Grammy stories 02/24

Date: 24 Feb 2003 14:11:19 GMT
Newsgroups: alt.gossip.celebrities
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NY POST/By DAN AQUILANTE
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WHETHER it was just a case of dumb luck or the best production values an awards
show has ever been nailed together with, for the first time the Grammy Awards
were actually fun to watch. The producers bucked conventional award show wisdom
and dumped the host as an unnecessary element. They emphasized performance and
kept the pace as frantic and energetic as the music being honored.
To that end, the show opened with a rare sighting of Paul Simon and Art
Garfunkel on stage together for the first time in years to perform a poignant
rendition of "The Sounds of Silence."
Seeing these guys together right up front screamed this was going to be a
special evening.
Norah Jones followed up performing her jazzy swing hit "Don't Know Why." James
Taylor accompanied by classical cellist Yo-Yo Ma did "Sweet Baby James," The
Dixie Chicks covered Stevie Nicks' "Landslide," Eminem teamed with the Roots on
"Lose Yourself" and Coldplay performed "Politik" backed by the New York
Philharmonic.
Be it rap or symphonic, the hallmark of each of these performances was class.
A great performance at the Grammys can turn your career around - just ask Ricky
Martin.
At this year's Grammys, the single defining performance belonged to *NSNYC who
performed a medley of Bee Gee tunes, a capella, in five-part harmony. If there
was any question of how this act will stay relevant as music shifts away from
boy band fodder, this set proved this band is capable of any style.
The one problem the Grammys have yet to overcome is that they sap all suspense
out of who's going to win by allowing contenders to perform just before they
are awarded a trophy.
Just because you play the gig shouldn't mean you take home a prize.
When you examine what a Grammy really means to an artist, it all comes down to
who got to say "Thanks" from the podium.
Had Bruce Springsteen, who was the favorite, won album of the year, the Grammy
would have been a validation of his superlative effort on "The Rising," making
amends for all the great albums he and the E Street Band made that were ignored
by the academy, like "Born In The USA."
But would a Grammy have helped the Boss sell more copies of his 9/11-influenced
opus? Probably not.
Everyone knows who Bruce is, nearly every critic's best list of 2002 included
this album, and most every fan already owns a copy.
But for newcomer Norah Jones, who won the triple crown - record and album of
the year and best new artist - the win historically translates into a boost in
sales.
With the music industry in the toilet - down more than 12 percent from last
year - you'll probably see labels use the Grammys as a sales tool, the same way
movie makers use the Oscars.
This year's Grammys will be remembered because they were good but also because
it's the first show of its kind broadcast in high definition, digital surround
sound.
If this kind of technology is going to make its bow, who better to do it than
the Grammys.
* * *
GARFUNKEL SINGING AS ARTFUL AS EVER
NY POST/By DAN AQUILANTE
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AT the start of his Town Hall gig Friday, Art Garfunkel hinted at his lifelong
predicament of having to walk into the future while shackled to the past.
The time warp couldn't be more pronounced than this past weekend when he and
his old partner Paul Simon were presented with the coveted lifetime achievement
Grammy by the Recording Academy for their work as Simon and Garfunkel.
While Friday's show did break into the S&G vault for some gold and a couple of
gems - true to Garfunkel's pledge, the concert stayed in "the present tense"
via the songs of his fine new album "Everything Waits To Be Noticed."
Anyone who admired the artist as a young man will want to know if 62-year-old
Garfunkel has held onto his chops.
Yes. His signature falsetto is intact, it is crystalline and it can still soar.
The man was as brilliant on the new songs "Bounce" and "The Thread" as he was
on Simon and Garfunkel souvenirs such as "Scarborough Fair" and "American
Tune."
One highlight came in his introduction of "Mrs. Robinson" where he joked that
the real cause of the Simon and Garfunkel split was over a difference of
opinion on the number's lyric "Jesus loves more than you know, whoa, whoa,
whoa." Garfunkel said Paul got "real touchy" when he suggested it be written
"Jesus loves you more than you knew, woo, woo, woo." It was nice to see the
prankster behind the serious, intellectual facade.
But the show hits its stride during "Bridge Over Troubled Water." The powerful
song speaks for itself, but it wasn't nostalgia that made it so memorable at
Town Hall. It was that Garfunkel let the words and music possess him, and, in
doing so, he defied time and pull the past into the present.
* * *
A great program of music
By DAVID BIANCULLI
NY DAILY NEWS TV CRITIC
The first hour of the Grammy Awards telecast on CBS opened with Simon and
Garfunkel, merging their voices for the first time in a decade to sing "The
Sounds of Silence." When a show has that powerful an opening, it's not just a
special. It's an event. The third hour opened with Bruce Springsteen and the E
Street Band blazing through "The Rising." Along with those show-stoppers were
other strong musical moments, a dazzling approach to visuals and only one
glaring misstep: the decision to go without a host and allow lots of "New York
voices" do the introductions.
