No award show will ever be truly perfect, but one can still admire how the Grammys overcame some pre-show controversy to deliver one of the most feminist, fearless, and downright entertaining broadcasts in its history.
LL Cool J constantly implored us to Tweet about everything ("hashtag Bruno Mars!"), a majority of the performances left us bored and disinterested, and the most charming person in the room turned out to be Kelly Clarkson. It was a very odd Grammy Awards broadcast this year, and was a very poor one, to boot.
Silfra tries quite hard to walk the tightrope between the post-classical avant-garde and more conventional classical formations. But no matter how hard it tries to convince us of its own aesthetic authenticity, it always seems to trip itself up.
Pop diva Whitney Houston's death this past weekend was sad, yet not wholly unexpected -- nor were the efforts to instantly beatify the singer, a response common in regards to celebrities who die prematurely and as a result of their own appetite for destruction.
In the wake of a tragic loss within the music industry, the Grammy Awards actually went on a surprisingly respectful, understated route... before turning into the vapid technicolor circus that has become hallmark for the very worst of Grammy broadcasts.
Amidst all the tributes, over-the-top performances, and CBS-centric presenters, the Grammy ceremony only occasionally remembered to hand out an award or two. But when it did, the results were often surprising ...
The audience interested in seeing a black drug-dealing, rogue cop trumps any audience interested in seeing an entertaining film with plenty of black characters about the birth of America's most revolutionary and transformative civil conflict of the century, challenging white supremacy. Yet, with Negroes like Nellie neatly assimilated into the hegemonic beat, white racism really does not have to exist for blacks to perceive and profess oppression.