dann
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Post by dann on Oct 17, 2019 20:43:16 GMT -5
It looks like he sent Panini to this category. |
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Post by cassiuscasanova on Oct 17, 2019 20:47:25 GMT -5
It looks like he sent Panini to this category. Really, hmmm |
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Deleted
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Post by Deleted on Oct 17, 2019 22:36:13 GMT -5
Per this Billboard article that was posted previously, the screening committee is the one who made the call to put OTR in pop duo/group instead of rap/sung or country duo/group. I'm not sure what Columbia would have done with Panini had the committee not moved OTR, but I am guessing Panini in rap/sung and rap song was the committee's choice as well. TBH it seems like any time there is doubt over a song or album's genre classification the committee defaults to pop almost every time which is a bit annoying and lazy to me. This is one more reason they shouldn't have taken the urban alternative performance category away...I wouldn't be mad if they introduced a new 'pop alternative' award to give songs that blur the line between different genres a place to go and not be so disadvantaged by the committee trying to squeeze round pegs in square holes. |
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shayonce
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Post by shayonce on Oct 21, 2019 2:55:55 GMT -5
 Luke Combs (CMA) |
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jenglisbe
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Post by jenglisbe on Oct 21, 2019 17:45:19 GMT -5
It’s happened in 2016 and 2017 where the most popular song went home empty handed. It can happen again. To be fair, assuming you're going by the year-end #1, the Billboard calendar doesn't line up with the Grammys' nomination periods (and for that matter doesn't always line up with what is the perceived 'most popular' song of the year). Take 2017, for example. Shape of You was the year-end #1, Despacito #2. In 2016 Love Yourself was the year-end #1 but if you took a poll on whether Love Yourself or Hello was a bigger hit, I bet most people would say Hello, despite it finishing the year at #9. With that said I do get what you're saying. The Grammys does tend to play favorites and avoid rewarding 'novelty' smashes like Despacito and Blurred Lines. The question is, will voters see OTR as a novelty? This year's biggest hits came mostly from newcomers; Ariana, with all of one win under her belt, is the closest thing we have to a major contender who is also a voter 'favorite.' So I don't know just yet if I see OTR being entirely snubbed. I'd have to see how the nominations all pan out. "One Sweet Day" wasn't a novelty song in the 90s when it broke the record for weeks at #1 but lost Record of the Year to Seal (and lost Pop Collaboration). "We Belong Together" was the huge #1 of its year but lost to Green Day. The point is the Grammys certainly don't have a pattern of awarding record-breaking songs (Boyz II Men weren't even nominated in Record for "EOTR" or "IMLTY"), so there is certainly no guarantee "OTR" is winning. Having said that, "Uptown Funk" won, but it was viewed more respectfully than "OTR." |
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Post by Deleted on Oct 21, 2019 18:19:52 GMT -5
To be fair, assuming you're going by the year-end #1, the Billboard calendar doesn't line up with the Grammys' nomination periods (and for that matter doesn't always line up with what is the perceived 'most popular' song of the year). Take 2017, for example. Shape of You was the year-end #1, Despacito #2. In 2016 Love Yourself was the year-end #1 but if you took a poll on whether Love Yourself or Hello was a bigger hit, I bet most people would say Hello, despite it finishing the year at #9. With that said I do get what you're saying. The Grammys does tend to play favorites and avoid rewarding 'novelty' smashes like Despacito and Blurred Lines. The question is, will voters see OTR as a novelty? This year's biggest hits came mostly from newcomers; Ariana, with all of one win under her belt, is the closest thing we have to a major contender who is also a voter 'favorite.' So I don't know just yet if I see OTR being entirely snubbed. I'd have to see how the nominations all pan out. "One Sweet Day" wasn't a novelty song in the 90s when it broke the record for weeks at #1 but lost Record of the Year to Seal (and lost Pop Collaboration). "We Belong Together" was the huge #1 of its year but lost to Green Day. The point is the Grammys certainly don't have a pattern of