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The Truth Behind the Biggest 2020 Grammy Snubs



Getty Images/E! Illustration

Taylor Swift wasn’t ignored, but is this any way to treat a Lover?

Though the 2020 Grammy Award nominations presented an inspiring array of industry veterans and newcomers—Ariana Grande! Lana Del ReyLizzo! Billie Eilish! Lil Nas X!—in the top categories, as always there just wasn’t enough space to please everybody.

Or, in some cases, do all of the deserving work justice.

For instance, though Lover is up for Best Pop Vocal Album, the title track is nominated for the prestigious Song of the Year and “You Need to Calm Down” is up for Best Pop Solo Performance, those three nominations weren’t enough for fans who swooned over what was arguably Taylor’s best work in years and represented a significant shift in style for the artist.

However, if she does win Song of the Year, Swift—who was just feted at the Sundance Film Festival for the premiere of her hotly anticipated Netflix documentary Miss Americana—will be the first solo writer to win in the category since Amy Winehouse in 2008. (All of the other nominated songs have at least two and as many as five credited writers.)

Ironically, Swifties can commiserate with the Katy Kats, who feel they haven’t had their due in years, and the streak continues with no recognition for Katy Perry‘s summer 2019 single “Never Really Over” (we’re actually partial to the similarly overlooked “Small Talk”).

For the record, to be considered for this year’s ceremony, work had to be released between Oct. 1, 2018, and Aug. 31, 2019.

But don’t even get the BTS army started, as the globally obsessed-over K-Pop band was once again nominationless, even though, as “Precious shadow” pointed out on Twitter, “Someone tell me how bts, didnt get any Grammy nominations…like map of the soul persona sold over 4 million copies, A MINI album , had the most views for their music video, [had] more impact that a majority of artists this year..”

To qualify for Album of the Year consideration, the work must have at least five original songs, which Map of the Soul: Persona does (it has seven!), but it’s considered an EP and, though it did indeed sell 3.2 million units in a month to make it the best-selling album in South Korea in 24 years, it just didn’t stack up against the likes of the 14-track Cuz I Love You (Deluxe) by Lizzo or Ariana Grande‘s 12-song Thank U, Next.

It was more surprising that their collaboration with Halsey, “Boy With Luv,” didn’t get a Best Pop Duo/Group Performance nod—but as it turned out, Halsey and her No. 1 hit “Without Me” were also thoroughly snubbed.

After BTS fans were similarly bothered last year for the across-the-board snubbing, the Recording Academy did extend an invitation to the group members to join their ranks. And the lads, who presented last year, harbor no hard feelings—they’ll be making their Grammys performance debut on Sunday with Lil Nas X, Billy Ray Cyrus and Diplo.


Astrid Stawiarz/Getty Images for Dick Clark Productions

Coincidentally, they’ll be the first Korean group to ever perform at the Grammys—in the same year that Bong Joon-Ho‘s Parasite has become the first Korean film to be nominated for the Best International Feature Film Oscar, let alone Best Picture, Best Director and Best Original Screenplay. 

And despite the deserving stars of Parasite not earning any acting nominations from the Academy, last weekend the film made history by winning Outstanding Performance by an Ensemble in a Motion Picture at the 2020 SAG Awards, the first-ever foreign-language film to take that prize.

So, it goes to show that the opening of doors and paving of ways has always been frustratingly slow-going, but the industry gatekeepers are at least attempting to open those gates wider. As BTS fans who rationalized that they’re the real arbiters of how successful the group is pointed out, any awards that are based on fan votes—they’ve got this.

Also a little confusing to fans was Tyler, the Creator‘s one nomination, Best Rap Album, for Igor—which debuted at No. 1 and was a critical darling. And, according to some, is barely a rap album, but rather falls more on the R&B side of genre and, regardless, deserved to be in running for Album of the Year.

Rapper GoldLink wasn’t having it—on Tyler’s behalf or anybody else’s—and took to Instagram immediately to give the Grammys a piece of his mind.

“Honestly, its f–k Grammys til the day I die,” wrote the Diaspora artist, who was nominated for Best Rap/Sung Performance in 2018 for “Crew.” “I am no longer participating in that wild ass slave ass political ass cheating ass game any longer. The lack of relevance you have just solidified today is unbelievable. Tyler got one f–kin nomination in a category he didn’t even participate in knowing damn well he deserved album of the year.”

