I didn’t even watch the Grammys this year. I thought, screw it; worst case scenario, YouTube will fill me in.
By all accounts, lackluster bravado reigned. A boring, flesh-filled parade of uninspired, flash and pomp, “music’s biggest night” proved once again, irrelevant. I didn’t miss a thing.
But when songs from Atonement and Once were announced as Oscar-contenders this year, it was a different story. Apparently, Hollywood has taste.
Maybe the overwhelming lack of Grammy integrity is because there’s just so many freaking awards… roughly 400 (versus Oscars’ 30+/-). I mean, what’s the point of making varsity if virtually everyone gets a letter?
More likely, it’s simply the idea that great music has nothing on fame, i.e., record sales. According to the NARAS, however, it’s all about “artistic achievement… without regard to album sales or chart position.” Um, bullshit.
Seriously, does Maroon 5 qualify as art? Nickelback? Michael Bubl©? Christina? Fergie? Not in my book.
Amy Winehouse? Au contraire. However (and here’s an unpopular idea), even though I like it, her music just isn’t timeless; it’s not the Second Coming. And if receiving a Grammy actually held any weight, I’m not convinced she deserved 3.
The point is, as poignantly underscored by Glen Hansard (“Make art!”): when it comes to measuring musical artistic achievement against the merits of belly buttons and rehab stints, Oscar triumphs.
Dario Marianelli’s clever casting of Atonement’s typewriter in its sonic supporting role was the sneakiest of artistic brilliance. Throughout the score, its crushing power is magnified again and again, a constant reminder of all that was lost; the incessant click-clicking an indelible ananmesis to our ears; our connection to the screen musically forged.
In Once, music’s conspicuous role as lead character acts as our constant cue to both the unfolding plot and the evolving relationship between “Girl” and “Boy. The on-screen collaboration of “Falling Slowly” not only translates their faith in each other and the music itself but also allows us the voyeuristic thrill of witnessing artistic creation in progress. Warm, fuzzy, cool, captivating, and to some degree, real. As Marketa Irglova put it: “this song was written from the perspective of hope, and hope at the end of the day connects us all.” Exactly.
So, despite the fashionista frenzy, the paparazzi glitz, the ad nauseam acceptance speeches, and this year’s more-awkward-than-usual teleprompter delivery, the truth is, I trust the Academy of Motion Picture Arts and Sciences. 9 times out of 10, “Academy Award-Winning” generally translates into “worth my time.” “Grammy Award-Winning,” not so much.
© Outlandos MusicTM2008
2/25/08 | Comments (2)Tags: Amy Winehouse, CUT THROUGH THE NOISE, Glen Hansard, KATE BRADLEY, Marketa Irglova, OUTLANDOS MUSIC —
