Sketchy Details

Listen: "21 Guns" performed by the cast of American Idiot

To borrow from Nathaniel over at The Film Experience, click the play button to have the soundtrack to this post.

I'll admit that I'm not keen on the idea of the Broadway-bound American Idiot musical. I have a pretty good feeling that this will flop in a spectacular, Lestat-like fashion when it opens 20 April.

For one thing, it's an adapted rock musical about young people caught up in the Iraq war (allegedly, they don't specify) and drug abuse. American Idiot was a very good album that would need lots of expansion and tweaking to be a full length musical. Which of course means it's a one act sung-through show with video screens and rock ensemble on stage.

To be less cynical for a moment, there is an ample amount of music in the show (it just happens to all have not been written for a musical*: American Idiot + B tracks and 21st Century Breakdown). I'm just thinking there was a big surge of one-acts on Broadway a few years ago and only The 25th Annual Putnam County Spelling Bee lasted much longer than a year. The convention is two acts, even if the story is better told in one. People need the intermission partly to stop them from getting lost in the non-stop assault of kind of similar sounding music. It's a service to the audience and a benefit for the cast, crew, and creators of the show.

But I digress. I still don't have hopes for the show to succeed on Broadway. The whole thing screams Off-Broadway with possible limited-run Broadway transfer after building a popular following in the area. Then again, if Spring Awakening can have a healthy run and be that out of step with modern Broadway style (from staging to subject matter to style of rock, it was out there), why not American Idiot? Except for, you know, the really bad title. We're not talking Urinetown ridiculous titles here, but it's close. More like Fat Pig or Wishful Drinking.

Though the cast recording of "21 Guns" (Tony song, obviously) hasn't raised my expectations, I do have to give credit where credit is do. This is a wonderful arrangement for a big ensemble number. Three featured soloists, smaller ensembles, and full cast all get featured in a big, exciting, bang-out-the-key-change way that makes me love theater. The ample use of strings in the beginning before full-tilt rock mode is lovely. If you ignore Billie Joe Armstrong not even being close to as strong a singer as the cast of the show, it's really well recorded. When a cast recording is released, I think John Gallagher, Jr. (Tony winner, Spring Awakening) gets to take that verse, though it might be Michael Esper or Stark Sands (there's no "[song] [character]" listing readily available yet and everything is always subject to change during previews).

Wow. This turned out a lot more negative than I intended. Please listen to the track. The presence of Green Day (wrongly credited as the main attraction) might mean radio play for a theater song, or what's become a theater song. That's rare on CHR/Top 40 stations. I approve. Then again, I see no reason why "I'm Alive" from Next to Normal or "Brooklyn in the Blood" from Brooklyn couldn't have received similar airplay.

 

*I'm aware that both albums were constructed as rock operas. That alone does not make them musicals. It's all going to be in interpretation and presentation which I can't judge yet. I hated the idea of Jersey Boys and fell in love with it when I saw it.

Grammy/Oscar Round-Up

Grammys: The awards split in ways I didn't expect, with the exception of Gaga. I nailed NARAS viewing her only as a dance artist with a breakout hit. Swift takes Album because Kanye West is a braying ass; Beyonce takes Song because even NARAS doesn't understand that award recognizes the songwriting, not the finished product; Kings of Leon take Record because they sure weren't going to give Dave Matthews Band Album of the Year and something rock needed to be in. Sadly, with the exception of Beyonce, I see every other nominee's career on the decline in the very near future. Country cross-overs have  a very short life span, dance acts are replaced by the next new sound, and older rock acts get nominated just because enough people remember they exist.

Zac Brown Band took Best New Artist, probably because the country branch could band together and win over the smaller R&B branch while everyone else scratched their heads over who MGMT, Silversun Pickups, and The Ting Tings were.

Eminem won every rap award he was up for. The Yeah Yeah Yeahs lost Alternative Album. A musical comedy album beat stand-up comedy albums. A revival won Theatrical Album category over new shows. And the sky is still blue.

And now for less cynicism.

Oscars: Tomorrow morning, we will know who is nominated for the Academy Awards. This will be a momentous occasion for many possible reasons.

For one thing, we'll see how the return to 10 Best Picture nominees plays out. It seems certain for Avatar, Precious, The Hurt Locker, Inglourious Basterds, and Up in the Air to be nominated, but what else? Will we see populist choices like Star Trek or The Hangover? Acting vehicles like Julie & Julia or Nine? Animated films like Up? Foreign films? Documentaries? Wait, scratch that last one. That'll never happen. 

