The usual suspects. A few wildcards, but nothing unexpected. The announcement was made on CBS This Morning early Friday by pop heavyweights Pharrell Williams and Ed Sheeran (a sign of things to come perhaps?), who revealed four major categories of nominations.
As usual, most of the nominees are artists who have dominated the charts over the past year. But could we expect to see some more surprise wins like Arcade Fire’s 2011 album The Suburbs? Wins are usually a mix of the critically acclaimed or the commercially successful, but sometimes even an unheard of underdog takes home the bacon. Below is a breakdown of some of the biggest categories of who could be winning big at next year’s 57th Grammys.
ALBUM OF THE YEAR
Beck, Morning Phase
Beyoncé, Beyoncé
Ed Sheeran, X
Sam Smith, In the Lonely Hour
Pharrell Williams, Girl
Look, let’s be honest. We all knew who the winner of this category would be the moment her album came out, and it goes without saying that Beyoncé will clean up big this year. No one else on this list even comes close in terms of musical prowess, star power and commercial success of her self-titled visual album. She didn’t even need to promote the album, she just dropped it on iTunes, lay back and watched the Internet go into overdrive. Such was the frenzied chaos of eager fans rushing to buy her album that they literally crashed iTunes.
[youtube http://www.youtube.com/watch?v=OSAOsm1u-OE]
What other artist can boast that, in an age where just actually buying an album is a feat in itself? Not only is it a financial success (it sold a total of 430 000 digital copies within 24 hours), but it debuted at number one on the Billboard 200 – Beyoncé’s fifth album to do so. It’s also the most critically acclaimed album on the list, with a Metacritic score of 85. The only other competitor that comes close would be Ed Sheeran’s X (pronounced ‘Multiply’) or Sam Smith’s In the Lonely Hour. They are both musical powerhouses in themselves, but it’s a pity that they go grouped together with Queen Bey.
BEST NEW ARTIST
Bastille
Iggy Azalea
Brandy Clark
Haim
Sam Smith
This category is a little trickier because we have a few big contenders here all vying for the top prize. Personally, I think Iggy Azalea has the biggest chance at winning. She has dominated this year with her debut album The New Classic and the colossal success of Fancy, as well as making history by having two Top 100 songs at number one and two at the same time – the first person to do so since the Beatles in 1964. She’s collaborated with all the big names in the music biz, from JLo, Ariana Grande to Rita Ora. Although her album didn’t receive a standing ovation from the music community (especially the rap community), her star is certainly one that’s rising, and will continue to rise for the foreseeable future. However, I feel that this is a category in which actual newcomers might have a chance. For the past few years, unforeseen chart toppers like Macklemore & Ryan Lewis, Fun and Bon Iver have taken home the gold. Another interesting trend to note is that the most recent winners in this category are all Americans. There have been a few sporadic non-American wins such as Amy Winehouse and Adele in the past, so perhaps it’s the year of the Brit this time round? Maybe the so-called ‘male Adele’ Sam Smith or Bastille might secure another victory for the Motherland. Only time will tell.
RECORD OF THE YEAR
Fancy, Iggy Azalea ft. Charli XCX
Chandelier, Sia
Stay With Me (Darkchild Version), Sam Smith
Shake It Off, Taylor Swift
All about that Bass, Meghan Trainor
Again, this one is tricky. The real contenders here are Taylor Swift, Iggy Azalea and Sia. It would be hard not peg Azalea as this year’s winner considering the enormous success and seemingly unending reign of her hit single Fancy. The song was on the Billboard Hot 100 charts for seven weeks and catapulted the Aussie MC and Charli XCX to superstardom.
[youtube http://www.youtube.com/watch?v=O-zpOMYRi0w]
In saying that, she is going up against Billboard’s Woman of the Year, country crooner Taylor Swift. Such is the magnitude of Swift’s success that her album 1989 sold 1.287 million in its first week of release, a feat that hasn’t been equalled since 2002 by Eminem’s The Eminem Show, when people actually bought records. However, we could also see a surprise win from the publicity-shy Sia. Despite her reluctance to appear publicly for any of the accolades so generously bestown upon her, Sia’s Chandelier was everywhere as she continues to ride on a wave of successful hits, with little to no promotion.
