Tag Archives: Grammy Awards

The Best and the Worst of the 2021 GRAMMY Awards

It is arguably the biggest night for music during the year. The 2021 GRAMMY Awards were held for the 63rd time on Sunday night in Los Angeles. The awards look to honor the best that is in the music industry over a wide array of genres – rock, pop, rap, Americana, even classical – and offer a view as to what was the best of the year. In the very-COVID inspired show – the nominees were arranged in very spaced out (physically) tables while the performers were sequestered on a special five stage circle for performances – the Recording Academy arguably came out and put on one of the best shows of the past decade or so.

But that doesn’t mean that there weren’t downsides.

I’ve remarked on this before, but there certainly wasn’t enough “rock” oriented acts that performed during the program. But that is to be expected; rock music does not drive the needle (no pun intended) for music in the 21st century. It has become very much a pop and rap dominated show because that is what the people want to see (AKA those that have the disposable income to spend on streams, streaming services and the occasional CD). This does not mean that the GRAMMY Awards show is “trash” because these are the predominance of the acts that perform – it just means that is what is driving the industry nowadays.

Furthermore, if people did not watch the program, then they shouldn’t have a view on the show itself. You usually have to see something before you make any commentary on it – not five minutes, not a half-hour, WATCHED THE ENTIRE SHOW. It went slightly over three and a half hours (think it was closer to 3:45, if my memory is correct) and there were some moments that were exceptionally good…and very bad.

Without further ado, here’s The Best and The Worst of the 2021 GRAMMY Awards!

BEST

HAIM absolutely came out in the first half-hour of the program and blew away the competition. The sisters were nominated for Album of the Year for their work Women in Music, Pt. III and, with a very subdued set, proceeded to NAIL their tune “The Steps.” When the musicians and singers that were gathered on the stage are watching your performance and jamming just as hard as the band is, you have done your job. HAIM certainly carried the banner well for rock-oriented music and it was great to have them as the representative for the genre – there were not many more that graced the stage on Sunday night.

BEST

The partnership between Anderson .Paak and Bruno Mars bears watching. They came out with a very 70s R&B style (including matching leisure suits!) under the moniker “Silk Sonic.” It was good to see Mars back on stage again; it had been quite some time since he had been on the musical scene and he seemed to be in impeccable form. The duo also came out later in the show and delivered a scorching tribute to Little Richard during the “In Memoriam” segment that was outstanding.

BEST

It has been getting trashed elsewhere, but I thought that the “In Memoriam” tribute to the late Eddie Van Halen was perfect. There were many directions that they could have gone with this, but the GRAMMY producers decided that a minimalistic approach was the best one. Thus, we got a sweeping shot of Van Halen’s “Frankenhalen” guitar, on a perch in a spotlight by itself, while a video played Eddie utilizing his finger-tapping technique on a video screen behind it. It was a perfect tribute to someone who made his complicated work look oh, so simple…and it was a hell of a lot better than having Machine Gun Kelly butcher “Eruption” onstage.

BEST

I would listen to Brittany Howard, the bombastic vocalist/guitarist of Alabama Shakes, sing the damn phone book. Her take on “You’ll Never Walk Alone” during the “In Memoriam” was a soul-stirring performance. Chris Martin of Coldplay provided accompaniment on piano for the segment and the two absolutely made the song their own – exceedingly difficult to do for a song that has been made famous by a British soccer team (Liverpool FC) and as the closing song to comedian Jerry Lewis’ Labor Day Muscular Dystrophy telethon for decades.

WORST

I usually like Trevor Noah, the host of Comedy Central’s The Daily Show. He is extremely funny, has a great pulse on pop culture and, hey, let’s be honest…he is young, energetic and handsome. But he, on a couple of occasions, fawned a bit too much over the winners. He was nearly orgasmic when Beyonce won her first Grammy of the night, which tied her with Alison Krauss for the most Grammys won in a career. He was nearly beside himself when she broke the record later in the night.

Look, I am all for fandom. But, when you are hired to do the emcee job for a major awards show, you are supposed to put that fandom to the side and do the job. Noah failed on this account on a couple of occasions. If he hosts again next year, I certainly hope he tempers the “enthusiasm” and shows an equal appreciation to all the award winners.

WORST

While I did like the stage arrangement for the performances – five stages were arranged in a circle, with cameras in the center of that circle that could be directed at any stage chosen – you could still note the lack of audience excitement. Sure, watching Harry Styles jam to HAIM was cool, but the fans are a part of the experience. Seeing them enjoy it is more important than the artists themselves tapping their feet.

WORST

I am all for artistic expression. Having said that, I normally don’t like to see a reenactment of Thee Dollhouse in Tampa when I watch an awards show. Thus, Megan Thee Stallion and Cardi B’s performance of “WAP” wasn’t exactly a highlight of the show for me. I understand that the song was a MONSTER hit for the duo, but their interpretation of the song for the GRAMMY stage was a bit over the top. Like I said, if I wanted to go to Tattletales in Atlanta, I’ll go to Tattletales in Atlanta.

WORST

In a stark contrast with 2020, it seemed that the GRAMMY voters were not quite sure who to get behind this year. The four major awards were won by four different artists – Megan Thee Stallion for Best New Artist, Taylor Swift for Album of the Year, H.E.R. for Song of the Year and Billie Eilish for Record of the Year for “everything i wanted” – and it really did not seem that the voters had a clear favorite in mind. It was also painfully apparent that the best record didn’t receive any attention from the Academy at all – The Weeknd’s “Blinding Lights” and album After Hours would have dominated the show.

Overall, when the good outweigh the bad, you’ve done rather good. There was much more about the 2021 GRAMMY Awards show that was enjoyable than was not. Still, would like to see a rock award actually given out during the three-plus hours of programming – maybe that’s something they will get to in 2022!

Advertisement

100 Essential Albums of All Time – Metallica, …And Justice for All (1988)

AndJusticeForAll

The 1980s were arguably the greatest time in the history of hard rock/heavy metal. A genre that spans back to the late 1960s, hard rock/heavy metal’s onslaught in the 80s was mainly highlighted by the sub-genre known as “hair metal,” or bands that brought the flashy look of glam rock (think David Bowie and T. Rex) to the “leather and chains” look of metal (Judas Priest). While bands such as Bon Jovi, Def Leppard and others seemingly claimed the crown of hard rock/heavy metal, there was another more diverse and deeper group of bands that were under-recognized for their work.

Behind the “hair metal” bands were a quartet of hardcore bands that delivered raw, aggressive and powerful hard rock/metal for their devoted fans. Anthrax, Slayer and Megadeth formed three quarters of that foursome, with Metallica rounding out the group. The San Francisco-based band was in a bit of flux come 1987, however, with several issues facing the band and their future.

In 1987, the band was coming off the untimely death of their bassist, Cliff Burton, who was killed in a bus crash while the band toured Europe in 1986. Burton’s replacement, Jason Newstead, was unproven – he had only played on The $5.98 EP:  Garage Days Re-Revisited recordings and wasn’t considered a “member” of the band – and singer/guitarist James Hetfield was recovering from an arm injury from a skateboarding accident. Toss into the mix that the group was looking for a new record company and it seemed that Metallica’s next move was going to be one of the most important of their careers.

Metallica1988

At the start of 1988, Metallica headed to the studios to record the new album and were once again beset with problems. Early mixes of the records weren’t up to their satisfaction, resulting in two different producers being used for the album. Hetfield, the lyricist for much of Metallica’s work, was also writing the words while the album was being recorded. Finally, Newstead wasn’t happy with the lack of “presence” of his bass riffs on the record; depending on who is to be believed, that error fell on the shoulders of the sound mixer or drummer Lars Ulrich, who was also involved in the mixing process.

When the album was released in August 1988, …And Justice for All was recognized as a masterful change in the band, one for the good in many ways. First, the band eschewed the blitzkrieg pace of “speed metal” that had become the hallmark of their earlier work (such as Ride the Lightning and Master of Puppets). Instead, they opted to crafting longer and more complex works. Metallica also worked in many tempo and mood changes, making their compositions more nuanced.

Then there were the lyrics, the words that Hetfield put to these new compositions. The stories told on …And Justice for All weren’t “happy go lucky” ones, delving into such subjects as political malfeasance, legal injustice and other wrongs through such human activities as war and censorship. By far the simmering track “One” became THE song of the album and it has etched its place into rock, metal and Metallica history.