Another possible change is the Best Original Song category. It's not obligatory any longer. If the shortlisted songs didn't score high enough at the music branch's required screening, there will be no Best Original Song category. So there could be 0, 2, 3, or 5 nominees tomorrow.

Then there are the acting categories. Every single one seems to have one spot up for grabs, at least. Best Supporting Actress is the least clear, as everyone and their kindergarten teacher has given the award to Mo'Nique. Will we see multiple Up in the Air's or Inglourious Basterds or Nines to fill out the category? Will they be selected by performance quality or their ability to sit politely with a genuine smile on their face when Mo'Nique wins the Oscar?

Speaking of the muddy acting categories, could Avatar's massive green screen acting campaign pay off with a nomination for Sigourney Weaver in Supporting Actress? The campaign is smartly showing stills of Weaver in her human form in the film, in the green suit, and the corresponding animated shot showing how much of her performance transferred to the CGI of the film. A similar campaign is brewing for Zoe Saldana, tough Weaver has the edge in being a two-time previous nominee who is also the only woman ever nominated for a sci-fi film. If the Academy remembers how much they used to love Weaver, we could really be making history.

Most important of all is Best Director. Why? Katherine Bigelow is the favorite to win Director at this point. If the domination of precursors didn't push her that way, the DGA did. As Roger Ebert tweeted enthusiastically, 57 of the 60 DGA winners went on to win Best Director; 58 of 60 went on to win Best Picture. Unless the Academy really votes for the creation of new jobs in the industry (it happens), Bigelow will most likely win if nominated.

Of course, this could all be moot tomorrow when Clint Eastwood and Rob Marshall receive Best Director nominations over Bieglow and Lee Daniels, Nine, Invictus, An Education, The Last Station, and A Serious Man fill out Best Picture out of familiarity, and Best Song is announced with five nominees coming from Disney, an adapted musical, a foreign film, a music-influenced character piece, and another animated film. But a guy can dream.

12 Days of Sketchies: Day 6: Outstanding Achievement in Music Video

Music videos are a misunderstood form nowadays. Cynicism over lack of airtime on music networks has led some to question the quality of the entire medium. Further confusing the dialog is the fact that music videos are simply advertising tools for records. Some artists attempt to go beyond that and create engaging products, but that is not always the case.

Here are the honorees for Outstanding Achievement in Music Video.

Handicapping the Grammys: Part 3: Record of the Year

I'll finish this series up before the end of the year. I wasn't going much further with it, anyway. I have Album after this and a few of the more interesting categories and that's it.

Record of the Year reads very similar to Song of the Year on paper, especially this year, but the awards are responding to two very different things. Song of the Year is the composition: how well the song is written; the award goes to the songwriter. Record of the Year is the actual product itself: the recording; the award goes to the artist, the producer, the recording engineer, and the mixer. That means everything from performance to arrangement to recording technique is up for consideration, in theory. Exposure also plays a big part in this category. A record with a higher presence has a better chance at winning here than a smaller, less heard recording. 

Here are the nominees:

"Halo" by Beyonce:

If anything, I think Beyonce's big nominations should be reversed in Song and Record. "Halo" is a better composition, while "Single Ladies" is a better record. The latter would have been unstoppable in this category. "Halo" had great crossover appeal, becoming Beyonce's most successful single to date. It went to number 5 on the Hot 100, but stayed in the top 40 for 30 weeks straight; that's impressive. The single only recently fell off the charts. It received Contemporary Hit Radio/Top 40, Pop, R&B, Hip-Hop, and Dance airplay consistently; even some adult contemporary and easy listening stations went along. The song is catchy and easy to remember, the production clean and distinctive, and the balance between vocal, strings (synth), and drum track nicely arced. If they want to award Beyonce something big, it will be here. She's either going to walk away with most of her nominations or very few. I don't see an in-between situation here.

