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New Post: 9 Artists Could Own the 2024 Grammys Narrative: Here’s What It Would Mean If Each of Them Did - https://lnkd.in/gGNCzzTF - When it comes to the hardware being handed out on Grammy night, all eyes are trained upon the Big Four — the quartet of general categories (album of the year, record of the year, song of the year and best new artist) that not only represent the most coveted trophies of the yearly ceremony, but also help clarify which artist defined that ceremony. Sometimes, like at the 2023 Grammy Awards, four different artists will win the four different prizes; other times, like when Billie Eilish swept the Big Four in 2020 or when Bruno Mars took home three of the top trophies in 2018, it’s clear which artist has owned the evening. So who will define the 2024 Grammys? While there’s a chance that 2024 plays out like 2023 and the Big Four gets divvied up across different stars, nine artists will enter the 66th annual Grammy Awards on Sunday night (Feb. 4) with the opportunity to win multiple Big Four prizes, and effectively command the narrative of music’s biggest night. Those artists range from stadium-shaking superstars and awards-circuit mainstays to outsiders trying to crash the party and veterans attempting to secure the first Grammys of their respective careers. The biggest awards of the night are at stake, and so are the Grammy legacies of everyone involved. Will the front-runners prevail, or could we have a shocking upset? And in either case, what would that mean for the general reception of the artist who comes out most on top? Ahead of the 2024 Grammys, here are the nine artists who have the chance to dominate the narrative of the awards ceremony (in alphabetical order), what they would need to win in order to do so, and what those wins would mean on a grander scale. - ----------------------------------------------------- Download: Stupid Simple CMS - https://lnkd.in/g4y9XFgR

We are excited to share our latest blog post exploring the profound meaning behind Joni Mitchell's iconic song "Blue," which serves as the title track to her influential 1971 album. Delve into the intense emotions that Joni Mitchell poured into this timeless piece of music and discover the musician it is dedicated to. Gain a deeper appreciation for the artistry and storytelling in Mitchell's work by reading the full post here: [Behind the Meaning of Joni Mitchell's Blue and the Musician It's Dedicated To](https://ift.tt/rIZmx0V)

The tears from the local industry players and creatives do reek of a layered brand elitism. It’s fashionable to cry for the Grammys. Even though we’re technically guests, invited to an American spectacle to diversify their ranks. We’re still fringe players at the Recording Academy, with negligible numbers incapable of swinging the odds in our favour. We still have a few voting cycles to cry some more. And that privilege of crying depends on Afrobeats maintaining its hold on pop culture. We are still building over there, and todays lesson teaches us that growth isn’t linear. Afrobeats, please hold this one. Where was this level of support for the Headies, Nigeria’s homegrown, legacy award show with 16 years of honouring the local scene? Nominees are often absent and late. The chatter about the show borders on derisory. We don’t pack our halls in honour of the event, neither are we interested in elevating it. But we can cry for the Grammy. Fashionable tears for what could have been. What we need is to return home. Tails between our legs as the realisation that all we got is us. And if we don’t take care of home, build, support and elevate it locally, we at risk of delegating our pride to foreigners. Afrobeats have intrinsic value. But the current business model has funneled the entire ecosystem into exportation. And while we can boast of improved finances and investment pathways, we’re now forced to negotiate our cultural impact on parameters that weren’t created for us, in spaces where our existence is still a moot point. Why are we hurt? Because we are playing a game that wasn’t created for us. And it sucks to lose. Perhaps, this spurs us as a creative and business class. To look inward and see our worth within us. That our local industry and all its institutions are enough, and exploration is just what it is; exploration. Perhaps across the continent, we can resurrect our reward systems, intentionally imbuing cultural power and credibility in local award shows and bodies that seek to celebrate us. And to see those platforms worthy of our artistry and ego. The Grammys snubbed Nigeria this year. And rather than mope around and petulantly kick some dust, let’s fight back by getting stronger at home. It’s the only way out.

The recent remarks by the Grammy Chairman regarding the Afrobeat category have exacerbated existing frustrations within the music community. For a process aiming for genuine authenticity, the identities and qualifications of the "certified judges in the USA" who voted remain unclear. Their apparent lack of understanding of Afrobeat's significance and nuanced elements raises serious concerns. Dismissing the public outcry by invoking subjectivity merely adds insult to injury. Voting, similar to the judicial system, shouldn't be solely subjective. Concrete evidence of an artist's work and its impact deserves thorough review and assessment by qualified, unbiased individuals with a deep understanding of the genre. Anything less undermines the credibility and relevance of the Grammys. And to those who say people who have objections to the outcome are sore losers, I sincerely want you to experience such a situation where you have worked for years and at the point of you getting rewarded, it is handed over to someone else entirely. That way you begin to see clearly why this is an issue. No hate here but voting can't be subjective not in this case,

