Grammys’ Visual Media Races Pit ‘Shallow’ Against Long-Distant 2017 Releases

Variety | 1/4/2019 | Jem Aswad
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The Grammys’ visual media-related categories tend to be buried as you scroll through the list of hundreds of Grammy nominations, but they represent some of the key music flashpoints of the past 12 to 15 months. There was probably no musical moment that put more chills down more spines than Keala Settle and a backing ensemble’s performance of “This Is Me” in “The Greatest Showman” or on the film’s soundtrack. Does the single peaking at No. 58 in the U.S. reflect that? Obviously not. (The U.K. charts, where it made it to No. 3, better reflected the tune’s spiritual ubiquity.) The Carters’ “APES**T” didn’t make the top 10, either, but if there were a scientific chart for memes, it would have been No. 1 with a bullet. If the sight of Jay-Z and Beyoncé draping themselves across every nook and cranny of the Louvre didn’t set off a ton of “How did they do that?” talk in your immediate circle, you may be hanging out around the wrong water cooler.

With all that said, can we just echo the immortal words of Agent Dale Cooper at the end of the “Twin Peaks” reboot and ask: “What year is this?” Because the Grammys’ stubborn insistence on their eligibility year stretching from October through September guarantees that their best-of lists will be significantly off from anybody else’s best lists. (Hey, you imagine somebody saying back in the day, if the Jewish New Year can be in early fall, so can ours.)

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Film-related Grammy categories tend to lag even more behind the cultural conversation than the others, by virtue of prestige films — and their corresponding soundtracks — tending mostly to come out in the last quarter of a year. And so, yes,...
(Excerpt) Read more at: Variety
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