"I Gotta Feeling" by The Black Eyed Peas:

It's groups like The Black Eyed Peas that benefit from the Song/Record distinction. They've been nominated all over the Rap, Pop, and Dance categories, but Record remains their most consistent nomination. They were previously nominated for "Where is the Love?" and very similar song "Let's Get It Started." The group is the proof that airplay impacts this category. "I Gotta Feeling" is still a monster single. This is the first time since Digital Downloads were counted that a band replaced themselves at number one on the Hot 100 (the others: only three - The Beatles, Boys II Men, and Outkast). The single has been number 1 in 25 different countries and is tied with five other songs for second longest run at number 1 on the Hot 100. It did, however, only chart on Pop and Hot 100 charts. You could not escape this song this summer and only recently has it begun to fade on the radio. Do not be surprised if it wins on the big night: it's instantly recognizable, fun, slick, and practically ubiquitous in American culture for now.

The next three are identical to Song of the Year and have a better chance of winning:

"Use Somebody" by Kings of Leon:

Speaking of ubiquitous singles, here is the likely winner of the category: "Use Somebody" by Kings of Leon. Here's why. It's not a dance recording, country recording, or R&B recording. It's pop/rock, which gave it the most crossover appeal on the radio. There are Contemporary Hit Radio/Top 40 stations, for example, that refuse to play dance or remotely R&B/Hip-Hop tracks, but jump on anything rock like it's the second coming. It's currently still charting on the Hot 100, Pop, Rock, Radio, Digital, Adult Contemporary, Alternative, and Adult Pop charts. It peaked at number 4 on the Hot 100 Here's what the song has going for it: it's very repetitive and easy to sing along to, it's by a band the Grammys have liked in the past (previous winners with new crossover appeal - Rock Vocal Performance by Duo or Group for "Sex on Fire"), the production has a great energy to it (even more so than Beyonce's), and the singer really sells the emotion of the song without making it too sentimental. 

"Poker Face" by Lady Gaga:

If Lady Gaga had received a single Pop category nomination, I'd be comfortable calling her the winner here. The fact is that NARAS views her as a Dance artist with crossover appeal. She'll likely only win in the Dance categories unless the academy is far more receptive to The Fame and/or recognizing the next big thing in Contemporary Hit Radio/Top 40, I don't see her winning a big category. Maybe here if they feel as bad as they claim about her being ineligible for Best New Artist thanks to a previous nomination. The song has already been parodied on South Park, for goodness sake, and sampled on a charting Rap song (Kid Cudi's "Make Her Say"). It went to number 1 in 17 countries, plus the EU chart. It also topped all three US Dance charts in a single week. Lady Gaga can be a very polarizing force, but the people who love her really love her. If there are enough, this would be the category she could squeak out the win in. It's a memorable song and the production is unique among the nominees here.

"You Belong With Me" by Taylor Swift:

Taylor Swift's year has been huge. She's scooping up country music awards like rain drops in a barrel (bad simile, my apologies, it's early and I'm not firing on all cylinders yet). "You Belong With Me" is directly connected to the VMA incident. That incident could easily win to a big category win out of sympathy and appreciation for her strength of character in not smashing a certain rappers head in with a large silver moon man trophy for being a jackass. The song topped the Adult Contemporary and Country charts, and hit number two on the Hot 100 and Pop charts. It is a sweet love song with great crossover appeal and simple arrangement. It's probably the best written song among the nominees here, but this category is about everything. Country artists are hit or miss with the big awards, and to be blunt, Taylor Swift's presence is as tricky to analyze as Lady Gaga's. Sometimes NARAS embraces a country crossover act, other times they don't. Like Beyonce, it's almost an all or nothing situation for Swift. She'll have a huge night or a disappointing night. 

Winner: It's not as easy to pick out as some of the other categories, but I'll go with Kings of Leon for the win, though the Black Eyed Peas have an outside chance; Swift is the dark horse. Beyonce's category placement for her Record/Song nominations will probably result in two misses and Lady Gaga is in the ghetto of Dance recording.

The Twelve Days of Sketchies: Day Five: Outstanding Achievement in Writing

Writing is a broad category, and I will be addressing it that way. We write books, we write screenplays, we write teleplays, and we write music. All shall be represented here.

First, an honorable mention. This is another one of the no one really knows or cares so why bother recognitions, but I must say it. Stew, badass rockstar and composer of one of the best rock musicals of all time Passing Strange, composed an original score for an outdoor production of A Midsummer Night's Dream. It's beautiful. You can sample it at CDBaby. It's not what you would expect for Shakespeare, but I can hear how it would work.

