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redcarpetview · 2 years

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Marvin Sapp Lands 7th Soul Train Music Award Nomination!

Marvin Sapp is a two-time Soul Train Music Award winner, and remains excited anytime his name is announced as a nominee. “I love that the Soul Train Music Awards continue the great tradition of celebrating Black joy through song,” says Sapp. “It is an honor and a privilege to be among those considered to have released music this year that made people smile and gave people a sense of hope.”

2022 has marked numerous firsts for Sapp, including the first album released on his own record label, the TVONE premiere of the biopic Never Would Have Made It: The Marvin Sapp Story, and being officially crowned a “Billion Spinner” on Pandora. Still, the “preacher who happens to sing” has remained a consistent, in-person presence at The Chosen Vessel Cathedral where he is Senior Pastor. Currently celebrating three years at the Fort Worth, Texas based church, Sapp and his pastoral team recently oversaw a mass baptism of more than 100 people.

“I began pastoring at a new church in a new city just months before the height of the COVID19 pandemic. We had virtual services for almost two years, so this year has been one of renewed focus and revitalization at the Chosen Vessel Cathedral. The mass baptism was a time of refreshing for all of us.”

Sapp is nominated for his 15th album, Substance. The album debuted #1 when it was released, making it the singer’s seventh consecutive number one Gospel album debut. It also debuted #3 on the Top Christian/Gospel Albums sales chart.

Substance is available now everywhere digital music is sold.

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shefanispeculator · 5 months

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Seeing Stars! The 9 Most Successful 'Voice' Competitors of All Time

'The Voice' may never find its Carrie Underwood but that's okay.

One of the major complaints about The Voice is that it has yet to launch a major recording career like American Idol did in its early days. But host Carson Daly says that the days of discovering a Carrie Underwood or Kelly Clarkson on a TV show are long gone.

“Your measuring stick is antiquated because of the way that technology has proliferated,” Daly exclusively tells Parade. “For instance, I could never do TRL [his Total Request Live show] again because this generation has the internet and doesn’t need MTV to get music. There are a lot of YouTubers, and my kids listen to music of people that you have never heard of, that I have never heard of. For some people, just getting to a place where they can support themselves making music, thanks to The Voice—that’s winning.”

And The Voice has several of those types of winners. Former contestants, including a couple of Grammy nominees, who are grateful to the show because their lives changed 100 percent, because as a result of appearing on The Voice, they now make their entire living making music, rather than having to have a day job to pay the bills.

Most Successful Voice Competitors

Koryn Hawthorne (Season 8)

was a member of Pharrell Williams’ team and finished fourth in her season. She has gone on to have a successful gospel career and was nominated twice for Grammys in the Gospel Performance/Song category: in 2019 for “Won’t He Do It” and in 2020 for “Speak the Name.” She has received several other nominations as well, including Billboard Awards and Soul Train Music Awards. She even broke the record for the longest chart-topping woman on the Hot Gospel Songs chart.

Nicolle Galyon (Season 2)

got just one coach to turn (Adam Levine) when she sang “You Save Me” during her Blind Audition. The country singer was eliminated during the Battle Rounds but made a discovery along the way: She didn’t want to sing, she wanted to write songs. While on the show, she met performers RaeLynn and Miranda Lambert (who was married to Blake Shelton at the time) and credits those friendships for launching her songwriting career. She earned her first No. 1 song with “We Were Us,” performed by Keith Urban and Lambert. She also has co-written songs for Lady A, Kenny Chesney, Florida Georgia Line and many others and co-wrote and co-produced RaeLynn’s first full-length album, WildHorse. Gaylon has two Grammy nominations for Best Country Song: in 2015 for Miranda Lambert’s “Automatic” and in 2019 for Dan + Shay’s “Tequila.”

Cassadee Pope (Season 3)

was the first female country singer to win The Voice. The former member of Blake Shelton's team has gone on to find success in country music, but a high point was when she and Chris Young received a Grammy nomination for Best Country Duo/Group Performance for “Think of You” in 2017. Her single "Tomorrow Night" was released in Sept. and was followed by her third album, Thrive, in October.

Christina Grimmie (Season 3)

finished in third place on The Voice, and went on to open for Selena Gomez and The Scene, and perform backup vocals for Allstar Weekend and the Jonas Brothers. Christina's career was on the upswing—she had 2 million YouTube subscribers—when she was shot to death during a post-concert meet-and-greet with fans on June 10, 2016, in Orlando, Fla. She was 22.

