&b type stuff), and pop. There will be a couple of AOTY nominees from that pool and there will also be a rock album in the mix because there wasn’t one this year and we all know that can’t happen 2 years in a row. The only question is will it be some modern alterative rock group or will it be a legacy act (U2? Arctic Monkeys?). I haven’t been paying much attention to alt rock lately so who’s the critical darlings in that world right now? I’d also look for a jazz album to be nominated.
As for noms in general we’re about halfway through the eligibility period so I’d say in general that Camilla is in a good spot to score noms, not necessarily AOTY but she’s clearly got industry buzz and it’s looking good for keeping a radio presence through 3 singles. If Alesia Cara drops her next album at least her lead single will be well positioned too. SZA singles are a good bet for R&B noms because they’ll be looking to make it up to her. The Black Panther soundtrack is almost a given because Kendrick. There’s a Childish Gambino album coming too right? That will get some nods. I’m not looking for Taylor to get anything in the major categories.
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jenglisbe
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Post by jenglisbe on Feb 18, 2018 14:08:03 GMT -5
When is the last time a soundtrack got in Album of the Year? O Brother 15-20 years ago? It's possible for BP, but i wouldn't count on it regardless of Kendrick's involvement.
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Music Fan
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Post by Music Fan on Feb 19, 2018 4:38:10 GMT -5
I think that as much as the Grammys, at least today, still tout themselves as awarding excellence in music, a big part of their nominations is undoubtedly given to artists who have achieved mainstream success within that year. I will say that I know my following point is not a direct correlation, and maybe many of you may think there's not even much of a correlation. Though, I think considering mainstream is a huge factor, it is a bit unfair for the general public to criticize the Grammy's for their lack of representation when, for example out of the Top 20 songs on Billboard 2017 Year End, we have only 3 songs which include women (Halsey on Closer, Alessia on Stay and Rihanna on Wild Thoughts), and none of them are a solo lead. 34% of the Year End had a woman vocalist (solo, featured, part of a duo group). I don't know the academy's demographics, but I'll assume many are older for which we cannot assume they know much of what isn't popular and readily accessible on radio/iTunes/Spotify. I obviously do think women should be more represented than they have been, especially since the Grammy's job is supposed to be quality and not quantity (in this case mainstream success being the equivalent), but I was curious how this played out on Billboard, which the public "technically" dictates. I'd love to hear opinions on this.
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Ling-Ling
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Post by Ling-Ling on Apr 5, 2018 14:47:12 GMT -5
I say we keep it simple and give all the awards to Kacey Musgraves. It's a wrap, DONE. Decided.
Let's worry about 2020 now.
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bat1990
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Post by bat1990 on Apr 6, 2018 12:46:59 GMT -5
If women got left-field noms and/or awards the way the likes of Arcade Fire, Chris Stapleton, Ray LaMontagne, Beck, and Bon Iver do,
the likes of Robyn, Tori Amos, Kimbra, Janelle Monae, Grimes, Regina Spektor, Marina & the Diamonds, to name a handful would have MUCH more representation at the Grammys and Bey would have at least one Album of the Year trophy.
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ampersand
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Post by ampersand on Apr 7, 2018 17:45:16 GMT -5
If women got left-field noms and/or awards the way the likes of Arcade Fire, Chris Stapleton, Ray LaMontagne, Beck, and Bon Iver do, the likes of Robyn, Tori Amos, Kimbra, Janelle Monae, Grimes, Regina Spektor, Marina & the Diamonds, to name a handful would have MUCH more representation at the Grammys and Bey would have at least one Album of the Year trophy. It's a travesty that she hasn't won a Grammy yet already.