Our first honoree in Outstanding Achievement in Writing is a book that apparently came and went with no one noticing: Homer & Langley by E.L. Doctorow. Based on the lives of the infamous Collyer Brothers, a pair of hoarders in NYC who literally died in their own filth, Doctorow captures the desperation the men must have felt and accepted before allowing their lives to become overrun with hoarded objects. It's funny, it's touching, and it's entertaining. The extension of their lives through the Vietnam War and beyond was a smart touch to allow for a more believable arc of destruction. Sometimes, reality is too weird to be captured in print and seem real.

Our next honoree in Outstanding Achievement in Writing is the score to a motion picture that I simply fell in love with: Karen O and Carter Burwell's original score to Where the Wild Things Are. This is certainly a polarizing score. I was charmed by the simple melodies, complex arrangements, alt/folk/rock/pop influences, and emotional content performed by Karen O and a group of children. Others can't get past Karen O's signature voice and repetition. Here's a sampling of the score:

I'm a sucker for an original vocal score and Karen O and Carter Burwell delivered here.

Speaking of great original scores, I would be mad at myself if I neglected to mention another of my favorites of the year: John Ottman's original score for Orphan. "Orphan," you ask, "isn't that the one where the little girl turns out to be a [removed for spoiler free post]? That movie's stupid." I'm not arguing the screenplay here. I'm arguing the score. Beautifully written, largely sustained horror scores play me like nothing else. This one just worked for the film. Samples are available at Amazon. It's a little Goblin (Argento's go-to composing band), a little Danny Elfman, and a whole lot of strange and ominous. Truly an Outstanding Achievement in Writing.

Back to more easily understood forms of writing, our next honoree for Outstanding Achievement in Writing is a screenplay: (500) Days of Summer written by Scott Neustadter and Michael H. Weber. What Neustadter and Weber did to the romantic comedy is to be praised. Who could imagine what an impact believable characters and genuine circumstances could make in this kind of film? The time-jumps are just the icing on the cake. Aside from a very strained board room scene, the dialog is natural to the characters and the story compelling. Yes, an architect working for a greeting card company is intended to be quirky just because, but it works beyond the wacky gimmick. It's certainly a film worth watching for the writing.

Our next honoree is an original song that will send people clicking away from my site in droves. That's ok. I can take it. Lady Gaga's "Bad Romance." What happens when pop and/or dance music becomes totally self-aware? Lady Gaga happens. I've bought into the performance art hook, line, and sinker, and feel "Bad Romance" is easily the best new pop song of the year. It's disturbing, features half a verse dedicated to Hitchcock references, and only features a human voice as a real instrument (how modified is another matter of debate). So what's so great? It's a catchy pop song embracing the darker side of choosing a romantic partner, has a unique sonic identity, and stands out. See for yourself:

Freaky video, right? The song is even stranger. And I love it.

Now our winner. I struggled to pick a singular Outstanding Achievement in Writing since what I was drawn to this year was so weird. I opted for a mix of different writing elements combined to perfection in a television series. That would be the "Pilot" episode of Glee written by Ryan Murphy, Brad Falchuk, and Ian Brennan. The key moment of the episode is "Don't Stop Believing." The arrangement of the song is still the strongest written of any presented on the show. The lead up to this grand unveiling of the students actually being talented in all things Glee Club is predictable, but handled with so much charm and genuine enthusiasm that the scene works better than I could imagine. The super clean processed vocals and unrealistic rate of learning these characters demonstrate in every other episode is not a detriment in the pilot. Shoot, I'm willing to overlook the clearly orchestrated diversity of the Glee Club (which only expands) because the "Pilot" episode is so much fun. Having such clean elements and familiarity was the smartest way to launch a weekly musical series on American TV and that is why this wins Outstanding Achievement in Writing.

Handicapping the Grammys: Part 2: Song of the Year + Karen O's Luck

Song of the Year is the odd category out in the Big Four of the Grammy Awards. It's the category that for some reason confuses people even more than the record/album distinction. To put it simply: Song of the Year rewards the best written song of the year that gained prominence in the eligibility period.In other words, it's the best written hit song. It does not go to the performer unless the performer wrote the song themselves.