Danielle Bradbery (Season 4 winner)

was only 16 when she won The Voice, the youngest winner at that point in time but no longer the record. Since graduating from Team Blake Shelton, Bradbery has gone on to have a successful country music career with 15 songs on the Hot Country chart, including "Goodbye Summer" with Thomas Rhett which rose to No. 39 in 2018. Her 2020 single "Never Have I Ever" reached No. 58 on U.S. Country Airplay, and her most-streamed song, "Sway," has 50 million streams. In July 2021, she released her latest single, "Stop Draggin' Your Boots."

Morgan Wallen (Season 6)

who was initially on Team Usher, but later stolen by Adam Levine, was eliminated in the Playoffs but soon headed to Nashville to try his hand at country music, rather than the pop songs he sang on the show. He had almost instant success, dropping four No. 1 singles, winning the CMA award for New Artist of the Year and releasing the double album Dangerous. “He was being hailed as the next big thing, maybe the next big crossover artist from country,” executive producer Audrey Morrissey says. Today, Wallen is more famous for getting in trouble. He got booted off of Saturday Night Live for breaking COVID-19 protocols in late 2020 and was banned from country radio after he was caught on video hollering a racial slur in February 2021.

Jordan Smith (Season 9)

was a four-chair turn who chose Team Adam. He went on to write “Ashes” for the Deadpool 2 soundtrack, which was performed by Celine Dion. In addition, he's had three No. 1 songs on the Hot Christian Songs chart and three top 10s. Jordan represented the state of Kentucky for NBC’s American Song Contest in 2022, for which he wrote and performed “Sparrow.” He finished in third place.

Sawyer Fredericks (Season 8)

The winner from Team Pharrell had an original song, “Silent World,” featured on the Season 6 debut of the Netflix original series Longmire, which aired in 2017, and his song “This Fire” was covered by John Ondrasik for a 2018 episode of Code Black. His latest album debuted in 2020 called Flowers for You.

Loren Allred (Season 3)

was eliminated in the Playoffs but went on to make her Billboard Hot 100 debut with the Platinum-selling "Never Enough" from the musical soundtrack to The Greatest Showman. This past January, she was the featured singer on the original song “Start a Wave” when “World of Color – One” for Disney 100 debuted at Disneyland. Strangely, though, she made a return to reality TV, auditioning for Britain’s Got Talent’s 15th season in 2022, finishing in ninth place. In addition, she performs on Michael Bublé's Love album for a duet of "Help Me Make It Through the Night," and alongside David Foster, as part of his An Intimate Evening PBS concert special and album.

The 9 Most Successful 'Voice' Contestants of All Time - Parade

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lboogie1906 · 2 months

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Canzetta Maria “Candi” Staton (born March 13, 1940) is a singer-songwriter, known for her 1970 remake of “Stand by Your Man” and “Young Hearts Run Free”. In Europe, her biggest-selling record is the anthemic “You Got the Love”. She was inducted into the Christian Music Hall of Fame and is a four-time Grammy Award nominee.

Born in Hanceville, Alabama, and raised in Nashville. As teenagers, her group toured the traditional gospel circuit during the 1950s with the Soul Stirrers, C. L. Franklin and Mahalia Jackson. They recorded several sides for Nashbro, Apollo, and Savoy Records.

She was introduced to Rick Hall by Clarence Carter and launched her solo career as a Southern soul stylist, garnering 16 R&B hits and gaining the title of “First Lady of Southern Soul” for her Grammy-nominated R&B renditions of the songs “Stand by Your Man” and “In the Ghetto”. She appeared on Soul Train.

She began collaborating with producer David Crawford on disco songs such as “Young Hearts Run Free”, which reached #1 on the US R&B charts, #2 on the UK Singles Chart, and went Top 20 on the Pop Hot 100. It was remixed and re-released. The follow-up song “Destiny” hit the Top 50 in the UK and her version of “Nights on Broadway” hit the UK Top 10. She scored another Top 50 hit in the UK with “Honest I Do Love You”. She released the single “When You Wake Up Tomorrow” and the title song “Chance”, a top 20 R&B chart record. Other dance club chart hits included “When You Wake Up Tomorrow” and “Victim”.