BEST RAP ALBUM
The New Classic, Iggy Azalea
Because the Internet, Childish Gambino
Nobody’s Smiling, Common
The Marshall Mathers LP2, Eminem
Oxymoron, ScHoolboy Q
Blacc Hollywood, Wiz Khalifa
It would be easy to say speculate that this year’s best rap album would go straight to Eminem. However, the usually untouchable star’s latest album has come under fire for featuring extremely offensive lyrics about both Lana Del Rey and Iggy Azalea. Eminem is no stranger to misogyny, but the reaction to these jibes were much louder this time than to his previous diatribes, and it could potentially cost him the accolade. Oxymoron by ScHoolboy Q and Nobody’s Smiling by Common are the most critically acclaimed on the list, both tying in with scores of 78 on Metacritic. But could it be Iggy Azalea’s The New Classic which takes home the top gong? If crowned the winner, Azalea would not only the first woman to win a grammy in this category, but the first Australian as well. The only other non-American to win Best Rap Album was Drake back in 2013. This could potentially stir up a great ol’ big shitstorm seeing as Azalea is constantly under fire for allegedly appropriating black culture. Personally, I’d want to see Childish Gambino win. His sophomore album Because the Internet brings way more to the table in terms of originality than anything else.
BEST POP VOCAL ALBUM
Ghost Stories, Coldplay
Bangerz, Miley Cyrus
My Everything, Ariana Grande
Prism, Katy Perry
X, Ed Sheeran
In the Lonely Hour, Sam Smith
God forbid if Bangerz wins this one. I just don’t think the world can handle any more of Miley’s brainless trash pop excrement. Same goes for Prism. Katy, you and your barely disguised sexual euphemisms have had their time in the sun. Let’s be honest here: Ghost Stories isn’t going to win. It got absolutely trashed by the critics and Coldplay fans alike and scored a measly 61 on the Metacritic scale. You know you aren’t doing well when even your most loyal fans won’t flog your shit. I’d say this one is going to pop powerhouse Ariana Grande. No one can get enough of the baby prostitute Mariah 2.0 act. Hopefully Ariana won’t have to deal with deadly onslaught of tanned limbs and sharp wings like the last time she performed:
“Don’t rain on my parade, bitch.”
BEST DANCE/ELECTRONIC ALBUM
Aphex Twin: Syro
Deadmau5: While (1<2)
Little Dragon: Nabuma Rubberband
Rôyksopp & Robyn: Do It Again
Mat Zo: Damage Control
(NB: Lauren wrote this bit)
This was an unbelievably impressive year for dance music, and the nominations are a clear showing of that. Each of these albums not only showcase completely different styles of electronic music, but in their own right, each absolutely shines. Aphex Twin‘s nomination is interesting – the sheer amount of reverance that the dance music community overshadows the pure strangeness and utter obscurity of so much of his music. In a nutshell, it wouldn’t be easy for a newcomer to release an album like this, and receive the same praise. (Same would go for FlyLo.) Little Dragon’s album was a surprise nomination but absolutely deserving; it is truly special and I highly recommend a listen. While I don’t think he’ll actually win, though, my personal vote goes to Deadmau5. I fucking love this album, despite the two hour running time. I love the extended instrumentals, the musical breakdowns that have probably freaked the shit out of techno-heads and the fact that it’s essentially a Nine Inch Nails tribute album. (Some people wrote that as an insult. I see it as a compliment). As for who might actually win, it will probably go to Aphex Twin of Royksopp & Robyn, though I’m hoping for Mau5 or Little Dragon.
How many times do you think Eminem lyrics have been used in a court case? Beyond the pending suit against the Marshall Mathers LP 2 for ‘hate crimes against nostalgia’, I’m guessing between zero and none. That didn’t stop an attorney in the US Supreme Court from rattling them off in defense of his client in proceedings the other day.
The case in question involves 31-year-old Anthony Elonis, appealing a conviction he received in 2011 for making threats against his estranged wife, who has a protection from abuse order against him, over Facebook.
You might say he’s… Forever Elonis?
His attorney, however, is arguing that the ‘threats’ that he posted to his public profile were in fact rap lyrics of Elonis’ own invention and posted as some kind of cathartic experience. His attorney has compared his lyrics to those of one Marshall Mathers, for which they should find him in contempt of good taste.
Fact: If you start posting self-penned rap lyrics as dreadful and generic as shit like ‘there’s one way to love you and a thousand ways to kill you’ then you should stop aspiring to be a rapper immediately or at least read a book to improve your word game. You’re also a miserable, attention-seeking twat who probably has a walk-in fedora closet and deserves to have nobody following your social media presence.
But are you a criminal?
This is what has divided the Supreme Court: whether statements like these can be legally defined as threats when in the context of social media postings or rap lyrics.
You can see why the precedent that could be set here has the potential to be huge.
Certainly if Elonis had waltzed right up to his wife in person and spat that nonsense line at her it would be considered a threat without question. His defense argues that both Facebook rants and rap music are full of hyperbole though and that anyone who doesn’t live in a completely isolated tribal community in the 21st century should understand this.