Here are the nominees:

"Poker Face" written by Lady Gaga:

I won't say I find this nomination surprising. It is not the best written song on Lady Gaga's The Fame, but, aside from previously nominated "Just Dance" (Best Dance Recording), it is her most popular single. Popularity accounts for a lot in this category and this song was popular. "Poker Face" reached number one in twenty countries, including Australia, Canada, Germany, the UK, and the US. Aside from the ease of singing along with the song and how well it stood out among Contemporary Hit Radio/Top 40 formats for embracing dance music aesthetics beyond a simple beat, the lyrics stand out for maintaining a consistent and accurate metaphor throughout the song. The poker imagery rings out clearly even if the meaning she ascribes to it - fantasizing about a woman while sleeping with her boyfriend - does not. Otherwise, the lyrics just repeat themselves again and again. Her voice is mostly used as an instrument in this song. Unfortunately, the song is just not strong enough to win here. She has a great shot at Record, but not Song, of the Year. 

"Pretty Wings" written by Hot Davids and Musze (Maxwell):

The industry loves Maxwell. When he has music out, he consistently sells records and albums. That type of clout helps very much at the Grammys since it's voted on by the members of the industry. Even more than "Poker Face," "Pretty Wings" repeats itself. What sells the repetition is Maxwell's gorgeous voice. He can sing beautifully, and that can hide a lot of flaws in a production. The song is particularly sentimental for an R&B ballad, focusing on how much Maxwell will miss a lover when the relationship has to end. When the nominations were being submitted, it was impossible to miss this song on Urban/Hip-Hop/R&B stations, and his label made a big push due to his absence from the industry for seven years. "Pretty Wings" reached number thirty three on the Hot 100 and number one on the R&B/Hip-Hop Songs chart. I believe the single has already peaked and will probably not win this category unless the love for Maxwell is so strong after his hiatus.

"Single Ladies (Put a Ring On It)" written by Thaddis Harrell, Beyonce Knowles, Terius Nash, and Christopher Stewart (Beyonce):

More than any other nominee this year, "Single Ladies (Put a Ring On It)" could not be ignored. It went to number one on the Hot 100, R&B/Hip-Hop Songs, and Hot Dance Club Play, as well as number two on the Pop 100. That means this empowerment anthem about marriage could not be avoided unless you listen exclusively to classical, rock, country, or oldies music stations in the US. It's still pervasive on the radio. The production is top notch on the track, even if the lyrics are a little inane. Seriously, "Up in the club, we just broke up / I'm doing my own little thing / Decided to dip and now you want to trip / But you never noticed me." This is the best intentionally promoted nominee, partly due to the visually stunning music video, inspired-by-Bob-Fossee's "Mexican Breakfast" (the original audio version disappeared off of YouTube and I'm not linking to the awful hip-hop overlays). She performed this song at every awards show she was invited to. She was always interviewed about "Single Ladies (Put a Ring On It)." The song is slick and catchy. She very well may walk away with Song of the Year. The one thing holding me back is how "Halo," not "Single Ladies (Put a Ring On It)" is nominated for Record of the Year. Consistency helps in winning one or the other, and that split might hurt her if voters believe "Halo" to be a better written song.

"Use Somebody" written by The Kings of Leon:

I'm a fan of The Kings of Leon. However, with "Use Somebody," it's as if they set out just to make a hit single. The complexity I expect from the group is not nearly as pronounced as other tracks and the lyrics are especially simple. Lead singer Caleb Followill has a very strong voice with wide vocal range and it's just not put to use here. Still, it is a very solid pop/rock song that, like "Pretty Wings," peaked at the right time. It went to number one on the Hot 100 Rock Singles, number two on Digital Downloads, and number four on the Hot 100. The band's leg up is previous Grammy wins and the popularity of the song. It's a clearer match with Contemporary Hit Radio/Top 40 than "Single Ladies" or "Poker Face" for falling into a clear pop/rock vein. Sadly, dance and hip-hop/R&B tracks are still treated as crossovers for that market. Kings of Leon have a good chance of winning this category for clean, straightforward songwriting.

"You Belong With Me" written by Liz Rose and Taylor Swift (Taylor Swift):

Taylor Swift has had a phenomenal year. She has been consistently winning awards for her second album and this song in particular. Combined with the industry-well-wishing from the VMA incident that I do not speak of anymore, she has an excellent chance of winning this category. It is a very solid pop/country love song. It was very popular, reaching number two on the Hot 100, number one on Hot Adult Contemporary Tracks, number one on Hot Country Tracks, and number two on Pop Songs. This is also the first country track since Billboard shifted to a far better monitoring service in 1990 to reach number one on the Hot 100. It's a monster hit, essentially. The industry is in love with Taylor Swift right now more than any country solo artist really since LeAnn Rimes at the 1997 Grammys (where she walked away with Best New Artist on the strength of a Patsy Cline cover). There are enough interesting things going on in the arrangement of the song to push Swift to a win here.

