Logo na abertura, antes mesmo do anúncio do apresentador LL Cool J, Beyonce e Jay Z subiram juntos ao palco e protagonizaram cenas bastante sensuais ao cantarem juntos “Drunk in love”. A união foi celebrada por Queen Latifah.Įntre as performances mais aplaudidas, estiveram a reunião de Kendrick Lamar e Imagine Dragons, a dos cantores country Merle Haggard, Kris Kristofferson, Willie Nelson e Blake Shelton, a da banda Metallica com o pianista Lang Lang e a aguardada participação de Steve Wonder na apresentação de Daft Punk, Pharrell Williams e Nile Rodgers. Já a cantora country, que dificilmente sai de mãos vazias de qualquer premiação, não venceu em nenhuma das quatro categorias às quais foi indicada.Ī cerimônia teve ainda momentos emocionantes, como a reunião de Ringo Starr e Paul McCartney, que tocou o mesmo piano colorido usado pelos Beatles na Magic Mystery Tour, em 1967, e a celebração do casamento de vários casais, alguns de pessoas do mesmo sexo, ao som de “Open Your Heart”, cantada por Madonna, Queen Latifah, Mary Lambert e Macklemore & Lewis. O primeiro, campeão de indicações, com nove, subiu ao palco apenas uma vez, para receber a estatueta de Melhor colaboração de rap. Jay Z e Taylor Swift, por outro lado, podem ser considerados as grandes decepções da noite. A cantora neozelandeza será atração do festival Lollapalooza 2014 em São Paulo, marcado para os dias 5 e 6 de abril. Justin Timberlake, com três prêmios, e Lorde, com dois, incluindo o de Canção do ano, por “Royals”, também não tiveram do que reclamar. Outro destaque foi a dupla Macklemore & Lewis, que conquistou quatro prêmios, três deles antes mesmo da cerimônia oficial: Artista revelação, Melhor álbum de rap, Melhor canção de rap e Melhor performance de rap. Eles levaram ainda prêmios por Melhor performance pop de duo ou dupla, Melhor álbum de dance/eletrônica e Álbum com melhor engenharia de som. Taylor Swift comemora vitória de Lorde no Grammy em rede socialĬom vitórias em cinco categorias, incluindo Álbum do ano e Single do ano, o duo francês Daft Punk foi o grande vencedor da 56ª edição do Grammy Awards, na noite deste domingo (26). On its 10th anniversary, the duo is reissuing the album with a raft of unreleased demos and outtakes, as well as a new mix in Spatial Audio. It remains the last time humans have been on the moon. But there's somethin’ out there.” This was the Apollo 17 mission, December 1972. “As we look back at the Earth, it’s, uh, up at about 11 o’clock, about, uh, well, maybe 10 or 12 diameters,” the sampled voice of astronaut Eugene Cernan says on “Contact.” “I don't know whether that does you any good. There was joy in it, but there was melancholy, too: Here was a world seen through the rearview, beautiful in part because you couldn’t quite go back to it. “Get Lucky” and “Lose Yourself to Dance”-spotlights both for Pharrell and the pioneering work of Chic’s Nile Rodgers-recaptured the innocence of early disco and invited their audience to do the same. “Touch” was “All You Need Is Love” for the alienation of a post- Space Odyssey universe “Give Life Back to Music” wasn’t just there to set the scene, it was a command-just think of all the joy music has brought you. The concept, as much as the album had one, was to suggest that as great as our frictionless digital world may be, there was a sense of adventurousness and connection to the spirit of the ’70s that, if not lost, had at least been subdued. The theatricality that had alway been part of their stage show and presentation found its musical outlet (“Giorgio by Moroder,” the Paul Williams feature “Touch”), and the soft-rock panache they started playing with on 2001’s Discovery got a fuller, more earnest treatment (“Within,” the Julian Casablancas feature “Instant Crush,” the I-can’t-believe-it’s-not-The Doobie Brothers moves of “Fragments of Time”). So while the live-band-driven sound of 2013’s Random Access Memories was a curveball, it was also a logical next step. But it also marked Daft Punk as a group with a strong, dynamic relationship to the past whose music served an almost dialogic function: They weren’t just expressing themselves, they were talking to their inspirations-a conversation that spanned countries, decades, styles and technological revolutions. Within the context of 1997’s Homework, “Teachers” presented the group as bright kids ready to absorb the lessons of those who came before them. There is an early Daft Punk track named “Teachers” that, effectively, served as a roll call for the French duo’s influences: Paul Johnson, DJ Funk, DJ Sneak.
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