The song itself is a masterpiece, starting off with the sounds of war before quietly moving into the chords of lead guitarist’s Kirk Hammett’s notes of dread to introduce the song. The song slowly builds in intensity, with Hetfield’s snarl commanding attention from the start, while Ulrich and Newstead provide the solid foundation for the song. By the time the double-bass kickers of Ulrich drive the end of the song, Hetfield and Hammett are releasing the hounds of their guitars and Newstead drives the bass line home, the listener is left in awe of the entirety of the song.

The subject of “One” – the return of a soldier, crippled and disposed of by the military and, seemingly, the nation – was one that hammered into many minds (and served as a callback to Vietnam and a precursor to Iraq). At over seven minutes, it was one of Metallica’s longer songs and, at the same time, most poignant and powerful. It, along with the video, was what drove …And Justice for All and Metallica into the stratosphere.

The video for “One” was arguably just as big as the song. Splicing together snippets of the film Johnny Got His Gun (about a soldier who is basically a prisoner of his body after being injured in battle) along with a video-staple band “performance” shot, the video was one of the most popular videos in the history of MTV (you know, back when they actually DID play videos). But with all this critical success the band, the album and the song were dismissed by those who SHOULD have known what they were talking about.

In 1989, Metallica was nominated for a Grammy in the inaugural year of a new category, Best Hard Rock/Metal Performance Vocal or Instrumental. Along with Jane’s Addiction, AC/DC and Iggy Pop, the members of Metallica (who had performed “One” just prior to rockers Lita Ford and Alice Cooper awarding the first Grammy in the category) stood in disbelief as Jethro Tull was awarded the statue for their album Crest of a Knave. It is widely considered one of the biggest blunders in the history of the Grammy Awards (even bigger than the Milli Vanilli fiasco) and demonstrated just how “out of touch” Grammy voters were when it came to a genre that many had no clue about (in 1990, Metallica was nominated for “One” in the newly created category of Best Metal Performance).

Through it all, Metallica and …And Justice for All has weathered the standards of time. In time for the 30th anniversary of the album (and if that doesn’t make you feel old, nothing will), the band is remastering the album, with some mentioning that they will be fixing the Newstead bass lines so that they are more prominent (and including some gems to make the reissue worth getting). If you missed the record the first time around, you’d be well advised to grab the reissue and relive the era when hard rock/heavy metal was a vibrant part of the music industry.

OK, Hollywood…Point Made. Now Let’s Move on To a Solution…

HollywoodSign

It wasn’t like there was no warning regarding the issue. Prior to the 75th Annual Golden Globe Awards, which were handed out on Sunday, there was a well-done demonstration by the ladies who make up Hollywood – actresses (whom I prefer to call actors, but regardless), directors, writers, technical staff, etc. – regarding the ongoing issue of sexual inequality, sexual harassment and sexual assault. The ladies involved in making the statement all chose to wear black dresses – not sure of the symbolism, but effective, as everyone from Oprah Winfrey to the newest clipboard carrier on set came dressed in their finest black gowns.

What came next had me saying, “OK, Hollywood. You’ve made your point. Now let’s move on and work on the issue…”

Globes host Seth Meyers, a tremendously funny guy, popped a couple of jabs at two of the culprits, former Hollywood honcho Harvey Weinstein and actor Kevin Spacey, whose actions brought on the “black dress” protest and the new “Time’s Up” stance to fight such actions. He even poked Winfrey, seated center stage as the recipient of the Cecil B. DeMille Award for “outstanding contributions to the world of entertainment,” by noting he had chastised Orange Foolius in 2011. From that act, where Meyers said that Orange Foolius had no shot at the Presidency, Meyers proclaimed to Winfrey, “You will never be President! Never!” with the obvious implication.

SethMeyers

Meyers had the right touch with his opening monologue. He recognized the issues that Hollywood and, fuck, the entire world is facing with the conduct between men and women, and moved on, knowing his monologue wasn’t going to solve the issue. If only others – those who won the Golden Globes statuette – would have taken the same approach.

Time and time again, women who won the prestigious award handed out by the Hollywood Foreign Press Association opened their statements by thanking those who helped them reach their level of success. Various parents, teachers, acting coaches, managers, all got their moment in the sun, as is normal with these situations. Then the winners would, almost to a woman, go off on their specific rant about the situations of the last year and how women “weren’t afraid to speak out now.”

Now, let’s set this straight from the start. That they took the moment to make a statement about ANYTHING that they wanted wasn’t the problem. These speeches – whether at the Golden Globes, the Emmys, the Tonys or the Grammys – are always infused with commentary on the social condition. There were many who spoke about how Hollywood, with those in Washington D. C. lacking the ability, clarity or state to be able to discuss ANY issue regarding morality in this country (look at who the GOP nominated and tell me they have ANY moral base today), was now taking up the mantle of a moral stance with this issue. No, that didn’t happen, it was just another instance where Hollywood’s elite used their platform to promote a social or political agenda.

ElizabethMoss

Having said this, the repeated instances of women marching to the stage for their awards and the continued brow-beating of the male gender reached a point where it wasn’t commentary, but it was male-bashing. Close to the end Elizabeth Moss, who is an outstanding actress who won the award for Best Actress in a Television Drama for her work on The Handmaid’s Tale, stepped up and delivered a statement where she paraphrased the woman who wrote the book, Margaret Atwood (“We no longer live in the blank white spaces at the edge of print. We no longer live in the gaps between the stories. We are the story in print, and we are writing the story ourselves.”). Lo and behold, it comes out afterwards that Moss is allegedly a member of the “Church” of Scientology (which is also allegedly a church), itself beset with multiple complaints of subjugation of women, blockage of investigation of and disavowal of sexual assault.

Then came Winfrey’s speech in front of the gathered throng and those watching around the world. First off, let’s make this perfectly clear: Winfrey could buy Barack Obama’s former speechwriters and still have enough left over to take over a decent sized country. So, the factor that she came out with an outstanding speech shouldn’t have been a surprise to anyone. But it was the continuance of the bashing of the male race – not any suggestions for moving forward, not mentioning that both sides are necessary to discuss the situation – that was left out of Winfrey’s magical words.

OprahWinfrey

(And for those that are touting “Oprah 2020,” pump the brakes. The replacement for an egomaniacal billionaire who wants to be a dictator is NOT another billionaire who wants to be a savior to the masses.)

By the time the end of the more than three-hour awards ceremony had reached its conclusion, I had about reached the end of my rope regarding the constant stream of male-bashing. OK, ladies, you made your point. While it didn’t totally ruin the program, it certainly put a damper on things as male actors had to walk out on stage, sheepishly with their tail between their legs and an “I’m sorry” look on their face, after yet another evisceration of their entire gender by one of their female contemporaries.

(And I am not even going to start in on actor Natalie Portman’s snide-ass comment about “five MEN” (her emphasis) being nominated for Best Director…for fuck’s sake, let’s take care of one issue at a time.)

Almost a year ago, I wrote about how difficult it is for women in any arena of business, media or Hollywood. I accepted the commentary from ladies like sports broadcaster Erin Andrews and singers Kesha and Lady Gaga regarding their incidences of assault by men either in the industry or, in Andrews’ case, a Peeping Tom who took advantage of her. I stated then that I wondered how women could put up with such behavior from the other gender of the species.

LadyGagaKesha

The answer, however, is not to swing the pendulum 180 degrees to the other side. All men are not slathering sex fiends and all women are not saintly ingenues. The answer is that there’s a middle ground that must be found and, once that turf has been discovered, then there can be discussion on the issue. It isn’t to villainize people who might be a part of the solution to the problem – yes, men who haven’t committed these acts along with women – as it seemed it was on Sunday night.

This is just the start of Awards season and we probably haven’t seen the end of the protests. One of the biggest songs of the year is “Praying” from Kesha, an emotional soul-ripper penned in response to her accusations of sexual assault by her former producer; she’s up for Best Solo Pop Performance at this year’s Grammys for the song (the show is January 28). There will be more protests of the type seen on Sunday at the Academy Awards in March and probably also at the Emmys. But before more of entertainment’s elite ladies start sharpening their pens into swords for this fight, perhaps they should look for solutions instead of chastising those not responsible. Remember Rose McGowan, the actor whose statements regarding Weinstein started the #MeToo movement? She perhaps said it best…where were Winfrey or Meryl Streep when Weinstein was assaulting her? The answer is they weren’t believing her account.