This led to a parade of mispronunciations and mistakes. Dustin Hoffman
nervously referring to "Bruce Springstreet" (Robin Williams poked fun at him),
and John Leguizamo mispronouncing Leonard Bernstein (and poking fun at
himself).
Young artists were asked to salute many Life Achievement Award recipients,
which provided continuity, but some of the performers seemed clueless and
emotionless. Fred Durst of Limp Bizkit even hijacked his written introduction,
saying: "I hope we are all in agreeance that this war should go away as soon as
possible."
But if the words and introductions lacked polish and resonance, the music did
not. From Avril Lavigne's energy and Norah Jones' soulfulness to Eminem's
raucous "Lose Yourself" and Coldplay's boisterous version of "Politic" with the
entire New York Philharmonic playing backup, it was quite a night.
Producer-director Walter C. Miller and writer-producer Ken Ehrlich mounted some
satisfying showcases, including the singer-songwriter tag team of young Vanessa
Carlton and John Mayer and veteran James Taylor (with Yo-Yo Ma). It was an
acknowledgment of what had come before, in the same spirit as Eminem's generous
acceptance speech naming hip-hop artists who had inspired him.
From the closeups of Simon and Garfunkel to the clouds rolling above
Springsteen, the images, like the performances, were as eclectic as they were
impressive.
* * *
HITS AND MISSES OF THE RED CARPET
NY POST/By LIBBY CALLAWAY
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HAVE the grungy Grammys cleaned up their act? Last night, there were more do's
than don'ts on the red carpet at Madison Square Garden.
Of course, not everyone passed muster.
Bass legend Bootsy Collins arrived in a zebra-print top hat that matched the
oversized lapels of his black jacket and his signature star-shaped sunglasses.
And lithe Missy Elliott made the scene in a pink adidas track suit that was
studded with tiny lights. Unfortunately, there were too many diamonds in the
room for anyone to enjoy Elliott's Christmas tree impersonation.
Vanessa Carlton looked surprisingly sophisticated in a black dress and a
Chanel-esque tangle of pearls.
If only Avril Lavigne would have tried to look so elegant instead of sporting a
silly, studded tuxedo.
It's no secret that No Doubt singer Gwen Stefani can sometimes overdo it.
Although her stage outfit of camouflage hot pants, over-the-knee boots and a
boob tube with the word "love" scrawled across it was a bit much, Gwen also
looked seriously wonderful in a black and white polka-dot dress with boa-like
sleeves.
Last year, Sheryl Crow topped many a Grammy-watcher's worst-dressed list with
her short suede jumpsuit. This time around, she'll go down as most-improved
dresser, thanks to her sexy, black mini-dress by Courreges, the French fashion
house that inspired Marc Jacobs' new collection.
Crow's mini was one of, well, many.
Kim Cattrall looked smashing in the silver, chain-link minidress that closed
Michael Kors' recent Fashion Week show.
Singer Eve wore a funky blue and silver sequined Fendi mini-dress, but saucy
Aussie Kylie Minogue couldn't decide whether to do long or short.
She chose a green Givenchy Couture mini-dress - with a long train.
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* * *
By ALEV AKTAR
NY DAILY NEWS FASHION AND BEAUTY EDITOR
The Grammy invitation said black tie but only Mayor Bloomberg took the dress
code seriously. Music's biggest stars, meanwhile, rocked the red carpet in
strappy dresses and blinding bling-bling. Leading the short and sexy brigade
was Eve, who accessorized her blue-and-silver Fendi beaded dress with Bulgari
diamond baubles. Rather than her usual mop of curls, the rapper wore her hair
in a bouncy "I Dream of Jeannie" ponytail.
To the delight of the crowd, Kylie Minogue bared her shapely legs in a pale
blue and gold gown that was thigh-high in front and long and ruffled in back.
"It's the first time I've worn Givenchy couture!" squealed the adorable Aussie.
Kelly Rowland also turned heads in two skimpy dresses. The Georgia peach
arrived in a sparkly dress the same color as the fruit, then changed into a
lacy white slip for her performance with Nelly.
Pink has a knack for making everything look trashy. On her, a black lace gown
is a punk posture. Her mohawk, tattoos and scowl only add to the rebellious
statement.
The remaining members of TLC also had something to say. T-Boz and Chilli paid
tribute to their late bandmate, Lisa (Left Eye) Lopes, who died in a car crash
in Honduras last April. Along with their brief leather outfits and glittery
bras, both wore accessories that spelled out Left in rhinestone letters.
Missy Elliot wasn't trying to get anything across - she just wanted to be
comfortable. The rapper stepped out in a rhinestone-studded pink velour track
suit with a fuzzy cap and lots of ice. Relaxed and cool, the style suited her.
Canadian sensation Avril Lavigne poked fun at the suggested attire, showing up
in a kooky tuxedo covered with emblems, Converse sneakers and a top hat. "I
designed it myself," she said proudly of her penguin suit.