GoldLink, whose real name is D’Anthony Carlos, continued: “Burna Boy deserves more, Koffee deserves more. DaBaby couldn’t ‘qualify’ for best new artist apparently because he had ‘mixtapes’ in the past. No nod to Solange for taking a risk pushing the boundaries when nobody else was brave enough to do so. There’s not even a category for internationally black artist at all. Wtf do you think these kids learn when you tell them there black art isn’t good enough? Or isn’t noticed at all? I’ve just gotten to a point after three years of being silent on this topic, that my value is much beyond what closed door establishments have been giving us. Even how our peers are voting against us. I cannot partake.”

Solange Knowles‘ critically acclaimed When I Get Home, which came out last March, was indeed missing from the nominations list, as was the artist herself entirely. The Grammys, in turn, may be light on Knowleses this year, as Beyoncéwas also given relatively short shrift, for her—Best Pop Solo Performance and Best Song Written For Visual Media for “Spirit,” off The Lion King soundtrack; Best Pop Vocal Album or The Lion King: The Gift; and Best Musical Film for Homecoming, her live concert album/documentary extravaganza that was nominated for six Emmys.

“Spirit’s” chances in the Pop Solo Performance category up against Grande’s “7 Rings,” Lizzo’s “Truth Hurts,” Billie Eilish’s Bad Guys and Swift’s anti-discrimination anthem “You Need to Calm Down” seem nil, but it’s free to soar in Song Written for Visual Media, since “Shallow” won last year.

And speaking of A Star Is Born, “Shallow” was released early enough for the 2019 Grammys, but the soundtrack from the 2018 film wasn’t eligible until this go-round, so it’s nominated for Best Compilation Soundtrack For Visual Media and “I’ll Never Love Again” is squaring off against “Spirit,” The Ballad Of The Lonesome Cowboy” from Toy Story 4, “Girl In The Movies” from Dumplin’, and “Suspirium” from Suspiria for Best Song Written for Visual Media.

But no Album of the Year recognition, to the consternation of many still heartbroken Ally-Jackson shippers, meaning O Brother, Where Art Thou? remains the last film soundtrack to win in that category, back in 2002.

Strangely missing from both Album of the Year and Best Country Album nominations was Maren Morris‘ Girl, which was considered at least a lock for the latter. Instead, the previous winner (Best Country Solo Performance for “My Church” in 2017) has a single nomination in 2020, Best Country Duo/Group Performance for “Common,” featuring Brandi Carlile.

At least three female acts—Tanya Tucker, Reba McEntire and Pistol Annies—make the Best Country Album field a good ol’ boys-and-girls club, alongside Eric Church and Thomas Rhett.

For the second year in a row, five out of the eight nominees for Album of the Year are by women—Lizzo, Ariana Grande, Billie Eilish, H.E.R. (for the second straight year) and Lana Del Rey. Bon Iver, Lil Nas X and Vampire Weekend, back with their first album in six years, round out the category.

However, like the Best R&B Album category that doesn’t include Solange—and in fact includes only one female nominee, Ella Mai, for her self-titled debut, Best Rock Album is also devoid of ladies, minus the late Dolores O’Riordan on The Cranberries‘ last album, In the End, which was released in April. O’Riordan died in January 2018.

(As for some men who may have been deserving, however, A Brief Inquiry Into Online Relationships by English band The 1975 was named British Album of the Year at the 2019 Brit Awards but the lads only received one Grammy nomination, Best Rock Song for “Give Yourself a Try.”)

However, this year’s Best Americana Album field—Calexico and Iron & Wine, Madison Cunningham, Keb’ Mo’, J.S. Andara and Yola—and a more diverse array of artists in the Best American Roots Song and Performance categories at least up the chances that a person of color who’s under 70 years old is going to finally win in one of those three categories for the first time.

And while we’re on the subject of very set-in-their-ways genres…

Diplo, Lil Nas X, Billy Ray Cyrus, Stagecoach, 2019 Stagecoach

Frazer Harrison/Getty Images for Stagecoach

Following in the footsteps of the Billboard Country chart (but not the CMA Awards), the Recording Academy didn’t see the smash-hit “Old Town Road (Remix)” by Lil Nas X and Billy Ray Cyrus as a country song, either, so it relegated the tune to pop categories—but perhaps this genre mash-up will at least improve on the “Despacito” remix’s still mind-boggling 0-for-3 showing at the 2018 Grammys, after the Latin-pop fusion track by Luis Fonsi, featuring Daddy Yankee and Justin Bieber, was the undisputed song of the year (despite losing in the Song of the Year category).