Who is The Greatest Hard Rock/Metal Band of All Time – AC/DC vs. Metallica, Part Two: Who’s the Winner?

ACDCMetallicaHardRockMetal

We have reached the penultimate battle of our tournament to determine who is the greatest hard rock/metal band of all time. Through the previous 62 contests, we’ve whittled down the competitors to the two veterans that we see here, Australia’s AC/DC versus the States of America’s Metallica. As they used to say on the series Highlander, however, there can be only one. Let’s get to it on that decision!

Just to remind you, there are criteria that we can take into consideration after breaking down the various parts of the band. First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” – that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

Without further ado, let’s see who is going to take the crown!

ACDCMetallica

Band Breakdown

There are four basic parts here – the vocalist, the guitar section, the rhythm section and miscellaneous. With the first, we look at AC/DC’s front men – the late Bon Scott and Brian Johnson (we will not include Guns ‘N Roses singer W. Axl Rose as he has not officially been added to the band) – and contrast them with Metallica’s face James Hetfield.

It is arguable that there are not two bands with more identifiable or iconic leaders as these three men. Could you imagine an AC/DC song without the readily recognizable sounds of Scott or Johnson drawing you in? Likewise, Hetfield – and, as a result, Metallica – are also known quantities immediately upon hearing Hetfield’s growl. To be honest, none of them are what you’d call great singers but, for the bands they front, they are the perfect fit. Therefore, we’ll have to call this part of the competition a tie.

With the guitarists, Hetfield returns to the equation as rhythm guitarist. Along with first lead guitarist Dave Mustaine and then Kirk Hammett, the power behind Metallica’s sound is undeniable with these two men. AC/DC isn’t lacking for strength themselves with the brother combo of Angus (lead) and Malcolm Young, but they come up just short in this match. The “three bars and a cloud of dust” attack of the Young brothers doesn’t quite measure up to the complexity of the chord progressions of Mustaine and Hammett, nor do they have the ability to play at a virtuoso level (as Hammett does) and include the speed. Thus, we’ve got to give this segment to Metallica.

Finally, there’s the rhythm section, the bass and drums. Cliff Williams (bass) and Phil Rudd (drums) were the longtime base for AC/DC and they did their jobs masterfully but unspectacularly. In basically creating Metallica – and still being the vocal (as in speaking) member of the band – Lars Ulrich (drums) has done something that hasn’t been previously seen, the drummer as a band leader. Along with the late Cliff Burton, Jason Newstead and now Robert Trujillo, Ulrich has been the backbone of the band and created his own distinct style of drumming. This segment goes to Metallica also, giving them the overall win in the segment.

Winner: Metallica

Metallica2017

Longevity

This is one category that will split down the middle with no victor declared.

Since 1973, AC/DC has been pounding out their brand of music, with arguably the apex of their career coming in the late 1970 through the early 1990s. They still are playing today (and drawing arena sized crowds for their tours), although Malcolm Young, Johnson, Rudd, and Williams are no longer a part of the proceedings. Metallica has a slightly shorter career, having “only” been founded in 1981, but it isn’t sacrilege to say they may still be at the best of their game. Sure, the mid 1980s through the late 1990s may have been considered their heyday, but Metallica continues to pump out excellent music (Hardwired…to Self-Destruct is arguably their best album since their …And Justice for All/Metallica days) and they are currently on a stadium tour that is selling out across the States of America. With such performance as this, there’s no way that one is pulling out over the other.

Winner: Push

Influence on The Genre

This is one area where AC/DC could have the edge. Quite honestly, any hard rock/metal band that doesn’t say they were inspired by bands from the late 1960s/70s is being disingenuous. Such bands as Led Zeppelin, Deep Purple, Black Sabbath, and others were the ones who laid the foundation for those who came later like Metallica. There is one issue where Metallica might outpip AC/DC is their location on the “Mount Rushmore” of thrash metal alongside Megadeth, Slayer, and Anthrax. Still, we’ve got to give credit where credit is due: without AC/DC, there’s no Metallica.

Winner: AC/DC

ACDC2017

Popularity

Another borderline call between two of the most loved bands in the world. You don’t stick around for three or four decades without having a devoted following that will literally follow you to the gates of Hell for a concert. Both bands have monster record sales – AC/DC has sold over 200 million albums worldwide (and 71 million in the States of America, more than Madonna and Mariah Carey) and Metallica has 100 million worldwide – and both bands have been lauded by the critics. Metallica has a bit of an edge on the critical acclaim, which only serves to offset the lead in record sales for the boys from Australia. I certainly hate doing this, but we’re going to have to call this one equal.

Winner: Push

Accolades

AC/DC has been nominated for seven Grammys and won once, while Metallica thrashes them in this category. Metallica has been nominated 21 times for Grammys, walking away with nine. Where AC/DC holds the edge is in platinum albums; 20 of their albums has gone platinum (one million sales) and the legendary Back in Black is a double diamond holder (10 million sales, twice). Metallica can vouch for their own double diamond record (Metallica), but they’ve only had 10 platinum albums because that’s all they’ve released.

They are both in the Rock & Roll Hall of Fame, but under highly different circumstances. Metallica was a first ballot entry when they were inducted in 2009 (an artist or band becomes eligible for induction into the Rock & Roll Hall of Fame on the 25th anniversary of their first official album release) with everyone but Mustaine named on the induction plaque (Metallica wanted Mustaine to perform with them during the induction ceremonies, but Mustaine was touring in Europe with Megadeth at the time). AC/DC took a bit longer to get into the Hall, with their induction in 2003 coming almost 30 years after their debut. It’s a close battle, but the edge here must go:

Winner: Metallica

So, Who Is the Champion?

By the slimmest of margins, Metallica captures the metal ring from AC/DC, earning the accolades of the greatest hard rock/metal band of all time. Individual tastes may vary on this decision, but overall there is a great deal of musicianship, innovation, and musical and lyrical substance to Metallica’s body of work. That isn’t saying that AC/DC’s brand of metal is something to deride; they have blazed their own trail in a very difficult industry and, as an international act from Australia, probably had some more issues to overcome in their early days. For this competition, however, it is the boys from San Francisco – Metallica – ruling supreme in the history of the genre.

metallica-at-mercedes-benz-arena-by-ross-halfin

Who is The Greatest Hard Rock/Metal Band of All Time, Second Round Part 1

HardRockMetal

Rather than delve into the delusion that currently is supposed to oversee this country (and trust me, there’s plenty to call the Tangerine Ignoramus out on simply from this last weekend alone, such as his slashing of the Department of Interior budget by $1.5 billion while donating his first quarter’s pay for sitting on his ass – roughly $70,000 – in the White House to the National Park Service), I’ve decided to start something that will be much more fun. Since college basketball just recently completed the NCAA Basketball Championship, I thought it would be fun to do the same but in a different arena – the genre of hard rock/metal music.

What are the criteria for consideration? First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

The first round of the four “regions” – the 1960s/70s, the 1980s, the 1990s and the 2000s/2010s – is complete and there were some big surprises. It’s now time to move into the second round of two of the regions who will match up in the Final Four of Hard Rock/Metal – the 1960s/70s and the 2000s/2010s – and work them down to one half of the Sweet Sixteen. As always, cast your vote and/or opinion on who should win each battle by commenting here or on one of the many social media outlets where you might read this.

Without further ado, here’s the 1960s/70s second round:

Led Zeppelin (1) vs. Rush (8)

The Zep was not even challenged by their first-round matchup against Steppenwolf, but now they might have a fight on their hands. Surviving their first-round battle against Queen, Rush is primed to take down the legends from the U. K. One of the things that might sway some voters is simply the longevity issue; Rush is still around to this day, more than 40 years after their creation. Led Zeppelin, however, still has the panache as one of the most influential bands in music history (how many kids learned “Stairway to Heaven” as their first tune?). Plenty to think about when it comes to this matchup.

Motorhead

Judas Priest (4) vs. Motörhead (12)

Fresh off their upset of Black Sabbath in the first round, Motörhead is loaded for bear with another tough battle against another legend. This is going to be difficult because both bands have longevity, influence and popularity on their sides. It is arguable that the Priest have had more of an impact on the genre than Motörhead, but it is an argument that Lemmy lovers would love to fight over. Mark this one down as “too tough to call” and let’s see where the voters take it!

