What will we be talking about from the Grammys at work on Monday? Maybe not so much, because we'll all be on our computers, getting a copy of Adele's 21, if we're among the seeming minority of Americans who haven't downloaded it already... or wishing there were a 17 or 23, if we have.
(photo: John Shearer/WireImage)
Although Adele had been expected to be the big winner at the Grammys even before nominations came out, her Album/Record/Song triple-crown hardly accounted for the only buzz of the night--not on an evening when Whitney Houston's spirit hovered over the whole affair...and Nicki Minaj literally hovered.
The most memorable moments of the 54th Grammys:
NICKI MINAJ, RAPPING DEMONIAC
Debuting "The Exorcism of Roman," Minaj was positively possessed...by the British accent so recently driven out of Madonna. She was also overcome by the desire to put on an incoherent, theatrical extravaganza that looked like she put The Exorcist and Ken Russell's The Devils in a blender and re-imagined the whole thing as a musical comedy. The baffling number began with Minaj confessing to a terrified priest while appropriating a bit of "I Feel Pretty" that we feel sure couldn't have really been licensed by Stephen Sondheim, and then went into Catholic-imagery overload as Minaj rhymed "witch," "twitch," and "World War 6." She did a neat magic trick, levitating demonically above the stage, though the trick of making us understand what any of it meant went unfulfilled. Maybe it'll all make a slight lick of sense when her forthcoming song cycle comes out, but isn't it a little early in her career to be killing it with concept albums?
(photo: Kevin Mazur/WireImage)
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CHRIS BROWN: ALL FEET, NO VOICE
Wouldn't you love to have been a fly on the wall at the Grammy meeting where somebody asked, "Who should we have on the show twice?"--and a majority of hands shot up for Chris Brown? He's not quite as universally welcome in these parts as he is at the BET or even MTV Awards, for historical reasons that don't need much explaining, but the Grammys seemed determined to make up for his absence of a few years. That's possibly because they couldn't find anyone else with the nerve to lip-synch an entire lead vocal on the Grammy Awards, and for the sake of tokenism, somebody had to do it. He turned the Grammys into the Dancies, and of course turned his mic off, hoofing his way over a large-scale set of creatively lit Legos. When it came time for the now de rigeur standing ovation at the end of his big solo number, a few audience members started to rise, but the cameras cut away before we could take stock of which fellow artists think it's time to forgive and which think he still didn't belong in the company of people who do more wondrous things with their hands.
(photo: Jeff Kravitz/FilmMagic)
KATY PERRY'S MUSICAL DIVORCE PAPERS