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Your 2023 Grammy Awards Recap

For football fans, February 12 marks the Super Bowl. For music fans, February 5 marked their version of the Super Bowl: the 65th annual Grammy Awards. It’s a day where everyone comes together to celebrate their favorite artists…and brutally criticize the Recording Academy’s decisions.

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Music Lists

Harry Styles' 8 Best Covers

The former One Direction member is the musical chameleon we don't deserve.

Harry Styles - Juice (Lizzo cover) in the Live Lounge
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With his two solo albums, Harry Styles has proven that he was always One Direction's strongest link.

The boy band's final performance in 2015 opened the doors for Styles to come into his own. Turns out, his solo artistic persona is pretty chameleonic. He channels classic rock as easily as he does pop and R&B. He can deliver soaring ballads with the same energy he devotes to high-energy barnburners. All of this is to say: Styles is a singular talent with a versatile voice and an undeniable charisma that multiplies his appeal.

Though his original work is typically great, Styles has also performed numerous impressive renditions of other artists' hits. From '70s folk to modern hits, we've rounded up the ex-1D member's best covers.

Joni Mitchell’s “Big Yellow Taxi”

  

Joni Mitchell's biggest hit got another breath of life when it was covered by Counting Crows in 2002. Though the band gave the environmentally-conscious tune a more adult alternative spin, Styles takes it back to its singer-songwriter origins with a fully acoustic setup. The harmony during the chorus adds a special touch.

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Music Features

"Old Town Road" Deserved Better at the Grammy Awards

While Billie Eilish's sweep is worth celebrating, it comes at the expense of slighting Lil Nas X's leaps towards equal representation in music.

Lil Wayne at the Beverly Hills 2023

Photo by Richard Shotwell_Invision_AP_Shutterstock

In the 13 months since Lil Nas X independently released "Old Town Road," he went from a virtual unknown to one of the Grammys' most discussed artists.

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MUSIC

Billie Eilish Releases New Self-Directed Video for "Xanny"

Ever wondered what Billie Eilish looks like with brown hair?

Billie Ellish performs at Sir Lucian Grainge's 2020 Artist Showcase Presented By Citi and Lenovo on in Los AngelesSir Lucian Grainge's 2020 Artist Showcase Presented By Citi and Lenovo, Los Angeles

Photo by Mark Von Holden/Invision/AP/Shutterstock

Billie Eilish, the brilliant 17-year-old who's shaken up the pop world for the past year, just released a new music video for her single "Xanny."

Eilish not only stars in the stirring visual, but also directed it herself. The video depicts EIlish in a cream colored turtleneck and trousers, sitting in a nondescript tiled room. She stares moodily at the camera, singing the haunting melody. As the camera moves closer, the chorus hits and a hand comes out of nowhere, burning Eilish's face with a lit cigarette as she continues to sing. The whole video is done in a single shot, adding to the intensity. It's safe to say Eilish can add talented "director" to her already extensive list of accomplishments.

Billie Eilish - xannywww.youtube.com

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MUSIC

Most Memorable Times the Grammys Snubbed Black Artists

The Grammys have never gotten it right.

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It comes as no surprise that the Grammys have once again snubbed some of the year's most prominent talents.

The rap categories are completely lacking in women nominees, despite Megan Thee Stallion, Young M.A., Tierra Whack and Missy Elliot achieving some of 2019's biggest successes in the genre. Meanwhile, Taylor Swift, Lady Gaga, Solange, Bruce Springsteen, and Tyler, The Creator were all overlooked for Artist of the Year consideration (though the latter is nominated for Best Rap Album), and Ari Lennox, Summer Walker, DaBaby (who allegedly wasn't considered because he has previously released "mixtapes"), and Lauv were among a of the few rising talents disregarded for "Best New Artist." Goldlink—who has been nominated for Grammy's in the past but whose brilliantly amalgamative Diaspora album wasn't considered for any award this year—sounded off on Instagram. "The lack of relevance you have just solidifed [sic] today is unbelievable," he wrote. "I've just gotten to a point after three years of being silent on this topic, that my value is much beyond what closed door establishments have been giving us."

While The Academy's disrespect this year feels particularly brash, we can take comfort in the fact that award shows are increasingly meaningless, white-washed, and more out of touch with culture as time has gone on. Let's dive back into (some of) the Grammy's biggest f*ck ups from over the years and find some cynical comfort in the the Grammy's mediocrity, since they shouldn't be regarded as any determinant of popular culture.

2005: Maroon 5 Over Kanye West

  

For some millennials, Maroon 5's "Best New Artist" win over Kanye West in 2005 was one of the first times we felt a need to destroy the patriarchy. While no one could have predicted that Maroon 5 would dissolve into a "karaoke version of themselves," the disregard for Kanye West at (what many called) his breakout moment would forever breed resentment in our little hearts. At least we got this laughably awkward interview out of the whole thing.

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MUSIC

Charli XCX's "Gone" Should Win the Grammy for Song of the Year

It wasn't nominated, but Charli's duet with Christine and the Queens is my personal SOTY.

Charli XCX & Christine and the Queens - Gone in the Live Lounge
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Do you hear that sound? It's the subtle hum of the music hive buzzing, because the Recording Academy just announced their nominees for the 62nd Annual Grammy Awards.

A brief summary of this year's honorees: Rapper-flautist extraordinaire Lizzo earned the most nominations with eight total, including Album of the Year, Record of the Year, and Best New Artist. Lil Nas X and Billie Eilish weren't too far behind with six nods each, including nominations in the same categories. Indieheads might be pleased to know that Bon Iver, Vampire Weekend, and Lana Del Rey are also up for Album of the Year. The best news of all is that Ed Sheeran received absolutely no nominations.

While it's pretty cool to see so many newcomers welcomed to the Grammy roster—including Lil Nas X, a young queer POC, three demographics historically overlooked by the Recording Academy—I couldn't help but notice a few glaring voids among the nominations. In particular, I'm devastated that "Gone" by Charli XCX featuring Christine and the Queens, my personal song of the year, has been forgotten altogether.

Released in July, "Gone" was the third single preceding Charli's latest album, Charli, her first full-length project since 2017's cult-favorite masterpiece, Pop 2. On first listen, the magic of the song is glaringly evident; the clanging, stuttering PC Music production melds perfectly with Charli and Chris' poppy melodies. As they deliver one of the year's best and most relatable lyrics—"I feel so unstable, f***ing hate these people"—"Gone" perfectly exemplifies the catharsis and healing that can come from a great bop.

But Charli exists in a strange overlap between underground fame and mainstream recognition, a juxtaposition she's aware of and even embraces. But the Grammys aren't friendly to artists in that sphere. Charli hasn't had one of her own songs crack the Hot 100 since 2015's "Break the Rules" (though she did have a hand in penning "Señorita," the No. 1 hit that earned Shawn Mendes and Camila Cabello a Best Pop Duo/Group Performance nomination). Charli did see moderate success on the Billboard 200, peaking at #42, but that's evidently not enough momentum in the Academy's eyes.

Few pop songs this year can match the force that is "Gone," and nearly everything that came close—such as Normani's solo debut "Motivation"—were also snubbed for this year's awards. Some of the Best Pop Solo Performance nominees, like Beyonce's "Spirit" and Taylor Swift's "You Need to Calm Down," were letdowns coming from their respective artists, while the Duo/Group category—save for maybe "Old Town Road"—is incredibly underwhelming. Maybe Charli will forever remain a sort of concealed revolutionary in pop. Maybe I'll just have to be OK with that.

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