AC/DC (2) vs. Van Halen (7)

Another matchup that will raise the ire of fans of both bands. AC/DC has an iconic sound that, while simplistic in its three-chord approach, is still as good today as it was when they started back in the early 1970s. Not to be overlooked, Van Halen worked through the latter part of the 70s, made an adjustment to the MTV 80s, stayed popular into the grunge 90s and still is viable today (although some might say that Eddie Van Halen and Co. have fallen from their lofty perch of late). Perhaps the deciding factor? AC/DC’s three vocalists have been the late Bon Scott, Brian Johnson, and Guns ‘N Roses’ Axl Rose. Van Halen? David Lee Roth, Sammy Hagar, and Gary Cherone. Who wins that comparison?

TheWho

KISS (14) vs. The Who (6)

Three upsets in the first round for the 1960s/70s! KISS took down Deep Purple in the first round, but the second-round match against The Who is going to be a bit tougher. The two bands are quite similar, with duos at the lead (Paul Stanley and Gene Simmons for KISS, Roger Daltrey and Pete Townshend for The Who) who basically became the faces of their groups. They had iconic members (Ace Frehley and John Entwistle) who were virtuosos on their respective instruments and members that had issues outside of the band with drugs and/or alcohol (Peter Criss and Keith Moon) that either killed them or nearly did while in their prime. Influence might be the key here – who had the greater influence on the history of hard rock/metal?

And now, here’s the second round for the 2000s/2010s

Disturbed (1) vs. Black Label Society (8)

Chalk for the top of the second round as Disturbed pushed aside the assault of Killswitch Engage to get to the second round and BLS got past Mudvayne in a contest decided by longevity. Black Label Society might not go any farther, however, because Disturbed is looking like it might be a juggernaut in this region. Nothing against Zakk Wylde and the members of Black Label Society, but Disturbed could very well be the band that is representative of the early part of the 21st century.

Halestorm

Halestorm (4) vs. Godsmack (5)

Emerging from the matchup of the female-led bands in defeating Evanescence, Halestorm now gets a shot at Godsmack – or is Godsmack getting their shot at Halestorm? The big point that may sway voters in this competition is that Halestorm is still getting their engines revved, with Lzzy Hale simply getting better with each new CD. Godsmack left their label in late 2016 and it doesn’t appear that any new music is coming out of the band in the immediate future. Things like this – how visible you are and how popular – sometimes will be the tipping point in these competitions.

System of a Down (2) vs. Avenged Sevenfold (7)

Avenged Sevenfold took down the old guard Deftones in round one and it faces another legend in round two. System of a Down has long been regarded as one of the preeminent bands of the past decade and a half, at the minimum, selling 40 million records. That type of popularity is tough to overlook in a match where the two competitors are so evenly matched up.

FiveFingerDeathPunch

Five Finger Death Punch (3) vs. Slipknot (6)

And chalk holds true for the entirety of the first round in the 2000s/2010s. This matchup, however, is different in that both bands are similar in their musical stylings and have equal impact and influence on up and coming bands. Slipknot has had some periods of inactivity that are tough to overlook, but their record at the Grammys – ten nominations and one victory – push them past FFDP. It is tough to overlook a band that is still performing strong, however, and FFDP is doing that.

That closes the second round for these two regions. Be sure to get your votes in on who deserves to move on to the Sweet Sixteen! And don’t forget that we’ve got the other side of the bracket – the 1980s and the 1990s – coming soon. We’ll determine the champion, hopefully next week, as to who is the greatest hard rock/metal band in history!

Who is The Greatest Hard Rock/Metal Band of All Time, Part 2 – The 1980s

HardRockMetal

Rather than delve into the delusion that currently is supposed to oversee this country (and trust me, there’s plenty to call the Tangerine Ignoramus out on simply from this last weekend alone), I’ve decided to start something that will definitely be much more fun. Since college basketball is deciding the 64 teams (OK, 68 teams because of those simply idiotic play in games the NCAA conducts) that will compete for their championship, thought it would be fun to do the same but in a different arena – the genre of hard rock/metal music.

As it is one of my personal fortes, hard rock/metal music is essentially celebrating its 50th Anniversary since the release of Steppenwolf’s “Born to Be Wild,” which contained the lines “Get your motor running/heavy metal thunder.” With this in mind, I’ve put together a compilation of the top 64 hard rock/metal bands from four different eras – the 1960s/70s, the 1980s, the 1990s, and the 2000s/10s – and split them up in accordance with those eras into “regions.” We’ll break down the matchups in each bracket and, with hope, readers will make their own comments and vote on the matchups and perhaps they’ll be some sort of prize at the end – the management here (re:  me) is still trying to come up with that prize.

What are the criteria for consideration? First, the band/singer would have to have some sort of longevity to their career – you don’t see many bands or singers that are considered “legendary” if they were only around for a couple of albums (Amy Winehouse is a rare exception, but that’s a discussion for another time). Second, the band/singer would have to have an impact on the genre – did they do something particularly noteworthy or notorious that put them into the annals of the genre’s history, a song or “behavior” that was historic. Third, just how popular were they when they were in existence – a band or singer that was wildly popular with the fans might get some leeway over a critical darling OR vice versa (depending on tastes). Fourth, what accolades did they receive – awards, gold records, and recognition by the industry (Rock & Roll Hall of Fame, hello?) are all under consideration here. Finally, was the band/singer influential on future generations of music – have they helped shape the genre since they have left the sphere?

We talked about the 1960s/70s in Part 1, so now we’re ready to head into what was arguably the most diverse era of hard rock/metal over the past 50 years – the 1980s. From “hair metal” (basically pop-infused hard rock music that could be ballad intensive – something previously unheard of in the genre) to “death metal” and beyond, there were many candidates for this “regions” bracket. I am sure there will be some complaints as to the selections and, if so, please include those when you discuss the matchups in your reply!

BON JOVI

Bon Jovi (1) vs. Pantera (16)

As ugly as it is to admit, Bon Jovi was one of the most popular acts of the 1980s. Using enough Aquanet to put his own personal hole in the ozone layer over New Jersey, John Bongiovi – who would become the namesake of the group as Jon Bon Jovi – guitarist Richie Sambora and the rest of the group became the band that was OK with your parents to “rock out” to. They also brought the “power ballad” into its heyday, those songs that brought the girls out to the “rock shows” so the guys would come along.

Pantera, on the other hand, was everything that Bon Jovi wasn’t. Hard core, in your face – sometimes with a fist or a boot – fast and furious, guitarist “Dimebag” Darrell and Phil Anselmo mounted an offensive of thunderous rock that still resonates across the genre. While they were influential to many, they weren’t commercially successful – at least not on the level that Bon Jovi was. It will be an intriguing battle to see who emerges from this clash – but we know who would emerge if it were an actual fight!

Mötley Crüe (8) vs. Skid Row (9)

This is a typical battle of two bands that are closely matched. Strangely enough, though, most people are fans of one and not of the other, with those on the side of Skid Row and front man Sebastian Bach calling their opponents a rip-off of KISS and those taking up the fight for the Crüe and singer Vince Neil and Co. calling Skid Row a Guns ‘N Roses clone. What is true about both bands is they cranked out some memorable music over a short period; Skid Row’s heyday was roughly three years (1989-92), while the Crüe would be relevant for a longer period of time (1981-92). That may be the factor that weighs the winner of this matchup.

Guns ‘N Roses (4) vs. Ratt (13)

It is arguable that Guns ‘N Roses may be the top non-“hair metal” band in the 1980s region, setting them apart from Ratt, who firmly embraced their place in that subgenre. The Gunners captured the rebellious nature of rock and roll that was born in the 1960s and had been lost over the previous 20 years as rock became “corporate.” They also would serve as an inspiration to many bands, with such influence eventually leading to their induction into the Rock & Roll Hall of Fame in 2012. Ratt? Unfortunately, it looks like they ran into the “immovable object” here…but the votes will be what matters.

IronMaiden

Iron Maiden (5) vs. Faith No More (12)

This may look like a mauling, but you’ve got to look deep at the subject. Faith No More were one of the few practitioners of what became known as “rap metal,” or rapping the lyrics instead of singing them, setting them apart in the business and spawning bands that still employ Faith No More’s style today. Iron Maiden was one of the most ferocious bands in the genre who had a great longevity in the business. They also had their impact on future bands, but they weren’t the groundbreakers that Faith No More was in their short time. It will be another tough matchup for the voters to decide.