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Deleted
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Post by Deleted on Apr 7, 2018 21:03:43 GMT -5
Seeing this thread bumped reminded me that I had a draft typed up weeks ago re: pop album winner stats. So here that is, for those nerdy enough to care. A couple of corrections to what I said before about the vocal album categories. One, it wasn't just pop, but all genre album categories as we know them first being presented in the mid-90s (1995, to be specific). Before that, albums and singles could all be submitted to their respective genre/gender performance categories (and even with that I think there might have been some rule variations along the way). That was kind of a messy allowance, so I'll have to think about how I want to look at the pre-1995 performance categories in terms of stats. Two, there was a pop vocal album category in 1968 (named Best Contemporary Album at the time; Sgt. Pepper's Lonely Hearts Club Band won), but it was discontinued after that year, so I'm not going to count the Beatles win in my pop album stats. Likewise, I'll be ignoring the 1965-1966 years for Best Country album when I get around to that category. All 24 pop album winners behind the cut. {pop album stats}Blue -> female winners. Bold -> the pop album winner was also the AOTY winner; AOTY winner is listed in parentheses for other years. Underline -> pop album winner was also AOTY nominated. I will also note the years where one or more of the pop album winner's competitors was AOTY-nominated. 1995 - Bonnie Raitt (AOTY winner: Tony Bennett). 2 of Bonnie's competitors (Seal and The Three Tenors) were also AOTY nominees. 1996 - Joni Mitchell (AOTY winner: Alanis Morrissette). One of Joni's competitors (Mariah) was an AOTY nominee. 1997 - Celine Dion1998 - James Taylor. One of James' competitors (Paula Cole) was an AOTY nominee. 1999 - Madonna (AOTY winner: Lauryn Hill) 2000 - Sting. One of Sting's competitors (Backstreet Boys) was an AOTY nominee. 2001 - Steely Dan2002 - Sade (AOTY winner: O Brother, Where Art Thou? Soundtrack) 2003 - Norah Jones 2004 - Justin Timberlake (AOTY winner: Outkast) 2005 - Ray Charles2006 - Kelly Clarkson (AOTY winner: U2). Two of Kelly's competitors (Paul McCartney and Gwen Stefani) were AOTY nominees. 2007 - John Mayer (AOTY winner: Dixie Chicks) One of John's competitors (Justin Timberlake) was also an AOTY nominee. 2008 - Amy Winehouse (AOTY winner: Herbie Hancock) 2009 - Duffy (AOTY winner: Robert Plant & Alison Krauss) 2010 - Black Eyed Peas (AOTY winner: Taylor Swift) 2011 - Lady Gaga (AOTY winner: Arcade Fire). One of Gaga's competitors (Katy) was also an AOTY nominee. 2012 - Adele. 3 of Adele's competitors this year (Gaga, Bruno, and Rihanna) were also AOTY nominees. 2013 - Kelly Clarkson (AOTY winner: Mumford and Sons). One of Kelly's competitors (fun.) was an AOTY nominee. 2014 - Bruno Mars (AOTY winner: Daft Punk) 2015 - Sam Smith (AOTY winner: Beck). One of Sam's competitors (Ed Sheeran) was also an AOTY nominee. 2016 - Taylor Swift 2017 - Adele. One of Adele's competitors (Justin Bieber) was also an AOTY nominee. 2018 - Ed Sheeran 13/24, or 54.17% of pop album winners have been solo women. If we count Sade and Black Eyed Peas (Sade is a group but obviously most-known for its frontwoman, and Fergie is often viewed as a large reason for BEP's success) the number of female winners goes up to 15/24, or 62.5%. 5/15 (33%) female pop album winners were AOTY winners / 33% of the 15 female AOTY winners were pop album winners. 2003 was the only year where the pop album category was (sort of) one gender - the nominees were Norah, Avril, P!nk, Britney, and a Gwen Stefani-led No Doubt. There have only been four years (2002, 2009, 2014, and 2018) where no pop album nominee received an AOTY nomination. 15/24 (62.5%) pop album winners were AOTY nominees, with 7 going on to win the AOTY. Of the 7 pop album/AOTY winners, 5 had no competition from other pop albums in AOTY; the other 2 were Adele's wins. Of the 8 pop albums that lost AOTY, 4 theoretically had no competition from other pop albums - Madonna, Justin Timberlake, Amy Winehouse, and Black Eyed Peas - but in reality, Madonna, JT, and BEP actually had extremely tough pop competition, eventually losing to "non-pop" albums that were nonetheless huge mainstream hits (huger, in fact, than the actual pop album winners). Only Amy Winehouse had no such circumstance. So on the surface, a pop album winner who is also nominated for AOTY has about a coin's flip chance of winning that AOTY; but in reality those odds increase exponentially if you can either find a way to curbstomp all of your pop/crossover competition, or change your name to Adele…which is essentially the equivalent of curbstomping your competition. 