awarding record-breaking songs (Boyz II Men weren't even nominated in Record for "EOTR" or "IMLTY"), so there is certainly no guarantee "OTR" is winning. Having said that, "Uptown Funk" won, but it was viewed more respectfully than "OTR." I did not imply either of those songs was seen as novelty. Mariah's general lack of love from Grammy voters is a conundrum all its own. But more to the point, I believe Troublemaker was referring to being completely snubbed (i.e. losing all nominations, or even not being nominated in categories where one would expect it to be), not just losing ROTY. Boyz II Men won R&B Performance by a Duo or Group for both End of the Road and I'll Make Love to You, and Mariah won R&B song and Female R&B Vocal Performance for WBT. This is different from Blurred Lines, Despacito, or even Love Yourself (which I don't think is really perceived as a novelty on its own merits, but probably would not have won anything even if Adele wasn't in the picture) which lost all of their nominations. The question is whether voters will take OTR seriously enough to at least give it a genre award. This situation is complicated by the committee placing OTR in pop duo/group, when it would likely have fared much better in rap/sung. All of the songs I mentioned above which were entirely snubbed were nominated in pop duo/group, a consistently competitive category which tends to conspicuously skip over the biggest hit of the bunch in almost any year. |
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jenglisbe
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Post by jenglisbe on Oct 21, 2019 19:57:46 GMT -5
"One Sweet Day" wasn't a novelty song in the 90s when it broke the record for weeks at #1 but lost Record of the Year to Seal (and lost Pop Collaboration). "We Belong Together" was the huge #1 of its year but lost to Green Day. The point is the Grammys certainly don't have a pattern of awarding record-breaking songs (Boyz II Men weren't even nominated in Record for "EOTR" or "IMLTY"), so there is certainly no guarantee "OTR" is winning. Having said that, "Uptown Funk" won, but it was viewed more respectfully than "OTR." I did not imply either of those songs was seen as novelty. Mariah's general lack of love from Grammy voters is a conundrum all its own. But more to the point, I believe Troublemaker was referring to being completely snubbed (i.e. losing all nominations, or even not being nominated in categories where one would expect it to be), not just losing ROTY. Boyz II Men won R&B Performance by a Duo or Group for both End of the Road and I'll Make Love to You, and Mariah won R&B song and Female R&B Vocal Performance for WBT. This is different from Blurred Lines, Despacito, or even Love Yourself (which I don't think is really perceived as a novelty on its own merits, but probably would not have won anything even if Adele wasn't in the picture) which lost all of their nominations. The question is whether voters will take OTR seriously enough to at least give it a genre award. This situation is complicated by the committee placing OTR in pop duo/group, when it would likely have fared much better in rap/sung. All of the songs I mentioned above which were entirely snubbed were nominated in pop duo/group, a consistently competitive category which tends to conspicuously skip over the biggest hit of the bunch in almost any year. I don't see why "Love Yourself" is even part of this conversation. I think you brought the Billboard year-end chart into it, but that isn't really the discussion that was going on. dann mentioned audience frustration, and Troublemaker mentioned 'most popular song,' which isn't necessarily dictated by the Billboard year-end chart. "OTR" is a type of phenomenon of a different level than, say, "Love Yourself." I think parallels would be "Blurred Lines," "Uptown Funk," "I Gotta Feeling," "Despacito," etc. |
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ddlz
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Post by ddlz on Oct 29, 2019 19:10:11 GMT -5
THE GRAMMY CHEW:
NOT TO BE MISSED by Lenny Beer and Simon Glickman Here are a few contenders for both top-tier and genre categories that we’d urge folks not to overlook. Tyler, The Creator: Tyler’s Igor was one of the most creative, musically inventive releases of the year, and his live performances are outstanding. Look for him to be acknowledged in top-tier and genre categories—possibly including Rap Album, Rap Performance, Rap Sung Performance and/or R&B Song. Lana Del Rey: The singer/songwriter stepped up her game with Norman F***ing Rockwell, and her nuanced approach to socially relevant subjects earned serious plaudits. Could this be her big moment? It wouldn’t be shocking to see her in any or all of the Big Three categories (AOTY, ROTY And SOTY); she could also be a player in the Pop categories. Summer Walker: The breakout phenom, whose recent streaming success is being credited for an R&B mini-revival, dropped her strong album too late for the eligibility cutoff—but her single with Drake, “Girls Need Love (Remix),” gives the Academy a chance to acknowledge her now. It’s up for R&B Perf and Song. No matter what happens this time, look for Walker to be a serious presence going forward. Dan + Shay: The CMAs have long guided Grammy, nearly always in the country categories and often in top-tier ones as well. We expect this duo, who blew minds with their Grammy perf last time—and who have had more traction at Pop radio than most of their Nashville contemporaries—will sail from a big CMA look to Grammy love. Their “Speechless” is up for Country Duo/Group Perf and Country Song). Vampire Weekend: The Modern Rock stalwarts will be on a stack of best-of lists for Father of the Bride, which is on the ballot for Alternative Album, and their lovely, uplifting single “Harmony Hall” is in the running for Rock Performance and Song. Abiding affection for this band and its spirit of musical exploration could raise the stakes. Carrie Underwood: Another artist who may get a big CMA springboard, particularly if she wins for Entertainer, Underwood has had something of a renaissance of late and gotten big exposure from TV sports syncs. Her approach to hot-button issues on songs like “The Bullet” and “Love Wins” (up for Country Solo Perf and Song) may also stoke warm feelings from Grammy. Tyler Childers: His last album is called Country Squire, but this Kentuckian dwells outside the country mainstream, crafting emotionally powerful material—whatever you call it, it’s the real deal. He’s still a contender for top-tier recognition (including Best New Artist) though a longshot for Best Country Solo Performance, Song and Album. Gary Clark Jr.: Clark is up for Contemporary Blues Album—which doesn’t really recognize the stylistic range of his strong 2019 set, but he is singing about the blues we’re all feeling right now. Single “This Land” is up for Best Rock Performance and Song and should be acknowledged for its aural power and political punch. The singer/songwriter and guitar god is a Grammy favorite, so look for the committee to find a lane—and a show spot—for him. Sharon Van Etten: Van Etten’s mesmerizing sonics and blazing honesty evoke such forces of nature as Patti Smith and Chrissie Hynde—and support our surmise that the next wave of important rock music may well be led by female artists. She’s on the ballot for Alternative Album; a nod would be richly deserved. Saweetie: The distaff energy in hip-hop is building, and this fast-breaking, charismatic artist could make a noise in Best Rap Performance and/or Song. Saweetie has taken some heat for the “vulgarity” of this material, which is a grotesque example of a double standard. A more meaningful question: Did she surge too late to move the Grammy needle? Hozier: Though the Irish troubadour had a #1 bow with adventurous sophomore album Wasteland, Baby!, that set—lacking a hit to rival “Take Me to Church”—didn’t get a proper hearing. But his duet with Maren Morris on “The Bones” and the newer material’s impact on tour are increasing the buzz, though he would be a dark horse for Rock Album. Jade Bird: The English singer/songwriter won a lot of hearts and minds, though it may be a steep climb for her to make the cut on top-tier categories like BNA, Album, Record and Song. Could she be an out-of-left-field contender in the Brandi Carlile mold? Stranger things have happened. hitsdailydouble.com/news&id=318576&title=THE-GRAMMY-CHEW:-NOT-TO-BE-MISSED
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ddlz
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Post by ddlz on Nov 3, 2019 12:56:59 GMT -5
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Post by Rose "Payola" Nylund on Nov 3, 2019 13:56:05 GMT -5
Interesting Jade Bird got a mention there. Her album is pretty solid but I wouldn't put her in the same mold as Brandi. If there would be an out-of-left-field random in the main categories, I'd see someone like Maggie Rogers get it over Jade.
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14887fan
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Post by 14887fan on Nov 3, 2019 15:03:14 GMT -5
I thoroughly expect Ariana Grande to win Album of the Year, and I kind of hope she does, too. TUN was a huge, cultural hit this year. Billie Eilish’s record was, too, but not in the same way that AG’s impacted.