Sheryl Crow and Gwen Stefani were perfectly semiformal. Crow was unusually chic
in a strappy black vintage Courreges gown, while newlywed Stefani epitomized
old-Hollywood glamour in a black and white polka-dot gown by Vivienne Westwood.
"She's a legend," said the No Doubt singer. So is Stefani, in the fashion
world.
* * *
Stars come out for a New York homecoming
By Elysa Gardner, USA TODAY
NEW YORK — After a protracted holiday in La-La Land, the Grammys returned to
the Big Apple this year, and the homecoming revelry began long before the
awards ceremony.
On Friday night, political and entertainment luminaries gathered at the midtown
Marriott Marquis Hotel to honor the creative and humanitarian accomplishments
of Bono as he was named the Recording Academy's MusiCares Person of the Year.
David Bowie, Bonnie Raitt, Sean "P. Diddy" Combs and Elvis Costello rubbed
elbows with Sens. Orrin Hatch and Patrick Leahy; Eunice Kennedy Shriver and her
music-producer son Bobby; and author Salman Rushdie. The man Bono called "the
real mayor of New York," Robert De Niro, also was in the house. (Mayor Michael
Bloomberg himself attended a pre-dinner reception.)
But the evening's biggest star, other than Bono, was Bill Clinton. The former
president was greeted with a thunderous ovation as he took the stage to
acknowledge the U2 frontman's achievements as an activist for causes such as
the Northern Ireland peace process and international debt relief. Bono "did
something I couldn't do," Clinton said, by persuading Republican Sen. Jesse
Helms to support debt relief.
Although Bono's efforts have won over many conservative voices, none was
audible at this event. The standoff with Iraq was a consistent undercurrent as
guests alluded to world suffering and at points expressed dissatisfaction with
the nation's leadership.
U2 guitarist The Edge, who joined Bono on a few songs, referred to "President
Bush and his regime ... I mean, administration," while mistress of ceremonies
Ashley Judd told a joke at Bush's expense. Others suggested, either directly or
implicitly, that they would be happier if Clinton were still in the Oval
Office.
Bono didn't overtly bash Bush. "We do not want to make a martyr out of Saddam
Hussein," he said. But he added: "It's not the '60s. We have complex problems.
We need new solutions."
The singer emphasized the problem of world debt and quoted Colin Powell's
admonition, "The war against terror is bound up in the war against poverty."
Characteristically, Bono embellished such statements with flashes of jovial
wit, and he nimbly stepped back into the role of showman to perform the Cole
Porter standard Night and Day and the old Sinatra staple That's Life.
Other artists — among them Mary J. Blige, B.B. King, Garbage and Grammy
contenders Norah Jones, Sheryl Crow and Gwen Stefani — performed U2 songs.
Highlights included Costello's muscular version of Kite and a rousing Angel of
Harlem featuring Patti LaBelle and a gospel choir.
Saturday brought more music and more accolades as J Records founder Clive Davis
threw his annual pre-Grammy bash. Media and music-biz elite converged on the
Regent Wall Street hotel to see stars such as Aretha Franklin, Rod Stewart,
Justin Timberlake and Tyrese perform for the veteran industry mogul.
There was little talk of international conflict this time, though one might
have thought that Tom Ridge had raised the terror threat level to Code Red,
judging by the security. Streets were blocked off by police officers and guards
demanding identification. Once partygoers passed that hurdle, they were greeted
en route to the dining area by more police and burly dogs.
The celebrity guests, who included Drew Barrymore, Carly Simon, Prince, Faye
Dunaway, Howard Stern, Martha Stewart and the Osbourne clan, seemed
unperturbed. At cocktails before dinner, Kid Rock, Michelle Branch and American
Idol winner Kelly Clarkson spoke about albums in progress. Clarkson, sporting a
ponytail and a sleeveless gown slit down the middle, reported that her
long-awaited CD would arrive in April as scheduled and said, "It's very
soulful."
Kelly Rowland, clad in a sparkling number that set off her red-streaked hair,
said she was "excited, nervous and ecstatic" about performing on the Grammys
with fellow nominee Nelly.
A glamorous Sharon Osbourne said she was rooting for "Miss Jones (as in Norah).
I just love her."
The entertainment segment was dominated by its host, Davis, who paced the stage
like a revivalist preacher as he recounted, in detail, both the performers'
professional achievements and his own.
In keeping with tradition, Davis also introduced a new artist,
singer/songwriter Gavin DeGraw, a boyishly handsome 26-year-old whose
piano-driven rock owes an obvious debt to Billy Joel.
Performers also included Broadway star-turned-sultry R&B stylist Heather
Headley and Lou Reed, who joined Rod Stewart on the Sam Cooke classic We're
Havin' a Party.
The Queen of Soul closed the show with typical gusto. Franklin dedicated It's
My Turn to Davis, then was joined by Alicia Keys on Think and a star-studded
ensemble on Chain of Fools.
Franklin, who doesn't like to fly, said she was glad the Grammys had come back
to New York "so that I could come to Clive's party."
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