5/24 (20.8%) pop album winners pulled off upsets by defeating AOTY nominees, despite not being AOTY-nominated themselves. So the category is not a stranger to surprise wins. Two of those wins belong to the same artist though (Kelly Clarkson), both of those wins coming at a time when she was peaking or re-peaking in commercial success. When you take Kelly out of the equation this hasn't happened since 2000. Only two pop album winners sold less than 1 million - Joni Mitchell's Turbulent Indigo (311k sold) and Duffy's Rock Ferry (860k sold). Duffy was pretty comfortably mid-pack compared to her competition's sales, at least. Joni's win looks stranger and stranger the more I look at it. She was and remains by far the lowest-selling pop album nominee ever; she only had two previous wins to her name, the most recent one in 1974; and she wasn't signed to a big label. So she wasn't a voter darling, and she had no sales or apparent label machine behind her. This is one of those left-field nominations/wins that Devil Marlena Nylund would love lol, but honestly? Turbulent Indigo might truly be the most inexplicable winner in Grammy history. I'm not just saying this b/c of Daydream either; she beat out an Eagles live album (at a time when Grammys lived for awarding live albums), Madonna's Bedtime Stories, and Annie Lennox's Medusa, all multiplatinum albums. Obviously this is no shade to Joni herself, she's Joni effin' Mitchell. The win just came out of freaking nowhere. Long story short, women generally dominate the pop album category; Ed's win this year was a moderate upset in theory. However, in the past five years, there has been a clear increase in the weight given to the biggest seller of the bunch. Before that, commercial success was sort of a moot point - most of the competition in any given year brought good to great sales to the table, so the winner wasn't always the biggest or even second biggest seller, as long as he or she struck a nice balance between sales and critical respect. If the 2018 voters had the same mentality the 2013 ones did for example, the award this year probably would have gone to Joanne. The commercial bent makes 2019 hard to predict as Taylor's cache seems to have taken a visible hit, and her era was extremely frontloaded this time; but said frontloading pretty much guarantees she'll have the best-selling pop album of this eligibility year; she might very well Sheeran her way into a win. The next closest contenders in sales will likely be Sam, P!nk, and possibly Ariana (although hers will likely be more SPS fueled).
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Deleted
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Post by Deleted on Apr 7, 2018 21:10:29 GMT -5
Pop solo and pop duo/group performance: there are only 7 years to examine so far, so not too much to say here. In pop solo, 3 years went to Adele, 2 to Ed, and 1 each to Lorde (Royals) and Pharrell (Happy [live]). This award is very strongly biased toward whoever had the biggest hit (although how funny is it that only one American has won this so far?), with there not being a gender bias so much as an Adele bias. With the pop releases being a bit quiet/moderately sized at the moment, there is a good chance the eventual 2019 winner of this category hasn't been released just yet.
Pop duo/group has been awarded to: Tony Bennett and Amy Winehouse; Gotye feat. Kimbra; Daft Punk feat. Pharrell and Nile Rogers; A Great Big World feat. Christina Aguilera; Mark Ronson feat. Bruno Mars; 21 Pilots; and Portugal. The Man. From what I can tell pop duo/group is a no-flop zone, with the only outlier nominations being Florence and the Machine's Ship to Wreck and the first win going to Tony Bennett and Amy Winehouse. I noticed two other things: one, a tendency to pass over the massive summer/novelty smashes like Blurred Lines, Sexy and I Know It, Closer, and Despacito, so there seems to be at least one small pattern of pop snobbery at work; and two, there has yet to be a winner with a female as lead artist. Again, the closest to this is that first win, where Amy shares co-lead credit with Tony. I suspect the Tony/Amy win is a combination of having no other way to award her posthumously and this being the only pop category that year that couldn't be given to Adele, so awarding Amy was the next closest thing.
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Post by Deleted on Apr 7, 2018 21:16:41 GMT -5
From what I can tell pop/duo group is a no-flop zone, with the only outlier nominations being Florence and the Machine's Ship to Wreck Low-key pressed over this shade but at the same time I'm so proud of my girl for being the outlier. I'm praying this year she can get that Album of The Year nomination finally. I'm certain that HBHBHB came SO CLOSE last time, she got 4 nominations and all against heavy-hitters. If they can keep the momentum going this campaign and not be DOA I think she has a good shot.