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jenglisbe
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Post by jenglisbe on Nov 3, 2019 15:15:03 GMT -5
I thoroughly expect Ariana Grande to win Album of the Year, and I kind of hope she does, too. TUN was a huge, cultural hit this year. Billie Eilish’s record was, too, but not in the same way that AG’s impacted. I get that it isn't a fair comparison, per se, but it would be a travesty if Ariana wins AOTY when Mariah, Madonna, and Janet never have. |
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Post by collegedropout on Nov 3, 2019 15:25:27 GMT -5
There is no way Ariana will win with that album. There isn't a precedence.
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14887fan
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Post by 14887fan on Nov 3, 2019 16:00:03 GMT -5
I thoroughly expect Ariana Grande to win Album of the Year, and I kind of hope she does, too. TUN was a huge, cultural hit this year. Billie Eilish’s record was, too, but not in the same way that AG’s impacted. I get that it isn't a fair comparison, per se, but it would be a travesty if Ariana wins AOTY when Mariah, Madonna, and Janet never have. I mean, it all depends on the year. I would hardly consider even half of the winners of the award legends or icons in the same realm as those 3 (and lest we forget to mention Beyoncè), but alas. |
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jenglisbe
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Post by jenglisbe on Nov 3, 2019 16:32:19 GMT -5
I get that it isn't a fair comparison, per se, but it would be a travesty if Ariana wins AOTY when Mariah, Madonna, and Janet never have. I mean, it all depends on the year. I would hardly consider even half of the winners of the award legends or icons in the same realm as those 3 (and lest we forget to mention Beyoncè), but alas. That's why I added the first half of my sentence. |
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Post by Sugar Rush on Nov 3, 2019 20:38:02 GMT -5
I love Carrie, but I don’t even think she’s securing Country Solo Performance based off of her submissions. While it’s encouraging to see all the hype multiple news sites have made, I just can’t see it happening.
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Night Senses
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Post by Night Senses on Nov 4, 2019 8:32:22 GMT -5
I thoroughly expect Ariana Grande to win Album of the Year, and I kind of hope she does, too. TUN was a huge, cultural hit this year. Billie Eilish’s record was, too, but not in the same way that AG’s impacted. I get that it isn't a fair comparison, per se, but it would be a travesty if Ariana wins AOTY when Mariah, Madonna, and Janet never have. That part. It’s ridiculous that Janet has only had one AOTY nomination. And don’t even get me started on Mariah’s losses (especially in 96). A travesty seems like an extreme word, but I agree with its usage. |
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Post by collegedropout on Nov 5, 2019 21:33:31 GMT -5
Anyone think J Cole Middle Child can show up in either Record or Song of the year? Or is he too niche/unknown.
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Post by Deleted on Nov 5, 2019 21:54:51 GMT -5
Anyone think J Cole Middle Child can show up in either Record or Song of the year? Or is he too niche/unknown. Not too niche, just never been one to really push for noms. He can barely get a decent look in his own categories, never mind the general field. |
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taylor is terrified
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Post by taylor is terrified on Nov 5, 2019 22:41:07 GMT -5
I love Carrie, but I don’t even think she’s securing Country Solo Performance based off of her submissions. While it’s encouraging to see all the hype multiple news sites have made, I just can’t see it happening. This right here unfortunately! Yes, Love Wins is so important, especially coming from a country star of her caliber and a country singer period in this age, but the overall response from the general public (and especially country radio) was not the response to something you'd expect would win a Grammy. I have only seen fellow stans call for Grammy wins for this song, and considering the lukewarm response, I'll be stunned if she's even nominated, let alone wins. |
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14887fan
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Post by 14887fan on Nov 5, 2019 22:59:09 GMT -5
I wonder if Sara Bareilles will sneak in somewhere? Her music wasn’t exactly the most impactful commercially, but her tour has been big and she’s received plenty of attention from the Academy in the past.