“Old Town Road” also has several chances to be recognized for the wildly successful melding of cultures that it is, with nods for Record of the Year, Best Pop Duo/Group Performance and Best Music Video—three of Lil Nas X’s six nomination.

As dire as the situation might seem in any given year, there’s (almost) always a chance to do better next time.

Watch E!’s Live From the Red Carpet 2020 Grammy Awards coverage Sunday, Jan. 26 starting at 4 p.m. ET/1 p.m. PT followed by the Grammys telecast at 8 p.m. ET/5 p.m. PT on CBS. And for a recap of music’s biggest night immediately following the show, don’t miss the E! After Party special at 11:30 p.m. ET/8:30 p.m. PT, only on E!

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Disclosure of Plácido Domingo Allegations Scuttles $500,000 Deal



Next month, Mr. Domingo is scheduled to sing the title role in Verdi’s “Simon Boccanegra” at the Hamburg State Opera. A spokesman for the company, Michael Bellgardt, said in an email on Tuesday that he expected Mr. Domingo to perform as planned “if nothing happens to call this into question.”

He is still expected to appear as Giorgio Germont in Verdi’s “La Traviata” in May at the Teatro Real in Madrid, said Graça Prata Ramos, a spokeswoman for the company. And the Royal Opera House in London said that it planned to go ahead with his appearances there this summer. “Plácido will be here in the summer performing as planned in ‘Don Carlo,’ ” Vicky Kington, a spokeswoman, said in an email Tuesday.

But there was a shift at the Salzburg Festival in Austria, which was the site of Mr. Domingo’s first return to the stage after the allegations against him were made public last summer. He is scheduled to return there in August to sing in Verdi’s “I Vespri Siciliani.” But the festival said it would seek further information before deciding on a course of action.

“The festival’s priority was and remains to treat the singer, who has been confronted with accusations of wrongdoing, fairly — in other words, not to rush to any judgment,” it said in a statement. “The facts, however, have now changed.”

Citing Mr. Domingo’s apology, which, it noted, conceded “that his behavior might have hurt the women in question,” the festival said it would seek more information about the investigations in the United States.

Mr. Domingo said in his statement that he took responsibility for his actions.

“I accept full responsibility for my actions, and I have grown from this experience,” he continued. “I understand now that some women may have feared expressing themselves honestly because of a concern that their careers would be adversely affected if they did so. While that was never my intention, no one should ever be made to feel that way.”

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‘My Hero Academia: Heroes Rising’ Review: Superpowers Served Sweetly



A popular manga series gets a worthy film installment with “My Hero Academia: Heroes Rising,” an exhilarating animation that frames heroism as an act of community. In it, superpowered teenagers train to become professional heroes, then find themselves tested by the emergence of real villains. When they’re charged with defending a peaceful village, they become a team, sacrificing their individual dreams of glory for the greater good — as if “Seven Samurai” had gotten a pastel and playful transformation.

Directed by Kenji Nagasaki, the movie follows Midoriya (who goes by the nickname Deku and is voiced by Daiki Yamashita), a bright-eyed, green-haired student of U.A. High School, where aspiring heroes are trained. Though he has been gifted with a much-admired super ability — aptly dubbed the power of One for All — Deku is gentle. He’s driven by his love for the people he aspires to protect, a quality that makes him a sharp contrast with his egotistic rival, Bakugo (Nobuhiko Okamoto). But when villains appear, Deku and Bakugo band together with their classmates to fight against forces they don’t know if they can defeat alone.

The tenderness of Deku adds to the film’s often surprising emotional potency. But the visual style of the movie also works in service of feeling. At first the film employs bold, playful character design, delighting in images like a hero whose arms have eyeballs keeping watch on lifeguard duty. But as the challenges escalate, the design of the film becomes abstracted. Fights rage in almost Kandinsky-esque flurries of light and color; time stretches for the length of a single kick to encompass elegiac pop ballads. This is canny, passionate filmmaking, a reminder of the power of two-dimensional animation. First, it humanizes, then it astounds.

My Hero Academia: Heroes Rising

Rated PG-13 for action and intense images. In Japanese, with subtitles. Running time: 1 hour 44 minutes.