Metallica (2) vs. Whitesnake (15)

Even considering the ample success that Whitesnake and David Coverdale enjoyed during the 1980s, there’s simply no way that I can see voters taking them over a band that is still going strong today (and if you haven’t heard Metallica’s latest Hardwired…to Self-Destruct, you’re missing out on their best record since the Black Album). Metallica has inspired many a kid to become the next great James Hetfield or Lars Ulrich, consistently powering out epic albums and taking down accolades left and right for their work. They also – whether you agree with them or not – have fought against piracy in the industry, something that all should applaud them for. Whitesnake might have had a chance against anyone else on this list…but not Metallica.

Metallica

Queensrÿche (7) vs. Anthrax (10)

This is another difficult clash between two talented bands. Queensrÿche arguably introduced the “rock opera” concept into hard rock music in the 80s (OK, don’t remind me of Quadrophenia or other monumental albums) and served as a conduit for politically charged rhetoric (“Empire” delves into the effects of drug trafficking in the inner cities). But of course, their main claim to fame? “Silent Lucidity,” a Pink Floyd-esque power ballad that made the Billboard Magazine Top Ten in 1990.

Anthrax had their own political stances, talking about the plight of Native Americans (“Indians”) and dabbling with rap and classical music in creating their sound. They are one of the few bands to have had success with two different vocalists, Joey Belladonna and John Bush, and they have influenced thrash metal wannabes for over two decades. Do you take style over substance? Or do you award a long, healthy career that has spawned new generations? Tough vote here…

Def Leppard (3) vs. Cinderella (14)

Another matchup between two bands that, at first look, are mirror images. It is only in looking deeper do you see their differences.

The Leppard were a part of the New Wave of British Heavy Metal (NWOBHM) that came out in the late 70s/early 80s, but they weren’t content with staying in that category. They firmly embraced the “hair metal” groove of the decade and became one of the biggest acts of that time. They also demonstrated a great deal of craftsmanship to their records, taking lengthy amounts of time (in some cases, they had to, such as drummer’s Rick Allen’s unfortunate amputation of his arm after an auto accident that forced him to learn how to play drums on a specially created kit) to put out some of the best rock music of the era.

Cinderella was part of that “hair metal” act and even sucked into it a bit by going the power ballad route (“Nobody’s Fool”), but in essence they were a blues band looking for a groove. Singer/guitarist Tom Keifer is a tremendously underrated musician and the rest of the band provided the base for which Keifer could demonstrate his virtuosity. That their era of commercial success was short (1986-1990) was more a fact of the explosion of grunge and rap than any disqualifying factor from the group.

Slayer

Slayer (6) vs. Megadeth (11)

Man, the 1980s were a tough decade! It’s too bad that one of these bands has to depart in the first round as both, against the right competition, could go deep in this tournament. Slayer was the purveyor of “death metal” with their seminal album Seasons in the Abyss reaching their creative and critical high point. Megadeth, with singer/guitarist Dave Mustaine, have continued performing and releasing highly praised music for almost three decades now, including winning a Grammy Award this year for best metal performance for the title track from their album Dystopia. A knockdown, drag out fight is what to expect here.

That’s it for the second “region” of our tournament. We’ll look at the 1990s and the 2000s/10s (and be thinking of who could be the #1 seeds for those “regions” – would love to hear those opinions) later this week and get into the second round, hopefully by next Monday. Don’t forget to vote by replying here and I will compile the responses – and maybe award a prize once a champion is crowned to a reader!

Why Do Women Put Up with Us?

I’ve thought about it before but, over the past couple of weeks, I’ve really begun to wonder in depth how the female part of the species homo sapiens puts up with the male gender. Let’s get beyond the usual stuff – leaving the toilet seat up, “men are from Mars, women are from Venus” generalities – and get down to the brass tacks. In a couple of instances of late from the news, things would be much different if there was a female mind in charge.

ErinAndrews

Earlier this week, Fox Sports sportscaster Erin Andrews was awarded by a Tennessee jury $55 million in damages stemming from a 2008 incident with a “fan.” In that situation, the pervert reversed the peephole in Andrews’ hotel room door in Nashville, TN, and videotaped (with his cellphone) Andrews in the nude as she prepared for her broadcasting duties with her then employer ESPN. The only way the videos were ever found out about was because the asshole decided to try to sell them to TMZ, that great bastion of journalism.

Of course the perv was found and convicted, spending 27 months in jail (far too short if you ask me), but the damage was done. Andrews spent a great deal of time and money in trying to remove them from the internet – something that is virtually impossible – and eventually filed a civil lawsuit against the criminal and the hotel for their negligence (it was alleged that the hotel gave the man extensive information as to Andrews’ whereabouts in the hotel, even putting him in a nearby room to hers). After two weeks of testimony – which included a tearful Andrews recounting, over two days of testimony, how the situation still affects her today in taunts when she is on college campuses and one of the executives of the hotel actually WATCHING THE VIDEO DURING A DINNER MEETING during the trial (for which the executive vehemently apologized – afterwards) – Andrews was awarded $55 million, although she’ll probably never see a nickel of the money (and it probably wasn’t about that, at least for Andrews).

Kesha

While there is a bit of “good” (hey, there’s still a nude video of Andrews out there if you really want to find it) news in that case, another case that has come up isn’t as pleasant. The pop star Kesha’s battle against record producer Dr. Luke was resolved (temporarily) of late, with the courts barring Kesha from doing any recording without it coming from work between her and the producer, whom she claims signed her to a contract at an extremely young age under the influence of drugs. Kesha has also alleged that Dr. Luke raped her and, throughout their working relationship, continually berated her verbally, emotionally and continued the sexual abuse.

The music industry has divided itself along the natural lines, the industry bigwigs on the side of Luke and the performers on the side of Kesha. Taylor Swift (whom I normally wouldn’t give the time of day) stepped up with $250,000 to help support Kesha during a “trying time,” and other artists such as multi-Grammy Award winner Adele, Demi Lovato, Snoop Dogg, Kelly Clarkson (who stated her former management “blackmailed” her into working with Luke) and actor Mariska Hargitay (Law & Order:  SVU), herself a longtime anti-rape and domestic violence advocate, have voiced support. Lady Gaga has firmly announced her support, recounting her story of her early days in the recording industry and how she, like Kesha, was attacked by a male who was supposed to be helping her career rather than relieving one of his “tensions.”

LadyGagaKesha

These are but two of the more visible cases of where men continue to subject women to degrading situations. I am positive that it happens literally millions of times per day across the United States and around the world, whether it is something as seemingly innocent as a “darlin’” when a subordinate performs a task to literally and physically raping a woman while they work with or for a male superior. It shouldn’t happen and it has to be asked why women allow it to continue?

There are, for lack of a better term, the “fantasies” of women taking over in culture and changing it through the utilization of their own powers. There is a classic Greek play called Lysistrata by the Greek playwright Aristophanes in which women, upset with the ongoing fighting in the Peloponnesian War, withhold carnal pleasures from their husbands until the fighting is stopped. It is arguable, however, that the Church put a quick kibosh on that and, over the next 2000-3000 years, women went into the shadows.

IcelandWomenStrike1975

In 1975, however, women finally took a stand, at least in one nation. In Iceland, women went on strike – that’s right, every woman, whether a traffic cop, housewife, bank clerk or mother – walking off their jobs and out of their homes. The resulting 25,000-plus women (astonishing considering the island nation’s population was only about 200,000 at that time) shut down the country and were able to win concessions from the government. The next year, equal pay laws were passed in Iceland and, in 1980, Vigdis Finnbogadottir was the world’s first elected female president and won reelection in 1988.

Here in the United States, women either do not understand the power they wield or do not want to “rock the boat” on the situation. If the female of our species were to achieve something along the lines of what the Icelandic women did, the impact on the United States – not only economically but politically, culturally and socially – would be seismic.

Instead of only a handful of women being in elected seats of power in Washington, D. C., it is extremely possible that MORE women would be elected to those positions, maybe even a majority of the positions. Businesses would be led by strong, smart ladies who would be led by doing the right thing rather than JUST what the bottom line says. And perhaps we would show more consideration for our fellow persons, as it really does seem that the males of this species don’t really give a fuck beyond their own skin casing as to what others do.

But is it impossible for U. S. women to pull off what the Icelandic ladies did? U. S. women are a diverse lot – more so than the homogenous nation of Iceland – and perhaps they would have the same troubles that men have in this country of deciding a course of action. I would have hope, though, that they would have a better nature than the male gender does and would be able to work through situations rather than compare dick sizes.