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shayonce
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Post by shayonce on Nov 6, 2019 5:11:18 GMT -5
 IDK  Wale |
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Post by Night Senses on Nov 7, 2019 20:25:51 GMT -5
I wonder if Sara Bareilles will sneak in somewhere? Her music wasn’t exactly the most impactful commercially, but her tour has been big and she’s received plenty of attention from the Academy in the past. I remember that one year when she got an AOTY nomination out of nowhere. Even she was surprised. I wouldn’t count her out. |
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ddlz
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Post by ddlz on Nov 12, 2019 9:48:15 GMT -5
2020 Grammy predictions: ‘A Star is Born’ could be the first Album of the Year soundtrack winner in 18 years Soundtrack albums are rare when it comes to Grammy winners for Album of the Year. Only three have ever won the top prize, and none in 18 years. Could “A Star is Born” end that drought? To date, the three honored soundtracks were “Saturday Night Fever” (1979), “The Bodyguard” (1994) and most recently “O Brother, Where Art Thou?” (2002). Other movie music compilations have been nominated over the years but haven’t won, including “West Side Story” (1962), “The Sound of Music” (1966), “Grease” (1979), “Flashdance” (1984), “Beauty and the Beast” (1993), “Waiting to Exhale” (1997) and “Black Panther” (2019). The good news for “A Star is Born” is that we already know the recording academy likes it. Its centerpiece ballad, Lady Gaga and Bradley Cooper‘s duet “Shallow,” won two Grammys last year and was also nominated for Record of the Year and Song of the Year. But the whole soundtrack album wasn’t eligible until now because of the Grammys’ unique eligibility period. Last year’s deadline was September 30, 2018: “Shallow” was released as a single three days before that cutoff, while the rest of the album dropped five days after. Will the long wait for awards consideration help it or hurt it? “Shallow” won its Grammys at the peak of enthusiasm for the film and its music; it ended up sweeping the awards season, including the Oscar for Best Original Song. So on one hand, maybe it missed its window of opportunity. Will it feel like yesterday’s news by the time the Grammys vote for their winners? On the other hand, the intense “Star is Born” media saturation might have worked against it. So much attention often leads to a backlash, so maybe a few extra months of absence will make Grammy voters’ hearts grow fonder. Of course, the Grammy nominations haven’t even been announced yet (they’ll be unveiled November 20), so we don’t know for sure that “A Star is Born” will make the cut, but more than 2,000 Gold Derby users have given us their predictions so far, and they’re pretty confident it will. As of this writing it ranks third with 12/1 odds in a race that will have eight nominees, so it’s looking like a pretty safe bet. And three of our Top 24 Users currently think it will win. Those top users got the highest scores predicting last year’s nominations, so their forecasts carry greater weight. Are they right? www.goldderby.com/article/2019/2020-grammy-predictions-a-star-is-born-alum-of-the-year-news/ |
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jenglisbe
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Post by jenglisbe on Nov 12, 2019 10:16:45 GMT -5
Anyone think J Cole Middle Child can show up in either Record or Song of the year? Or is he too niche/unknown. Not too niche, just never been one to really push for noms. He can barely get a decent look in his own categories, never mind the general field. On the whole I agree, but let's not forget seemingly random nods like Maxwell "Pretty Wings" in Song and D'Angelo "Really Love" and Childish Gambino "Redbone" in Record. I loved all of those noms, for the record. |
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Caviar
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Post by Caviar on Nov 13, 2019 6:56:59 GMT -5
Alicia Keys is hosting again.
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Post by Choco on Nov 13, 2019 9:24:41 GMT -5
A Star is Born would be a deserving nominee, but it can't help but feel like ancient news at this point.
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Future Captain
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Post by Future Captain on Nov 13, 2019 12:13:20 GMT -5
I don't think Ariana is winning AOTY but Bruno did won despite having lesser amount of commercial success (Though still substantial) and overall impact. If the voters are leaning more toward those who are traditionally top picks for the award, then maybe Taylor can sneak in a surprise win though I think it's highly unlikely
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jenglisbe
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Post by jenglisbe on Nov 13, 2019 12:47:29 GMT -5
I don't think Ariana is winning AOTY but Bruno did won despite having lesser amount of commercial success (Though still substantial) and overall impact. If the voters are leaning more toward those who are traditionally top picks for the award, then maybe Taylor can sneak in a surprise win though I think it's highly unlikely Bruno also had a lot more previous support (general category noms and wins). |
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Enigma.
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Post by Enigma. on Nov 13, 2019 15:34:07 GMT -5
I can't see ASIB winning but I'd say it's pretty surely nominated as one of the "safe choices". How many slots there are in the album category?
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