[This unRivalrous Perspective from Lyle Enright was featured in a recent issue of our biweekly newsletter, The Frame. Click here to subscribe: https://buff.ly/3vu0N4G] Beyoncé’s new album Cowboy Carter is making waves. After an “unwelcoming” reception from many country music fans, Beyoncé answered with a work of art. Historian Jamar Tisby celebrates not only Beyonce’s talent and courage, but also her non-rivalrous model: "Instead of letting the racists win and…claim ownership over an entire genre of music, Beyoncé 'did a deeper dive into the history of Country music.' In creating this album, and she took her time doing it, Beyoncé models the approach that more of us should take when dealing with racism in the world." What, exactly, is that approach? Beyoncé did not respond to prejudice by flaunting her own celebrity or her confidence as an artist. She didn’t fight one myth with a myth of her own. Instead, she carefully studied the history of country music. She brought a richer history to the surface, told a fuller story about American art to which everyone belongs, with symbols that cannot be contained by power or identity. The very existence of Cowboy Carter is humbling to me. It invites me to question my own impulses, my temptation to believe that America has no hope of ever being the beacon for freedom and justice it claims to be. Just because there are people who want to claim that vision for themselves, and exclude others from it, it doesn’t mean that vision should be abandoned. Cowboy Carter says as much in its proud display of American symbols and its celebration of American music. Again, we have much to learn from Beyoncé about how to engage power and prejudice nonrivalrously. As Tisby puts it, "[s]he did not accept the dominant narrative that was crafted by and for white people (and a certain type of white person at that). She interrogated the assumptions and did her own investigation of the source materials." Nonrivalrous resistance starts by taking its time, asking questions, and remembering that not everyone fits our assumptions–or even theirs! It looks for ways to turn rejection into celebration and art.

This article illustrates an important truth: These awards shows aren't exactly about who's a better singer/performer/entertainer. They're about branding. Say what you want about Taylor Swift's music, but no one can deny that her marketing and social media success are off the charts. So, what is it that gets you a Grammy? Maybe it's a strong POV in all your work. Maybe it's great artistry. Maybe it's the cultivation of a brand that resonates with a wide array of people. #Grammys #TaylorSwift #Branding #Marketing

Beyond the New York Phil, it’s not a coincidence that the vast majority of these assaulted musicians are pre-tenure or subs. Because the perpetrators ARE PREDATORS, selecting and grooming their victims with pure, cold, calculation. In the orchestra, ranks are closed against outsiders all too often, and predators capitalize. The horrible details of the article—the difficult-to-trace rape drug, the tampon, and the dismissal or departure of the victim and/or their supporters while the rapist was allowed to keep their job—hit with a sickening blow of recognition: They are, in various combination, common among more than one friend, more than one family member, and more than one colleague. Many more. Artists exist at the forefront of change. So how are we so backward on this? Because we allow the organization with its bureaucratic so-called best practices to “handle it.” And handle it they do, with their closed-door executive sessions where optics, messaging, and fallout control reign supreme and justice is regarded as a liability. Every orchestra needs a musician committee of allies who demand to be involved in seeking due process and equity in these matters, because the current system is simply one of damage control, not justice. Demand it now. All of us have the duty to speak truth to power and close ranks against predators, not victims. https://lnkd.in/gweXqqc9

Exciting news! Learn the true meaning behind The Who's iconic song "Won't Get Fooled Again" in our latest blog post. Dive into the timeless classic and uncover the significance of "Meet the new boss, same as the old boss." Discover the story behind the song that rocked the music world in 1971. Click the link to read more: [Meet the New Boss, Same as the Old Boss - The Who Song](https://ift.tt/Zp6XftJ)

Check out the latest Revinylization post on Craft Records' release of Joe Henderson's "Power to the People." In this post, we delve into the impact of this iconic album and its significance in the jazz world. Explore the full article here: https://ift.tt/U4qDtfu

Last week, I attended 'Candlelight: A Tribute to Pink Floyd' an orchestral rendition of Pink Floyd’s music, in Belfast Castle. Pink Floyd’s music has been such a big part of my life, and I reckon I have listened to them most weeks since I was 14 years old, attending the North Weald Fighter Meet of 1985. I found the evening surprisingly and deeply moving. Roger Waters never knew his father: Eric was a conscientious objector, then changed his mind and joined in 1943, losing his life at the Battle of Anzio in 1944, when Roger was 5 months old. Therefore, much of Pink Floyd’s lyrics reflect the themes of the pointlessness of war, plus the cutthroat music industry. How war and fame dehumanise and isolate people. Additionally, the inspirational lead and founder of the group, Syd Barrett, blew his mind on LSD. This led Pink Floyd to capture in their music on numerous occasions the theme of absence. The album Wish You were Here, is entirely about absence. Anyway, the string quartet seemed to capture this theme in a poignant setting. We are all products of our past experiences, and we must seek to understand our backgrounds if we are going to understand today and understand how we respond to what happens in our worlds. Only by knowing our past can we really plan for our futures and help get everyone home safe, every day. #compassionatesafety #safetyleadership #safetyculture