WonderWomanHome

Trust me, I’m not advocating for a Diana Prince/Wonder Woman-like home of Themicyra here. We all have to work together on this traveling roadshow called Planet Earth. But a little more equality between the two genders – achieved through a Ladies’ Strike – would be able to bring us a bit closer to refining the country into the best version it can be – and isn’t that what we’re looking for the United States to be?

So here’s my challenge…Ladies! Time to stop what you’re doing! Moms, put the kids down! Make Dad take care of them for a day. Teachers, cops, mayors, professors, physicians, psychiatrists, astronomers to zoologists…plan one day for the “U. S. Women’s March and Strike,” bring the country to a standstill, march on your state’s capitals and bring about the change that is necessary for the country. Women have and have always had the power…it is time that power is demonstrated, much like your sisters did in Iceland more than 40 years ago. It’s time for women to truly step to the fore!

2016 Grammys: Who Will Win? Who Should Win?

Grammys

By now, most of you might have learned something about my background. If not, for 20-odd years of my life I worked in the radio industry as a music director and DJ. I worked in pretty much every format that you could imagine and reached what was, at that time, one of the Top 75 markets in the United States in North Carolina, a pretty nice achievement. I was also reaching that age that, if you weren’t working as the program director, in other areas of station management or on the morning or afternoon drive teams, you weren’t going to be sticking around the industry for much longer. Thus came one day when I woke up and decided to move on rather than have the door hit me in the ass somewhere down the road.

The love affair that I’ve had with the Grammys dates back prior to my days in radio, back to my love for music overall (something else that I’ve written about here) in my youth. As I grew up, the artists that I saw on television or heard on the radio became the things that I looked for in the record stores and tried to learn about through other media. In doing this, I also learned to find out about new music and artists and try to figure out what would be the “next big thing” in music. When it became a career in radio, that love of music made it seem more fun than actually having a job could ever be.

Time has gone on and, even though I don’t have a radio job that requires that I know every intimate detail about an artist as I used to have to know, I still love the music industry. I’d go back on the radio – even satellite radio (a gig on Radio Margaritaville or some of the other channels on SiriusXM Radio would be nirvana) – in a heartbeat if someone offered me a gig. Thus, when Grammys Weekend rolls around, you know where I will be come Monday evening and the awards show.

The artists that are nominated this year aren’t necessarily my favorites – and one, Taylor Swift, I would rather listen to two cats fighting in a box made of chalkboards and filled with aluminum foil than listen to – but even now I am still knowledgeable about their work. Therefore, I’ve scanned the Crystal Ball to see who will win the Grammys for the biggest prizes of the night and I will also offer up who I believe should have won the Grammy. To be honest, sometimes the National Academy of Recording Arts and Sciences (NARAS) is completely off base, either going too artistic or not really honoring the best work from the year…more often, it’s not honoring the best work of the year!

Lamar

ALBUM OF THE YEAR

Sound & Color, Alabama Shakes
To Pimp a Butterfly, Kendrick Lamar
1989, Taylor Swift
Traveller, Chris Stapleton
Beauty Behind the Madness, The Weeknd

Who Should Win:  While I am partial to Alabama Shakes and Brittany Howard’s bluesy guitar and howling-wolf vocals, Lamar would be the best artistic choice out of this mix. Lamar’s album dominated the R&B charts for the year and “Alright” was an excellent tune. I could also go for Stapleton or The Weeknd…anyone but who will probably get it.

Who Will Win:  Swift was basically shut out of the Grammys last year as “Shake it Off” won her exactly ZERO awards. The problem here is that Alabama Shakes and Singleton are basically going to cut up one side of the vote – the “rocker” vote – and Lamar and The Weeknd are going to divvy up the R&B side of the equation. That leaves the lane wide open for Swift to slip through the cracks (and she can do that easy – I’ve seen more curves on a 2X4) and steal this award. It would also shut up her fan base that says the Grammys don’t “respect” her as an artist (there’s a reason for that…Swift ISN’T one!).

RECORD OF THE YEAR

“Really Love,” D’Angelo and the Vanguard
“Uptown Funk!” Mark Ronson featuring Bruno Mars
“Thinking Out Loud,” Ed Sheeran
“Blank Space,” Taylor Swift
“Can’t Feel My Face,” The Weeknd

Who Should Win:  I said it when it came out that “Uptown Funk!” was one of the catchiest pieces of music that I’ve ever heard; for the Grammy voters not to recognize Ronson and Mars for their work here would be unforgiveable.

Who Will Win:  I think the Grammy voters will agree with me here. The only problem is that the song may have been too far back in memory for some to recall how good it was. I could see The Weeknd possibly taking this or, in a real surprise, Sheeran for his ballad (the Grammy voters do like themselves a ballad to vote for).

SONG OF THE YEAR

“See You Again,” Wiz Khalifa featuring Charlie Puth
“Alright,” Kendrick Lamar
“Girl Crush,” Little Big Town
“Blank Space,” Taylor Swift
“Thinking Out Loud,” Ed Sheeran

Who Should Win:  The song that got me this year was the Khalifa/Puth duet from the movie Furious 7. The song’s usage, coupled with the death of actor Paul Walker, made it a tremendously poignant song and one that had an impact on many people. It was such a heart-wrencher that, during the People’s Choice Awards, actor Vin Diesel broke into song – and tears – singing this song to honor Walker as he accepted the award for Best Film.

Who Will Win:  If he is overlooked on the Album of the Year race, this is where Grammy voters will try to make it up to Lamar. It is also possible that this could be said to Sheeran, too, should he not win Record of the Year.

BEST NEW ARTIST

Courtney Barnett
James Bay
Sam Hunt
Tori Kelly
Meghan Trainor

Who Should Win:  Tori Kelly has perhaps the richest voice that I’ve heard in quite some time. She’s probably going to be the artist that has the best career out of this bunch, but that doesn’t mean anything right now. This is a category that once honored A Taste of Honey over Elvis Costello and The Cars, remember that.

Who Will Win:  It’s Trainor’s award to lose. She’s by far had the most commercial success with “All About That Bass” and her debut album and she does bring that “doo wop meets hip hop” sound that Grammy voters think is so unique (sorry, my sarcasm monster escaped). There’s sometimes you shouldn’t combine musical genres and this is one of them.

BEST POP VOCAL ALBUM

Piece by Piece, Kelly Clarkson
How Big, How Blue, How Beautiful, Florence + The Machine
Uptown Special, Mark Ronson
1989, Taylor Swift
Before This World, James Taylor

Who Should Win:  Readers will know that I have a tremendous admiration for Florence +The Machine and they should win this award hands down. How Big…, from start to finish, was the most complete work that the band has ever done and should be recognized (also wonder why it isn’t nominated in the Alternative category, but I digress). I’ve also enjoyed Clarkson for years, but this last album wasn’t her best work.

Who Will Win: Once again, if Swift doesn’t get any of the “big” awards, this would fall to her as a consolation prize. I could also see the Grammy voters pulling a fast one here, though.

James Taylor getting nominated in this category would be prime for one of those idiotic moments in Grammy history when someone is honored WAY past their prime (don’t get me wrong, this isn’t to say Taylor’s latest album isn’t any good, it just isn’t his best work) for their career. Other examples of this would be Steely Dan’s 2001 Grammy win for Album of the Year for Two Against One (over more deserving subjects as Eminem, Paul Simon, Radiohead and Beck) and the inaugural Hard Rock/Metal Performance Vocal or Instrumental Grammy in 1989, which went to Jethro Tull over Metallica (still one of the greatest tragedies in Grammy voting).

BEST ROCK ALBUM

Chaos and the Calm, James Bay
Kintsugi, Death Cab for Cutie
Mister Asylum, Highly Suspect
Drones, Muse
.5:  The Gray Chapter, Slipknot

Who Should Win:  One of the breakout bands of 2016, Highly Suspect should be the ones who walk on the stage on Monday night to pick up this award. Other than Best New Artist, however, Grammy voters are wont to giving out accolades to newcomers (unless said newcomer just blows everyone out of the water); they are more apt to vote for those that have paid their dues in the business. Hence…

Who Will Win:  This is an easy one for Muse to take home. Although Drones is quite a distance from their best work (I’ve always been partial to The Resistance myself), Muse has put the required time in and it is their time to be rewarded. With only one Grammy win, Slipknot (2006 for Best Metal Performance for “Before I Forget”) might also be in the mix.