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At New York City Ballet, Swans Use Grit to Find Glory



You don’t look at New York City Ballet and think to yourself: “Ah, swans.” Even though there are full-length ballets in its repertory, City Ballet is not known as a storytelling company. Non-narrative dances, most of them by George Balanchine and Jerome Robbins, are its oxygen; happily we breathe them in.

But then there are times — like last week — when the company hauls out its two-act “Swan Lake,” which wrapped up performances on Sunday at the David H. Koch Theater. As productions go, this version of Tchaikovsky’s ballet is not the prettiest feather in the flock. A holdover from the days of the company’s former ballet master in chief, Peter Martins, who choreographed it in 1996 and introduced it to City Ballet in 1999, it’s rushed yet ponderous. At times, the sets and costumes by Per Kirkeby make you want to crawl under your seat. The jester in orange and green decorated with a third-grader’s squiggles; the man’s shiny purple skirt and open black vest for the Russian variation; and the mismatched greens of the Villager women? It’s a lot of ugly for one stage.

When Odette, the princess transformed into a swan by an evil sorcerer, appears at the lakeside, you feel her pain.

This season, the Act 2 pas de quatre, a speedy and demanding divertissement for three women and one man, was cut to help streamline the ballet. A wise move — only the most virtuosic dancers could make it through that prickly footwork alive — though the production felt as long as it ever did.

But I’ve started to wonder: While it certainly sells tickets, drawing hordes of girls dressed to the nines, does having a full-length “Swan Lake” at City Ballet serve another purpose? Not for the audience necessarily, but for the dancers — specifically those cast in that most renowned of ballerina roles, Odette/Odile?

Generally, dancers join City Ballet to dance the works of Balanchine. “Swan Lake” isn’t so much in their wheelhouse. (He did choreograph a one-act version.) But over the years, I’ve witnessed varied and striking performances — including this season — by dancers of differing body types, looks and technical depth.

There’s something interesting at play: The surprise of watching a dancer overcome her fears and insecurities about what “Swan Lake” means in the classical repertory to hold a stage and to embody a character all the while dancing — in that City Ballet way — as herself. It is determination in real time. It’s so wrong that it’s going to be right. You go out there — as many City Ballet dancers refer to the stage — and get it done. If 32 fouettés, or whipping turns, are out of reach, substitute a circle of piqué turns. You’re on the short side? Be a dazzling little swan. It’s all about going for it as yourself.

The role has layers to explore, and the results aren’t always pretty, but it’s continually gratifying to see a dancer rise to the occasion. The experience of watching “Swan Lake” at City Ballet is different than at American Ballet Theater, where it’s part of the tradition. That production, by Kevin McKenzie, has its problems, too. In the end, after a double suicide Prince Siegfried and Odette rise above the stage in a glowing sun that looks, in Ballet Theater fashion, like something out of a Disney cartoon.

In Mr. Martins’s emotionally penetrating ending — on a stage, lit to perfection as a glimmering lake — Odette parts ways with an inconsolable Siegfried in floor-skimming backward steps, disappearing through paths of swans that close in on her. Siegfried, who pledged his love to Odette’s wicked doppelgänger, Odile, has to live with his mistake.

It still feels modern, maybe even more so now given today’s sexual politics, which makes sense: At City Ballet, “Swan Lake” is also the story of modern women — the dancers who play Odette/Odile — escaping into a dream world. I can still see former swans like Monique Meunier, Jenifer Ringer and the incandescent Miranda Weese, who at just an hour’s notice for a PBS “Live From Lincoln Center” broadcast in 1999, stepped in for an injured Darci Kistler. It was her first time dancing the ballet with Damian Woetzel. This was bravery and beauty in a Swan Queen for the ages.

Sara Mearns should be televised in the role and broadcast all over the world. Last week brought the return of this reigning City Ballet principal, whose interpretation of Odette/Odile is now indelible. This season she elevated it to a place somehow both deeper and more natural as she cut through the excess — even her own lavishness — to show more power and delicacy. She lives the role so deeply, it’s chilling.

Ms. Mearns has grown up with the ballet. In 2006, when she was just 19, she was plucked from the corps de ballet to dance Odette/Odile. This season performing opposite Guillaume Côté, a guest dancer from the National Ballet of Canada — from his mime to his partnering, he was a class act — Ms. Mearns embodied Odette especially to her barest essence.

Ms. Mearns is the rarest of artists: What other dancer has conquered Odette/Odile and, with wildness and precision, the work of the modern choreographer Merce Cunningham?

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