Certainly nobody convicted or even arrested any of the litany of rappers in the 90s who threatened to kick or even kill the living shit out of each other in their lyrics. As we detailed in another recent case dragging hip hop into the mix, just about every single person who has ever called themselves a gangsta rapper would be behind bars for violent threats made towards each other, sometimes making no bones about calling each other out, in their music.
Apparently not threatening even though I’ve just voided my bowels
And, until now, it has been accepted that lyrics, no matter how offensive, violent or threatening they are, are protected under the First Amendment. Eminem got away with albums full of songs about killing his wife. The defense pointed specifically to lyrics from the song ’97 Bonnie And Clyde, in which Em details, in a narrative to his daughter, disposing the corpse of her mother at the bottom of a lake. The defense argues that if Elonis conviction isn’t overturned, that it would ‘impose five years of felony liability any time the understanding of the speaker and the listener gets crossed’, which would have far-reaching implications, possibly even for rappers like Slim Shady.
The problem is that Elonis is hardly a famous rapper with a legion of fans who understand the context of his lyrics like Eminem, as the prosecution has argued in this case. Facebook is a public forum, sure, but it’s not like he was up on a stage spouting threatening lines towards his wife purely for the purpose of entertainment. He was posting them in a forum typically viewed only by family and friends, and certainly viewable by his wife.
The prosecution even defended one’s right to rap artistry as a form of entertainment protected under the First Amendment, but that posting statuses like ‘fold up that PFA and put it in your pocket, will it stop a bullet?’ and knowing that his wife will read it is completely separate from being a rap artist, regardless of one’s claim to be, and is crossing the line.
Seriously? I couldn’t find a picture of Elonis, but with ‘lyrics’ like that, I’m guessing he looks less Eminem and more whatever this is.
Thankfully it looks like the constitutional rights of our favourite rappers to make badass music are safe in spite of this dickhead’s case. One Supreme Court justice presiding over the case derided the defense’s comparison to rap music, saying ‘…this sounds like a roadmap for threatening a spouse and getting away with it. You put it in rhyme and you put some stuff about the Internet on it and you say, ‘I’m an aspiring rap artist.'” And I couldn’t agree more. Sure, Eminem’s lyrics were really dark and violent, but most understood he was an entertainer and a storyteller first and foremost, a distinction I’m glad the Supreme Court seems to be making here.
And I don’t really care if Elonis had no intention of harming his wife, posting stuff like that, when she already has a protective order against him for abuse he had committed in the past, would be emotionally traumatic and certainly threatening for her to read, regardless of his intentions.
Think before you post, everybody. And if you’re converting your private events into shitty song lyrics for all your family, friends and colleagues to have to read, turn your computer off and seek professional help before you end up in court with your attorney grasping at straws trying to find a defense for your stupidity.
Alright, let’s do this. Over the years artists come and go, change their style, reinvent themselves, record great album and terrible ones. Sometimes they win fans, sometimes they lose them, some burn out and some fade away. And then there’s the artists that sell out.
Here are ten artists who did just that.
Aerosmith
Whether you’re gonna admit it or not, Aerosmith recorded some absolute classics – don’t tell me you haven’t drunkenly sung to Walk This Way, Dude (Looks Like A Lady) and Love In An Elevator.
Unfortunately, any shred of respect anybody ever had for them died a long time ago. Examples: Steve Tyler’s godawful film ‘career’. Guitar Hero: Aerosmith. Steve Tyler being a judge on American Idol.
Aerosmith have become a bunch of dicks who not only stole their highest ever selling song from Celine Dion, but are forever the soundtrack to Ben Affleck waxing philosophical about fucking animal crackers. While Tyler’s daughter Liv gets it on.
Queen
I fucking adore Queen. Freddie Mercury had the greatest voice of anybody, ever, in rock history. They’re one of my all time favourite bands. Unfortunately, after he passed away, things took a turn for the worse. Way, way too much time has been filled by the remaining members attempting to relive the glory days. Remember that time Queen re-did We Will Rock You with boy-band 5ive? Or the time Taylor and May performed Bohemian Rhapsody on the X-Factor, and We Will Rock You on American Idol?
I’m leaving Adam Lambert out because admittedly, I was blown away when I saw them play together a couple months ago. But the fact remains that this event should not have existed. They should have disbanded permanently when Freddie died.
Sex Pistols
Oh my god, the Sex Pistols. Arguably, they were always sell-outs, considering that their whole punk image was meticulously sculpted by endless asshole Malcolm McLaren. The Sex Pistols were a lot more similar to 5 Seconds of Summer than anybody cares to admit.
Here is the leader of the punk revolution advertising British fucking butter.