BEST ALTERNATIVE MUSIC ALBUM

Sound & Color, Alabama Shakes
Vulnicura, Bjork
The Waterfall, My Morning Jacket
Currents, Tame Impala
Star Wars, Wilco

Who Should Win:  I have to admit, I haven’t given this band much of a listen, but many in the industry say that Tame Impala is one of the big up and comers in the Alternative scene. Perhaps when I see them come up on Sirius XM I’ll give them a stronger listen because, at this point, they really have failed to grasp my attention – but, then again, I might not be the audience that they are targeting!

Who Will Win:  Once again, we come back to one of those “if you don’t…/then you will…” situations. If Alabama Shakes doesn’t garner Album of the Year, this is going to be their consolation prize.

KaseyMusgraves

BEST COUNTRY ALBUM

Montevallo, Sam Hunt
Pain Killer, Little Big Town
The Blade, Ashley Monroe
Pageant Material, Kacey Musgraves
Traveller, Chris Stapleton

Who Should Win:  In her sophomore effort, Musgraves has shown she is going to be a force to be reckoned with on the country music scene (and one of the few country artists that I like). She could have stuck close to what won her the Best Country Album Grammy in 2013 (for Same Trailer Different Park) but Musgraves instead chose to challenge herself by moving in a more artistic direction both lyrically and musically. In a genre that likes its artists to stay in their lanes, Musgraves is pretty refreshing.

Who Will Win:  Unfortunately for Musgraves, Stapleton is kind of unseating her in the “individuality” streak. A longtime bluegrass and country musician and writer who backed up such diverse artists as Adele and Brad Paisley and written songs with Peter Frampton, Sheryl Crow and Vince Gill, Stapleton finally decided to step out from the shadows and show himself. The resulting effort was Traveller which, if it doesn’t garner any big awards, should see the country side of the aisle recognize his efforts at the minimum.

ChrisStapleton

So what do you see as the big awards for the Grammys come Monday night? Or will you even be watching? Who knows, we may see Lady Gaga, during her tribute to late, legendary David Bowie, actually come out dressed as the Thin White Duke himself!

Wondering Whatever Happened To…For September 12

Wondering whatever happened to the women of The A-Team while pondering…

Is Hollywood Bereft of Ideas? – Earlier this week, plenty of branches of the media – the sports and entertainment worlds, in particular – were abuzz over the latest casting decision made in Tinseltown. Word has it that mixed martial arts (MMA) champion Ronda Rousey had agreed to join the cast of a reboot of the movie Road House, with Rousey taking on the iconic role originally portrayed by the late Patrick Swayze. Road House, for those that have been able to avoid the 975 broadcasts of the movie per day on cable, is the story of a highly educated bouncer who goes to a small Missouri town to “clean up” a bar, but has to deal with a dastardly crime boss while romancing said crime boss’ ex-girlfriend (there’s more, but I hate to provide too many spoilers).

Give Rousey credit, she actually contacted Lisa Niemi, Swayze’s widow, to ask if it would be OK for her to take on the role her husband had created in the 1989 movie (according to reports, Niemi was more than pleased to give her blessing). And it isn’t as if Rousey hasn’t been working her way onto the Big Screen previously. Starring roles in both The Expendables 3 and Fast & Furious 7 plus a cameo in Entourage have already paved the way in demonstrating that Rousey may have some bankable acting talent. But why couldn’t Hollywood come up with something original for Rousey to make her big-screen breakthrough?

The current trend for Hollywood to “reboot” or “reimage” movies and television shows is wrong in that it gives those who are supposed to be creative an easy escape rather than challenging them to new material. Movies less than a decade old such as the Spider Man trilogy and the Fantastic Four franchise have been “rebooted” not for any artistic purpose but simply to either double-dip at the trough because the movies or shows were ahead of their time (re:  the acceptance of superhero movies as money-making outlets) or to fleece their audience a second time. While it hasn’t made the airwaves yet, the NBC series Heroes Reborn smacks of this double dipping also.

Instead of letting the creativity muscle atrophy to the point it’s nonexistent, why not come up with original programming and movies rather than fall back on tried and true tropes? Why not venture outside the box and allow for new minds to come up with programming and movies that challenge their audience while entertaining them at the same time (the USA Network’s Mr. Robot was one of the few things I’ve seen this year that challenged its viewers mind)? While Rousey is more than able to take on the role of Dalton, she should have her own vehicle to carry her to stardom.

It’s Not about Your Color, But… – The U. S. Open in tennis its final stages, looking to crown champions in the final major of the year. Tennis powerhouse Serena Williams is looking to become the first person since 1988 to win all four of tennis’ Grand Slam events (the Australian Open, the French Open and Wimbledon alongside the U. S. Open) in the same calendar year (last achieved by Steffi Graf), truly a remarkable achievement. It was the treatment of another member of the tennis community at the hands of the New York Police Department that has garnered the news, however.

On Wednesday, retired U. S. tennis star James Blake – who was ranked #4 in the world at one point during his career – was waiting outside his hotel to head to Flushing Meadows, where he was to offer commentary on the tournament. Much to Blake’s surprise, he was rushed by an unknown person, slammed to the concrete and forced to lay handcuffed face down by the attacker. The person was an undercover police officer, who never identified himself but seemed to enjoy his apprehension of a violent criminal. That was until the person laying prone in the street in front of them was identified, however.

A retired police officer told the approximately six officers standing around Blake that they, in fact, had violently attacked and apprehended a former tennis champion, not the credit card fraudster (a white collar crime, not one you’d think of for such treatment) they thought they’d apprehended. What was truly reprehensible after the incident was that the officers didn’t report the incident to their superiors; it took Blake stepping up to requests for an interview from the New York Daily News before any mention of the incident became public.

The mayor of New York, Bill deBlasio, and NYPD Chief Bill Bratton fell over themselves with an apology to Blake. “I would be very interested in talking to him to extend my apologies,” Bratton said in a press conference after the incident came to light. “Mr. Blake had no role or involvement in the criminal investigation that we were conducting and was totally innocent.” Here’s the kicker, though:  Bratton went on to say that Blake’s skin color had nothing to do with how he was treated, that “if you look at the photograph of the suspect it looks like the twin brother of Mr. Blake.” I’m sure that’s the case, Chief, and that’s why your officers were so quick to report the incident to you…

Hell Freezes Over, Occasion #1 – There is no middle ground when it comes to Fox News and the opinions that people hold of the channel. Either everything they say is the gospel and should be followed by an “Amen” or they are the second coming of the Antichrist. Sometimes, however, one of the many talented anchors and/or opinion makers they employ steps off the usual script and surprises people.

On Tuesday, Fox News anchor/commentator Shepard Smith apparently forgot to check his in-box for the latest memos or he simply decided to think for himself. The discussion over the continued jailing of Kentucky court clerk Kim Davis – who at that time was still incarcerated for her refusal to do her job and issue marriage licenses to all couples, including those of the same sex – was at a boiling point (this was but a few hours before her release from jail) when Smith ripped off his commentary on the subject.

Smith stated that Davis’ refusal to do her job on religious grounds was but a publicity stunt aimed at drumming up supporters of “religious freedoms.” “We thought what this woman wanted was an accommodation, which they’ve now granted her, something that worked for everybody,” Smith said after telling his audience that a compromise – her clerks performing the duty – had been offered. “But it’s not what (Kim Davis and her attorney) want.”

“This is what they want, what you’re hearing now, and this what they’re going to get: stirred up argument and a couple of days in the news cycle,” he said. Smith also pointed out the hypocrisy of their argument, saying, “This is the same crowd that says, ‘We don’t want Sharia law, don’t let them tell us what to do, keep their religion out of our lives and out of our government.’” Seems as though Smith might have to go to the Fox “dungeon” for some attention…

Now to answer the question…what happened to the women of The A-Team?

Of course, The A-Team was a popular television show from the mid 1980s that focused on a crack military commando unit helmed by Colonel Hannibal Smith (the late George Peppard) that was convicted of a crime they didn’t commit. Along with Templeton “Face” Peck (Dirk Benedict), B. A. “Bad Attitude” Baracus (Mr. T) and H. M. “Howlin’ Mad” Murdock (Dwight Schultz), the team helped out those who could afford their services while trying to clear their name and get the U. S. Army off their back. As a part of that effort, a young reporter was a part of the show’s cast.