She has since recorded twelve gospel albums, two of which received Grammy Award nominations. She appears on the United Nations Register of Entertainers, Actors, And Others Who Have Performed in Apartheid South Africa.

She married Pentecostal minister Joe Williams (1960-1968), and together they have four children. She married singer Clarence Carter (1970–1973) and they had one child. She married Jimmy James (1974-1977). She married Drummer John Sussewell (1980-1998). She married former baseball player Otis Nixon (2010-2012). She married Henry Hooper (2017). #africanhistory365 #africanexcellence #womenshistorymonth

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coghive · 1 year

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Naomi Raine, Tasha Cobbs Leonard, Natalie Grant & TAYA Announce It’s Time Tour

This Spring, the powerhouse women of Gospel and Christian music are coming together for a must-see worship experience. Kicking off on Tuesday, April 25 at James L. Knight Center in Miami, FL. GRAMMY-winning artists Naomi Raine and Tasha Cobbs Leonard, 9x GRAMMY-nominee Natalie Grant and globally renowned vocalist TAYA will join together for It’s Time Tour 2023. It’s Time will visit 21 cities across the U.S. including Atlanta, New York and Houston. Fans can expect to see solo performances from each artist. The co-headliners will also share the stage for a few songs each night. Pre-sale for tickets begins Tuesday, January 17 at 10 AM local time with public on-sale starting on Friday, January 20th at 10am local. For pre-sale tickets, visit ticketmaster.com/artist/2965964. “It’s Time is an expression of worship in beauty and strength with some of the purest female worship leaders of our time,” says Naomi Raine. “I’m humbled to be a part of this movement that hopefully continues to fuel this generation toward extravagant worship. Women are pillars in their communities and families and my prayer is that this would empower women to go after God with everything they have. My life was changed in an environment much like the one we will be in every night of the tour. Hoping people come out to be equipped and inspired.” Naomi Raine was named a Pandora 2023 Artist to Watch and is known as one of the most powerful voices in the gospel genre. She released her solo album ‘Journey’ last July and made appearances at the BET Awards, NPR’s Tiny Desk, The View and more as a member of Maverick City Music, with whom she is currently nominated for five GRAMMY Awards. She headlined The Root 100 gala honoring Black Excellence at Harlem’s iconic Apollo Theater and is set to announce a debut solo live worship album in the coming weeks. “God calls us to advance His Kingdom, in part, through unity and collaboration,” says Tasha Cobbs Leonard. “I’m so excited to join these incredible artists— my sisters— on this tour. This is the move that we’ve been praying for! IT’S TIME!” Tasha Cobbs Leonard is a platinum-selling, Grammy, Billboard Music, Stellar, and Dove Award-winning, “gospel sensation” (NPR Music) who has firmly established herself as one of gospel’s leading voices. In 2022, Leonard released her highly anticipated live album HYMNS, one of the biggest gospel albums of the year. The LP is a larger-than-life reimagining of classic hymns of love and grace, one that speaks to our modern world even as it reaches far beyond it. She has recently appeared on Good Morning America, BET Soul Train Awards, The Tamron Hall Show, The Jennifer Hudson Show –– and has a lot more planned for 2023. Natalie Grant is a 9x GRAMMY nominated and 5x GMA Dove Award-winning artists who has garnered more than 500 million streams and multiple number #1 albums and singles on the Billboard Charts. Grant’s latest single “You Will Be Found” with Cory Asbury was released December 16. TAYA made a name for herself as the lead vocalist on Hillsong United track “Oceans (Where Feet May Fail),” which reached No. 1 on several Billboard charts and reached RIAA platinum status. She released her self-titled debut album in May of 2022. IT’S TIME 2023 TOUR DATES: - Tues., Apr. 25 | Miami, FL | James L Knight Center - Wed., Apr 26 | Bradeton, FL | Bayside Community Church - Thurs., Apr 27 | Orlando, FL | Calvary Orlando - Fri., Apr. 28 | Jacksonville, FL | Florida Theater - Tues., May 02 | Atlanta, GA | Fox Theatre - Wed., May 03 | Charlotte, NC | Ovens Auditorium - Fri., May 05 | New York, NY | Hulu Theatre at Madison Square Garden - Sat., May 06 | Philadelphia, PA | The Met - Sun May 07 | Washington, DC | The Theater at MGM National Harbor - Tues., May 09 | Boston, MA | Boch Center Wang Theatre - Thurs., May 11 | Wallingford, CT | Toyota Oakdale Theatre - Thurs., May 18 | St. Louis | Faith Church - Sun., May 21 | Houston, TX | 713 Music Hall - Mon., May 22 | San Antonio, TX | Summit Christian Center - Wed., May 24 | New Orleans, LA | Saenger Theatre - Thurs., May 25 | Birmingham, AL | BJCC Concert Hall - Fri., May 26 | Southaven, MS | Landers Center - Sat., May 27 | Nashville, TN | Ryman Auditorium - Tues., May 30 | Cincinnati OH | Princeton Pike Church of God - Wed., May 31 | Indianapolis, IN | Murat Theatre at Old National Centre - Thurs., Jun 01 | Wyoming, MI | Grand Rapids First Chruch Read the full article