The Prediction: It's a three-way battle between Kings of Leon, Beyonce, and Taylor Swift. Industry good-will plays a lot in these awards and I expect Taylor Swift to benefit from it here over Beyonce. Kings of Leon are right up there.

The Bonus:

For those who have not heard, Miley Cyrus had her nomination rescinded for "The Climb" in Best Song Written for a Soundtrack. That means the next highest vote getter, Karen O's "All Is Love" is nominated instead. This song works so well in the context of Where the Wild Things Are that I hope she wins the category. Maybe Karen O will finally win a Grammy, since The Yeah Yeah Yeahs are always bested in Best Alternative Album. I doubt it, since she's up against Bruce Springsteen and "Jai Ho" from Slumdog Millionaire, but at least I can dream.

Sketchy Recs: What to Do This Weekend: 4-6 December 2009

In Theaters: Brothers: I'm intrigued by this film. The reviews are decidedly mixed, but the cast is receiving raves. I'm curious to see what Tobey Maguire does with a challenging role for once. Maybe I'll finally be able to stop accidentally calling him Elijah Wood and vice versa, since Brothers could mean the "No, not the one in Sin City and Free Willy (thanks for the correction, Karin), the one in Spiderman and Brothers" distinction. Iraq war dramas are big this year and this one looks at the home life rather than the war itself. Or else you can see Precious and finally understand what has been missing in your cinematic life.

Listen: The Fame Monster by Lady Gaga: In the wake of a disappointing Grammy categorization (apparently she's just a dance artist with one cross-over hit and surprising albums sales), I can still take joy in listening to The Fame Monster. The album is far more sonically challenging than the first and even more catchy in its total lack of care towards what should be popular in today's music scene. She's not just a simple pop (or dance) artist. There is surprising depth here and potential for great growth in the future. I'm excited for her career.

Watch: Ghost Hunters Academy: Let's be clear on this: I support Ghost Adventures for sheer hillarity and results, but there are fans of Ghost Hunters/HQ/International out there. I respect that. I think Ghost Hunters Academy is a stronger show by value of combining a clear explanation of what is being done with a smarter approach to competitive reality shows. Yes, there are eliminations, but the contestants are acting like respectable, professional human beings and maintaining a spot in the contest by virtue of performance, not manipulation. The hosts are intentionally screwing with the contestants to ensure no crazy, naive, or just plain stupid people stay on the show too long. That's not to say there aren't crazy people on the show or random acts of utter stupidity. If you ignore the sexism (and it's hard, believe me, when the male contestants are admonished for letting female contestants take the lead in an investigation) and constant hatred towards empaths/psychics trying to integrate science into their own investigation (the third episode has them eliminating one because the crew just can't work with that kind of evidence even if she was willing to do extra research on her own to verify her readings), it's entertaining and informative. On the whole, it is demonstrating a level of sensible thinking that other shows of this kind lack. All of the episodes are available online at SyFy.

Visit: Horror Board Short Story Contest: It's happening again for December. I revamped the website, added a blog, and changed up the rules a lot. If you have the time, why not try writing up a quick short story just for kicks. There are, as always, fabulous hand-crafted prizes for the winners and feedback from actual horror fans.

Have a great weekend, everyone.

Handicapping the Grammys: Part One: Best New Artist

How I love awards season. The film nominations are trickling in with all the expected results, while the ire over how out of touch the music industry is with the general public is bubbling up to its annual climax at the Grammy Awards.

Last night, the Grammy Awards Nomination Concert was broadcast to better than expected results on CBS. LL Cool J hosted, an odd choice that worked out well. He's a charming entertainer and well-loved by NARAS (National Academy of Recording Arts and Sciences). He managed to make brief diversions to odd choices like a Jonas Brothers' solo project and an up-with-Jesus Christmas Country Anthem (by Sugarland, who I love, just an odd choice for this event) seem fitting.

But let's get to more pressing matters.