Amy Amanda Adams (portrayed by Melinda Culea) was a reporter who accidentally hooked up with The A-Team through an investigation she was doing background research. She became a valuable member of the team, often getting them access to certain areas and providing them with information on the parties they were attacking. Behind the scenes, however, the “team” wasn’t quite as tight as portrayed.

Culea wanted to expand her role in the show, even to the point of taking up arms beside her male costars, but the creators and producers of the show didn’t want to breach the fraternity of the military ensemble. After slightly more than one season on the show, Culea was written out of the show and had a semi-successful life afterwards as a guest star on such programs as Star Trek:  The Next Generation, Murder, She Wrote and Knots Landing. She last was seen on the silver screen in 2001, when she was in the movie Dying on the Edge.

Although Culea’s character would be mentioned on occasion, the producers still felt the show needed a female presence. With that in mind, Marla Heasley was brought in to portray another reporter, Tawnia Baker. Heasley confirmed the anti-female mentality of the program through two instances with Peppard and, by the start of the third season, she was gone as well. Although she later would appear in the movie The Marrying Man, Heasley was out of the industry by 1993.

A third female was given a shot in the fifth season, but she didn’t even reach beyond the introduction. Tia Carrere was supposed to play a Vietnam war orphan (The A-Team was supposed to be Vietnam War veterans) who would join up with the team on its missions but, due to conflicts with General Hospital (the ABC soap opera she was also performing on), Carrere was unable to take on the show following her debut. Following that disappointment, Carrere went on to have arguably the best career of the three actresses.

Carrere would be the paramour of Mike Myers’ character Wayne in the two Wayne’s World movies and had a long run in the syndicated television program Relic Hunter as the lead character Sydney Fox. Most recently, Carrere has earned two Grammy Awards for her performance of Hawaiian music and lives in Los Angeles where she continues to perform.

It’s Time for the VMAs, But Who Really Cares?

On Sunday evening, something that used to be a “calendar” event in the music industry will take to the Microsoft Theater (formerly the Nokia Theater) stage in Los Angeles, CA. For the 32nd consecutive year, the MTV Video Music Awards will take place, honoring the best video work in the recording industry and the performers who have given us their best (?). In reality, however, the MTV “VMAs” and their “Moonman” award have become a gauche award because nobody really cares about them anymore.

When MTV hit the airwaves in 1981 (in fact, on August 1 the station celebrated its 34th anniversary), it was a brazen broadside against the staid, stoic music industry and the radio industry and stations that would “make or break” careers in a heartbeat. The first video aired on MTV, The Buggles’ “Video Killed the Radio Star,” seemed like a four-minute manifesto of what was the intent of the new channel. Record companies and their artists for years had put together promotional videos that, for the most part, were only seen by a handful of people at the record companies and in the radio industry. When MTV came along, that suddenly changed.

Bringing together these hundreds of videos (literally…pretty much anything on MTV in the early days was seen quite often due to the lack of material), MTV slowly built an audience and, at the same time, became the place where new artists made their breakthroughs. Such artists as Madonna, Cyndi Lauper, Men at Work, Bow Wow Wow, Duran Duran and the Human League were getting their attention not through traditional radio play but from the constant airing of their music videos on MTV. The biggest move by MTV in its early years may have been the exposure it gave to black artists. Eddy Grant, Musical Youth and a young man embarking on a solo career by the name of Michael Jackson (among others) benefitted greatly from the exposure that MTV provided.

It also had a way of destroying careers. The 1981 Grammy Awards were dominated by a Texas newcomer named Christopher Cross, who earned the top four awards (Record of the Year for his eponymous LP, Album of the Year, Song of the Year for “Sailing” and Best New Artist) and seemed poised for a long career in the music industry. Due to his pedestrian features and roly-poly physique, however, Cross wasn’t the typical “MTV artist” and he quickly disappeared from the scene following his sweep.

A couple of years into their existence, however, the honchos at MTV were faced with with the dilemma of continuing to grow the channel and coming up blank. In 1984, the powers that be at MTV came up with what they thought would be the cure (no, not the band). Producing their first ever MTV Video Music Awards, the channel looked to give the same gravitas to music videos that the Grammys bestow on music or the Oscars give to cinema. Over the years, the show has provided MTV with some of its most outlandish moments while also being its most watched event.

Who doesn’t remember Madonna’s rendition of “Like a Virgin” at the very first VMAs? Or Madonna’s girl-girl smooch with the randy Britney Spears in 2003? How about Kanye West barging in on Taylor Swift’s “Moonman” acceptance speech in 2009 (one of the few times I actually felt sorry for Swift)? The clothes, the music and sometimes even the videos made the MTV Video Music Awards a spectacle for the youth of the era. Over the past few years, though, the futility of the VMAs has been mentioned and whether it is the iconic “happening” that it was in its earlier incarnation.

Part of the reason for that is in the maturation of MTV itself. About 15 years ago, MTV decided that it wanted to be more of a lifestyle channel for the young and hip rather than concentrate on music alone. To achieve this goal, MTV began to put on its airwaves things that weren’t the “traditional” fare for the channel. A host of reality and game shows were the start, followed by fashion and “home” shows (anyone remember “Cribs”?).

The reality trend that took over in the 21st century allowed MTV to pretty much switch over to just the reality shows, including the vapid Jersey Shore and other scripted programming (none worth mentioning). Lost in the mix? Music videos, the thing that borne the channel (part of that was in the fact that the record companies, looking to tap another potential revenue stream, wanted to start charging MTV for showing the previously “promotional” videos). Hence, here you have a channel which was formerly the “groundbreaking” arena for exposing new artists through their music videos – in fact, naming their station AFTER MUSIC TELEVISION – not even showing them anymore.

Videos themselves also seem to have disappeared for the most part. Back in 1982, Duran Duran released Rio, their second album. Using the new MTV format, the group was sent by their record company, EMI, to Sri Lanka and Antigua to film an unheard of 11 videos for the record. Those videos not only served to be a major part of the programming for MTV in its early years, it also established Duran Duran as megastars in the music industry and provided the group with a career that still exists today.

Today, videos are seldom done and, if they are, it isn’t for promotional purposes. More often than not, they are done by popular artists that have no need to garner additional airplay for their efforts (think of why Swift, who has somehow crafted a career in music, continues to put out videos that no one has ever seen) or as a “vanity project.” There isn’t a purpose anymore for the music video because there isn’t an outlet for it to air on (sorry, YouTube doesn’t count).

Which brings us back to this year’s VMAs. Of the nominees that are on the list, I’ve seen exactly two of the videos – Mark Ronson’s collaboration with Bruno Mars on “Uptown Funk” (outstanding song, great video and it probably won’t win shit on Sunday) and Florence and the Machine’s “Ship to Wreck” (a band I can’t get enough of that also won’t sniff a “Moonman”). The rest could be cartoons for all I know because there isn’t an outlet to show them anymore. The untalented Swift is nominated for nine awards while Ed Sheeran has six, with a smattering between Nicki Minaj, Kendrick Lamar and Beyonce and the “Video Vanguard Award” (think Lifetime Achievement Award) being handed to West.  Without an outlet, however, why hand out awards for something that will basically become a popularity contest?

Imagine, if you will, Hollywood continuing to crank out movies and television shows but every theater on Earth not showing them and no television networks to put the shows on? (This one could become reality with the advent of Netflix, Amazon Instant Video and Hulu starting to film their own projects.) Would there still be a slew of awards shows for basically something that doesn’t exist anymore?

As a former DJ and music aficionado, I used to sit with bated breath each year for the VMAs (and the Grammys, for that matter), not only to know who won what but for the outstanding musical performances that it brought to its stage (never enough rock, always too much pop). Nowadays the videos are all things that I haven’t seen and the “musicians” (and that term is a stretch in many cases) and their music are so over-produced they cannot perform their music live. Thus, you have to wonder if anyone even cares about the MTV VMAs anymore.

Sure, there will be some prepubescent teenagers who will watch as Miley Cyrus, this year’s host, tries to show how “adult” she is through some pseudo-sexual act she’ll perform onstage; Swift will still constantly look like a deer in headlights as she facetiously mouths “Me? Me?” after winning her umpteenth award and there will probably be some spat – usually between warring rap parties – that blows up backstage into a story. It’s time for MTV’s Video Music Awards for 2015, but does anybody really care anymore?