#NaomiRaine #NatalieGrant #TashaCobbsLeonard

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don-lichterman · 1 year

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Deon Cole Tapped to Host "Soul Train Awards" 2022

Deon Cole Tapped to Host “Soul Train Awards” 2022

Black America Web Featured Video CLOSE Source: NBC / Getty NEW YORK, NY – October 23, 2022 – Today, BET announces the host, nominees and premiere date of “Soul Train Awards” 2022 presented by BET taking place, Sunday, November 13 in Las Vegas, Nevada. Actor, comedian and writer Deon Cole will host an incredible night celebrating the best in soul music and the iconic legacy brand. Additionally,…

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lasclcolumbus · 2 years

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Records, she was asked by veteran producer Quincy Jones to appear on his album Q's Jook Joint (1995), earning her Grammy Award nominations for their collaboration on "You Put a Move on My Heart" and "Slow Jams." Her self-titled debut album was released in 1998 and followed by a series of successful albums with Elektra Records, including A Nu Day (2000) and More (2004). In 1994, after signing a development deal with Warner Bros. Born and raised in Windsor, Ontario, Tamia performed in various singing and dancing competitions as a child. Tamia Marilyn Hill ( née Washington born May 9, 1975) is a Canadian singer, songwriter, producer, and actress.

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tcm · 4 years

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The Aura of Carmen Jones By Constance Cherise

Based on Georges Bizet's opera, the all-Black 20th Century-Fox musical CARMEN JONES (‘54), starring Academy Award and Golden Globe-nominated Dorothy Dandridge and EGOT Harry Belafonte, was a significant progression for its historical time-frame. Best expressed by author and film historian Donald Bogle in his book Dorothy Dandridge: A Biography, “…it represented a major step forward during the Eisenhower era.”

The Cleveland, Ohio-born Dandridge, who had been lighting the stage on fire as a chanteuse in her nightclub act prior to starring in CARMEN, was not originally considered for any role—far less the lead—by infamous director Otto Preminger. According to Bogle, Preminger (who during the course of filming would become Dandridge’s lover) viewed her as “too sweet and regal,” based off of her previous nightclub performances, where Dandridge presented as a sensual vocalist, draped in sinuous gowns that clung to her figure. In order to get the role, Dandridge stripped her “polished” persona, modified her makeup and fashion revealing an alter ego to Preminger. He took one look at her and declared “My God. It’s Carmen!”

Often compared to Lena Horne, the exquisitely beautiful Dandridge was trained as an artist alongside her sister from childhood. The Dandridge Sisters evolved from church gatherings to the acclaimed Cotton Club, where Dandridge met her future husband Harold Nicholas of the famed Nicholas Brothers. Soft spoken, stunning and a quick study, Dandridge collaborated with arranger/composer Phil Moore, devising a smoldering nightclub act that was eagerly received in all-white venues. Her crossover appeal lent well to Hollywood. When talk of a CARMEN JONES production spread, Black Hollywood clamored. CARMEN JONES would be the first all-Black musical since MGM’s CABIN IN THE SKY (‘43), as well as the first Black film shot in Technicolor. Stars the likes of Harry Belafonte, Diahann Carroll and Pearl Bailey would solidify roles.

The lyrics of Carmen’s first song of the film, “Dats Love,” is an announcement of her essence.