Here are your nominees for Best New Artist:

Country act Zac Brown Band:

This is a traditional country act (as close as you get in the post-"all country has drums and electric instruments" era), and NARAS haven't rewarded a traditional country act in years (Carrie Underwood won Best New Artist because she was a crossover, Zac Brown Band is pure country, ala Sugarland or Brad Paisley, former nominees - not winners). Their biggest single, "Chicken Fried", reached #20 on the Hot 100 without Top 40/Contemporary Hit Radio airplay. It was not a crossover single. In the year of Taylor Swift domination, I see their chance as very strong to win this category. Partly because Swift has pushed country to the forefront of their minds, partly as a reaction to Swift's pop-country crossover status that is almost always controversial; they will be asking themselves "Is she too pop to be country?" and vice versa. Expect some Swift upsets but love for Zac Brown Band. Zac Brown Band have the most nominations of any Best New Artist nominee.

R&B industry songwriting veteran Keri Hilson:

Keri Hilson is a well-respected songwriter in the industry, penning hits for Britney Spears, Ciara, and Usher. She's paid her dues as a back-up and featured singer on many tracks in R&B, Hip-Hop, Rap, and Urban Alternative music and struggled to get her debut solo album just right. "Knock You Down" was a monster hit for her, reach #3 on the Hot 100 with major airplay, and everyone was clamoring to appear on her debut album for years. "Turnin' Me On" did well on the charts, reaching #15 on the Hot 100, but it did that outside of Top 40/Contemporary Hit Radio  If the industry wants to recognize one of their own, Keri Hilson is the obvious choice. She's a known commodity even if many Americans had not known her before March 2009. Two nominations alone do not mean that she is out of the running. Artists have won Best New Artist on that single nomination before. Interesting fact: her name is not "Miscarry" as many of my friends say again and again; she sings "Miss Keri, baby" on one of her tracks, causing the confusion.

Rock/Pop/Electronic/Alternative band MGMT:

This is a pop/electric/rock/alternative duo from Brooklyn. I'm surprised they're nominated to be honest. I'm surprised by the rest of the Best New Artist nominees to be completely candid. Whatever woke the industry up to smaller, edgier acts this year in this category makes me happy. I can't see something this synth heavy winning, especially without the big breakout hits or long-standing love like the other nominees. I'm guessing the closest they have is "Kids," the single responsible for their only other nomination (Best Pop Performance by a Duo or Group). It only reached #90 on the Hot 100. They do have greater international support than any other nominee, charting in Australia, Belgium, Canada, Germany, Ireland, Japan, Italy, the Baltic States (European Hit Radio), New Zealand, Norway, the UK, and the US. The nomination is the reward here, especially since this is their second album (the first released under the name The Management before legality caused the name change) and NARAS is turning against non-debut albums being nominated.

Speaking of nomination as the reward...

Alt/Rock band Silversun Pickups:

This was the shock. When NARAS makes statements claiming Phoenix isn't eligible for Best New Artist because they released four albums already, how does one justify Silversun Pickups three album discography being nominated here? Or past nominees that kicked around for years, like Susan Tedeschi (winner) and David Gray? I'm over the moon for them. I've been a big fan for years and it's nice to see them finally nominated for what will probably be the first and last time. "Panic Switch" has been my jam for a while now, though their airplay and sales are pretty lackluster. They have a great groove to their songs and a strong pop sensibility. The hooks are catchy and Brian Aubert's voice is unique in a good way. "Panic Switch" is their highest charting single, but that was #98 on the Hot 100 (#1 on Mod, the Alternative charts). I'm doubting a win here. Not being nominated for Best Alternative Album is a pretty good indication of this. It's rare for the winner to not be nominated in their own genre elsewhere.

British Dance Duo The Ting Tings:

Probably my favorite of the nominees. Their great beats, catchy hooks, and very long singles saved me many times at a thankless music/drama teaching camp position this summer. A game of freeze dance, no eliminations, to "That's Not My Name" could go on for 10+ minutes. But I digress. It's fun pop/dance music and they had two distinct Top 40/Contemporary Hit Radio hits in the eligibility period "Shut Up and Let Me Go" and "That's Not My Name." That's significant, as they're the only band with that much airplay in America (MGMT and Keri Hilson get just as much UK play as The Ting Tings, but haven't matched it domestically). Like Silversun Pickups, this is their only nomination. The popularity and airplay could lead to a win, but it's an outside chance. Bonus points for being an awesome album to use on the treadmill at the gym. Just watch out for singing along and getting yelled at by your neighbors.