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Zach
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Post by Zach on Apr 7, 2018 21:33:07 GMT -5
From what I can tell pop/duo group is a no-flop zone, with the only outlier nominations being Florence and the Machine's Ship to Wreck Low-key pressed over this shade but at the same time I'm so proud of my girl for being the outlier. I'm praying this year she can get that Album of The Year nomination finally. I'm certain that HBHBHB came SO CLOSE last time, she got 4 nominations and all against heavy-hitters. If they can keep the momentum going this campaign and not be DOA I think she has a good shot. I have a good feeling about her next album. I just feel like it'll get an AOTY nod. I mean, Florence is already somewhat of a Grammy darling. All she needs is just a bit more push, maybe a minor hit or something like that. I feel like it's coming.
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Deleted
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Post by Deleted on Apr 7, 2018 21:54:25 GMT -5
From what I can tell pop/duo group is a no-flop zone, with the only outlier nominations being Florence and the Machine's Ship to Wreck Low-key pressed over this shade but at the same time I'm so proud of my girl for being the outlier. I'm praying this year she can get that Album of The Year nomination finally. I'm certain that HBHBHB came SO CLOSE last time, she got 4 nominations and all against heavy-hitters. If they can keep the momentum going this campaign and not be DOA I think she has a good shot. No shade intended, I swear! I actually had to double-check to see if it was a single b/c I honestly didn't remember it being one in the US. To be fair, it wasn't at all a flop on its actual format (it was a top 10 on Alternative and #1 on Adult Alternative). It just didn't chart anywhere else and didn't get any certs. It was kind of a mismatch in pop, when you think about it. If she didn't actually send it to CHR, then I gladly take my flop label back, but nonetheless she sticks out compared to the other nominees in that category. If she releases before the cutoff I could see her making a big showing at the 2019 show. I can't believe she hasn't won already (that's something else I had to double-check b/c she feels like a winner).
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Deleted
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Post by Deleted on Apr 7, 2018 22:02:43 GMT -5
Low-key pressed over this shade but at the same time I'm so proud of my girl for being the outlier. I'm praying this year she can get that Album of The Year nomination finally. I'm certain that HBHBHB came SO CLOSE last time, she got 4 nominations and all against heavy-hitters. If they can keep the momentum going this campaign and not be DOA I think she has a good shot. No shade intended, I swear! I actually had to double-check to see if it was a single b/c I honestly didn't remember it being one in the US. To be fair, it wasn't at all a flop on its actual format (it was a top 10 on Alternative and #1 on Adult Alternative). It just didn't chart anywhere else and didn't get any certs. It was kind of a mismatch in pop, when you think about it. If she didn't actually send it to CHR, then I gladly take my flop label back, but nonetheless she sticks out compared to the other nominees in that category. If she releases before the cutoff I could see her making a big showing at the 2019 show. I can't believe she hasn't won already (that's something else I had to double-check b/c she feels like a winner). Oh trust me I consider everything from Florence's last album to be a flop lol(despite the radio peaks, she just had absolutely no streaming or single sales it was sad) the album sales were great all things considered and the fact that she could get that much award-attention without any smashes was a big win in itself. I think she's releasing before the cutoff because of all the summer festival appearances. I never expect her to win a grammy though lol I think it's amazing she's gathered so many nominations as it is. She's good enough/popular enough to gather nominations but there's always someone much bigger or more acclaimed who are destined to win over her(she's lost to Taylor Swift and Alabama Shakes/constantly in categories with huge artists) but I don't care if she's just a filler nominee any recognition she can get I'll take. The best part of her getting a General Field nomination is she would finally get invited back to perform again. I almost care more about Florence getting that platform/attention than I do about her winning anything lol.
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kcdawg13
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Post by kcdawg13 on Apr 23, 2018 19:34:05 GMT -5
I could see New Rules scoring a Best Pop Solo Performance nomination, maybe Havana for Record Of The Year.
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Deleted
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Post by Deleted on Apr 23, 2018 19:43:58 GMT -5
I could see New Rules scoring a Best Pop Solo Performance nomination, maybe Havana for Record Of The Year. Both songs were released in last year's eligibility period, so this can't happen unless their labels submit alternate versions (which is doubtful since neither spawned a notable remix or live version).
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Choco
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Post by Choco on Apr 23, 2018 20:40:10 GMT -5
The Daddy Yankee version of Havana? It was released in November.
One Kiss might be Dua's best chance so far.