OH AND DON’T FORGET THE TIME HE WAS ON JUDGE JUDY
Iggy Pop
I really like Iggy Pop, but there’s no denying that he deserves a spot on this list. The man who used to slash himself to bits in the name of rock ‘n roll; the man who had an enticingly gossip-worthy relationship with Bowie, the man who had my all-time favourite awkward conversation with my beloved Tom Waits, the man who will almost certainly live forever alongside Lemmy and Keith Richards was not only on American Idol, but in an ad for CAR INSURANCE. What a glorious dickhead.
Chris Cornell.
Anyone who has known me for while knows that behind the hip hop, bass-heavy electronic, ambient, soul and everything else I listen to daily, will know that my heart lies with rock ‘n roll and grunge. I freaking adore Soundgarden and Chris Cornell has the third best voice in the genre, after Staley and Vedder.
Then in 2009, this happened:
I have no words. I remember seeing this video at some cafe with my family. I nearly cried. I didn’t want to believe it. I still don’t.
He also co-wrote a song for someone off American Idol. That seems to be a bit of a trend with the artists on this list, hmmm.
INXS
As an Australian, I am very proud of INXS. Sitting somewhere between Duran Duran, The Police and Tears For Fears, with a frontman blessed with the charisma, good looks and swingin’ hips of Jim Morrison, INXS did a hell of a lot for Australian rock music. Then, Michael Hutchence died.
But they didn’t stop there. INXS went further than the other guys on this list when it comes to being involved in reality TV. Remember Rock Star: INXS? The entire reality TV season dedicated to finding them a new singer, and for some reason Dave Navarro was there?
I want to shirt-front every single person in this photo
It really made me cringe. Okay, so Queen recruited a guy from Idol. But INXS made their own fucking show entirely about it. It was SHAMEFUL AND HUMILIATING. JD Fortune, the dude who won? How could he be anything even remotely close to Hutchence? Why did they even try? Seriously. Why.
This guy
Or this guy.
Are you fucking kidding me?
If your next question is “Did you just spend half an hour staring at photos of Michael Hutchence and listening to ‘INXS Remastered’?” Then I think you know what the answer is.
Eminem
This is a tough one because I really, really love Eminem. I love that Rick Rubin worked on MMLP2 – Hell, I love that it was called MMLP2. But the fact is that he has sold the fuckkkkk out.
Firstly (and I realise many may disagree with this.) One of the first things anybody learns about Slim Shady is that he really fucking hates his mum – and for good reason. I hate Debbie. You probably hate Debbie. I can personally guarantee that at least a few million people have yelled the words “FUCK YOU DEBBIE” with absolute glee, over the past decade or so. We learn so much about Debbie from Em’s songs. Her crippling pharmaceutical addiction. Her lies about her health for government benefits. Her gross mistreatment of baby Marshall, and kid Marshall, and teen Marshall to the point where he had to constantly, aggressively, violenty rap about it. And then, WHAT THE FUCK. HE APOLOGISES. THROUGH SONG. AND THEN THROUGH REAL WORDS. THEN THEY HUGGED.
MY LIFE IS A LIE
On a more legitimate level, Eminem has progressively become soppier, poppier and generally worse. The dumb pop stars he used to make fun of? Now he features them on his songs. In general (with some exceptions – there were a handful of brilliant tracks that shone through MMLP2) his music has been steadily stumbling for around four albums now. Particularly in his over-usage of annoying female-led helium-high pop choruses, over-produced backing rhythms, and far, far too many ghost writers. It really makes me sad.
Jay Z
Magna Carta Holy Grail was an ad for Samsung. And it was a terrible album anyway. He’s an unbelievably successful businessman. He should stick to that. He should not pretend to be any kind of credible rapper anymore because he’s not.
That’s all I’ve gotta say about that one.
I bet he thinks its ironic.
Ice Cube
Staying on rap train for now – unlike Ice Cube. Some might argue that Ice Cube didn’t necessarily sell out, more that he re-branded. He is a pretty good actor after all, and in all honesty, 21 & 22 Jump Street were actually fucking hilarious. But when you think about the fact that this is the guy who did this
And then the fact that he did this
You will realise that it’s possibly the lowest moment in hip hop history.
Silverchair
Finally, Silverchair. So, Silverchair were the first band that ever got me into music. I have an extremely vivid memory of hearing Frogstomp for the first time, around 12 years old. It changed my life and I’m not alone in that sentiment. Frogstomp, Freak Show and even Neon Ballroom are some of the best Australian rock albums – and in the case of Frogstomp, one of the best rock albums in general – for the last three decades.
Then, Diorama happened. Then The Dissociatives happened.
Ughhhhhhhhhhhhhhhhhhhhh.
Anyway, there you have it. I’m going to go weep into my copy of Superunknown now.