My prediction: While country hasn't won in a while, this was a big year for R&B/Hip Hop and Keri Hilson is a known commodity. Keri Hilson by a nose, though Zac Brown Band are very much in the race. The Ting Tings are the dark horse, as their airplay and visibility are higher than any other nominee thanks to two hit singles in Top 40/Contemporary Hit Radio.

Next Thursday: Best Record and Best Song

Important Note:

NARAS has been panicking for weeks because Lady Gaga, the second biggest breakout artist of the eligibility period (behind Taylor Swift in sales and airplay), was ineligible for my favorite category of Best New Artist because "Just Dance" was nominated for an award at the previous Grammys. They've apologized and swore up and down it will never, ever, ever happen again.

Really. They plan on rewriting the rules because a performance artist from NJ couldn't win?

The fact is, the response to The Fame was comparatively tepid by NARAS, choosing safe song "Poker Face" over better by all objective musical standards (composition, lyrics, theory, production design) "Paparazzi" as their focus, leaving Lady Gaga nominated in the Big Three - Album, Song, and Record - with little chance of winning (also Dance Recording again and Best Electronic/Dance Album - dance artists aren't exactly respected, and the omission from Pop categories is very telling; more on that in another post).

Kate Bush "Hammer Horror" Music Video

Blame it all on Margaret Atwood again. While I was taking that Major Author class on Canada's most profitable literary export, I can only assume the professor became bored with the class and chose to show us the extended music video for Kate Bush's song "The Red Shoes." I'm all for strange, weird, and random occurences in classrooms, so I supported the decision at the time. I believe the justification was minute references in either Wilderness Tips or Awakening, but I can't remember which. Now I'm not too sure. I'm becoming obsessed with the music video output of Kate Bush.

The video that's been running my days and haunting my nights is "Hammer Horror." For one thing, someone in "art rock,"  for lack of a better description (Wikipedia does have its uses), choosing to pay tribute to the horror genre is a welcome surprise. For another, the focus is on the British powerhouse of extreme horror (recently reborn for new productions, hallelujah), Hammer Film Productions. They launched modern Frankenstein, Dracula, and Mummy franchises during their heyday and produced stellar standalone star vehicles for Christopher Lee, Barbara Shelley, and Oliver Reed, among others.

The song and video are a bit hard to comprehend. Watch for yourself:

Strange, perhaps even haunting.

Kate Bush certainly knows her horror film standbys for female characters, making references to The Bride of Frankenstein, The Birds, Cat People, and countless others in the four minute clip. Most perplexing is the hooded figure representing Hammer Horror.

It's nightmarish and captivating, even if it is essentially Kate Bush and another dancing on an empty soundstage. One day I'll figure out what draws me to this. Until then, I'll keep sketching Kate's facial expressions and body positions for future Halloween sculpts. At least the children can be frightened if nothing else comes of it.

Sketchy Recs: What to Do This Weekend: 6-8 November 2009

Write: Your NaNo: By the end of the day, those participating in the 2009 NaNoWriMo challenge should be at least 10,002 words into their novel. I know I'm not. This weekend is a great time to play catch-up in your free time. It's not like there are any decent movies opening wide enough to write about...

In Theaters: Except for Coco Before Chanel: Imagine, if you will, a biopic that is not about explosions in the person's life. A biopic wherein the focus is on how a person grew to become their more famous version. A biopic wherein the focus is on subtlety and nuance, and a gloriously understated performance by a wonderful young actress. Coco Before Chanel is that biopic. Sure, it's a subtle non-explosive biopic with subtitles. It's also an Audrey Tatou-starring feature that some are claiming is her best performance ever (I'm not sure how it could be better than her stellar work in A Very Long Engagement, but that's my bias popping up). 

Listen: Gutenberg! The Musical - Original Off-Broadway Cast Recording: Not all great shows get to Broadway. Not all producers are dumb enough to believe that every successful Off-Broadway/out of town engagement merits a Broadway production. Gutenberg! The Musical is most likely one of those shows that would have shuttered on opening night. It's tiny, wildly creative, funny, and a completely false recreation of Gutenberg's invention of the printing press. Who doesn't want to enjoy a raucous musical about literacy and publication?

Have a great weekend, everyone!