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kcdawg13
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Post by kcdawg13 on Apr 23, 2018 22:02:21 GMT -5
I could see New Rules scoring a Best Pop Solo Performance nomination, maybe Havana for Record Of The Year. Both songs were released in last year's eligibility period, so this can't happen unless their labels submit alternate versions (which is doubtful since neither spawned a notable remix or live version). Somebody That I Used To Know was nominated in 2013 despite being released in July 2011.
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Post by Deleted on Apr 24, 2018 0:05:47 GMT -5
Both songs were released in last year's eligibility period, so this can't happen unless their labels submit alternate versions (which is doubtful since neither spawned a notable remix or live version). Somebody That I Used To Know was nominated in 2013 despite being released in July 2011. Didn't actually get released in the US until January 2012 - the US date is what counts - thus allowing it to be nominated for the 2013 show
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14887fan
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Post by 14887fan on May 1, 2018 13:03:26 GMT -5
This year has some real strength to it. Especially with TRA’s publicized efforts to level the playing field for women and POC, I could very much see the likes of Janelle Monáe, Kacey Musgraves, and Kelly Clarkson in the mix as major nominees. Ditto with Dua Lipa, Camila Cabello, and to lesser extents, Cardi B, Taylor Swift, and Pink.
Should be a nice change after last year’s total sausage fest.
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jenglisbe
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Post by jenglisbe on May 1, 2018 13:15:05 GMT -5
This year has some real strength to it. Especially with TRA’s publicized efforts to level the playing field for women and POC, I could very much see the likes of Janelle Monáe, Kacey Musgraves, and Kelly Clarkson in the mix as major nominees. Ditto with Dua Lipa, Camila Cabello, and to lesser extents, Cardi B, Taylor Swift, and Pink. Should be a nice change after last year’s total sausage fest. So, 4 female acts will get nominated in AOTY and/or ROTY, thus allowing the lone male nominee to win! Yeah!
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Glove Slap
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Post by Glove Slap on May 1, 2018 15:45:16 GMT -5
I could very much see the likes of Janelle Monáe, Kacey Musgraves, and Kelly Clarkson in the mix as major nominees Chances are than none of those three will have enough steam left in their projects by that point to give them the actual prize.
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Deleted
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Post by Deleted on May 1, 2018 15:53:31 GMT -5
One of the biggest sticking points is the expectation that women also be commercial successes. Will that attitude continue, or will there finally be an allowance for a female Beck/Herbie Hancock?
Weirdly enough, Cardi B of all people is the safest option to check off all the boxes...commercially successful, critically acclaimed, female POC, hip-hop yet mainstream, and (as far as I can tell) well-liked by industry people. She's a freaking unicorn. Her only potential pitfall will be losing hip-hop voters to Drake (if Drake bothers to submit for Grammy noms this time) or Kendrick/the Black Panther soundtrack.
Janelle, Kacey, and Kelly all garnered critical respect for their releases but the sales are on the weak side. Kelly hasn't done a tour bundle yet though so there's still a slight chance she could pull a gold cert out of her hat by the end of the year. Kacey might be further done in by her own genre not supporting her as much (though that seems to be more of a radio thing and may not be an issue when it comes to industry support). Kelly is disadvantaged by being a contemporary pop artist with a previous history of commercial success (within pop, sales seem to be weighted even more and she may or may not be held against her own standard there).
It is also interesting to note that three of the names mentioned above - Cardi, Kelly, and Janelle - are currently associated with Atlantic. If 2018 Grammys are any indication they have a very strong voter bloc.
I'm uncertain how well I think Camila will do. I can see her getting pop noms but majors seems a stretch. Dua released her own material before cutoff, but One Kiss should have a good shot to land in pop collab. It really sucks that New Rules is not eligible seeing what a longevity beast it turned into. Lowkey hoping Warner 'cheats' and submits a remix or something lol.
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14887fan
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Post by 14887fan on May 1, 2018 16:03:36 GMT -5
I could very much see the likes of Janelle Monáe, Kacey Musgraves, and Kelly Clarkson in the mix as major nominees Chances are than none of those three will have enough steam left in their projects by that point to give them the actual prize. Disagreed entirely.
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Troublemaker
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Post by Troublemaker on May 1, 2018 16:48:03 GMT -5
I could very much see the likes of Janelle Monáe, Kacey Musgraves, and Kelly Clarkson in the mix as major nominees Chances are than none of those three will have enough steam left in their projects by that point to give them the actual prize. Sad but true!
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