“You go for me and I'm taboo

But if you're hard to get I go for you

And if I do then you are through, boy

My baby that's the end of you”

From the moment Carmen sashays into the cafeteria, casually holding a red rose (a present from one of her hopefuls no doubt), we know she is unique based solely on her black ruffle trimmed, low-cut blouse and fitted red skirt: A subliminal combination of colors associated with the image of a stereotypical devil.

She is decisive of her prey. She admires Joe (Harry Belafonte) unabashedly sizing him up as an alpha. Her mind is made up. She is going to get exactly what she wants, and who could blame her? Joe with his honey-toned skin and chiseled features is beautiful, and the fact that he is unresponsive intrigues her senses all the more. Her playful banter with a frustrated Joe while traveling in the Jeep is only a precursor. Carmen is content with turning up the heat in increments, because in her mind there is no doubt, she is already the victor. As Joe continually shoves her away, she answers: "The harder I get bumped the more of me bounces." She’s surprising, simultaneously amusing and unapologetic.

Instead of relenting in fear when Joe grabs her in a fit of jealousy, Carmen ferociously fights to be released from his clutches punctuating her need for freedom. She is not acting out as a means of manipulation, although clearly, she knows how to manipulate. This particular response is created out of authentic self-preservation and she possesses the audaciousness to be a woman who is the master of her own soul, regardless of her lover's emotion. Of course, naturally, Joe becomes obsessively caught in Carmen’s beguiling web, where his passion is so overwhelming it results in murder. But, Carmen's outright refusal to be possessed within itself is her power and depending on perspective, may also be her pitfall.

Although she was a vocalist, like much of the cast, Dandridge was not able to meet the demands of the film's operatic hue. Dandridge took great strains to make the dubbed vocals of Marilyn Horne as seamless as possible, mimicking Horne’s breath work.

The NAACP was originally opposed to an all-Black cast as the organization rallied for integration. The controversy of CARMEN JONES truly lay in the lead’s overt sexuality. Carmen obeys her primitive nature, wafting where her emotions lead, and as a result the script was gone over with a fine-tooth comb prior to filming for review by the Hays Office. Dandridge was the first Black woman to appear on the cover of Life magazine, and by the time the film was in production she was viewed by black and white audiences alike (albeit taboo for a white audience) as a bonafied sex symbol. Still, Dandridge faced inevitable racial truths. When once threatening to swim at the all-white hotel which she headlined, suddenly the pool required draining.

Dandridge's performance in CARMEN JONES garnered a Best Actress Oscar nomination, the first for a Black individual. Despite her loss to Grace Kelly, the community saw her nomination alone as a hard earned and long-suffering triumph. After her achievement for CARMEN JONES, demand for her performances grew. Dandridge was booked in illustrious venues including the Empire Room in New York’s Waldorf Astoria Hotel; however, her movie career began to flail on Preminger’s advice to turn down multiple roles offered to her that he perceived as below her Oscar nominee stance. It would be a three-year stint until she would once again return to film, garnering a Golden Globe nomination for PORGY AND BESS (‘59). Over the course of her life, Dandridge would turn to alcohol and prescription medications to fill the void of her failed sometimes abusive relationships and intimate struggles. Her life came to a tragic end at the age of 42 as a result of an overdose.

There was an extraordinary capacity within Dandridge, of which CARMEN JONES only allowed us a glimpse. It is true, Dandridge’s beauty and sex appeal opened doors enjoyed by Black artists to date. It is also true that the racial constraints of the day measurably blocked Dandridge as well as other minority performers of the era. But when I look at Dandridge, I see a woman who despite her pristine beauty, her elegant poise her sexual appeal, or throngs of fans that loved her, much like many of other enviable starlets we can easily name, simply did not love herself enough, and that, is the most unfortunate tragedy of all.

#Dorothy Dandridge #Carmen Jones #Harry Belafonte #all-black #opera #black representation #old hollywood #hollywood Black #TCM #Turner Classic Movies #Constance Cherise

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awardseason · 3 years

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25th Satellite Awards — Film Nominees

MOTION PICTURE, Drama “Nomadland” “The Trial of the Chicago 7” “The Father” “Promising Young Woman” “Minari” “Ma Rainey’s Black Bottom” “Tenet” “Sound of Metal” “One Night in Miami” “Miss Juneteenth”

MOTION PICTURE, Comedy or Musical “On the Rocks” “Hamilton” “Borat Subsequent Moviefilm” “Palm Springs” “The Personal History of David Copperfield” “The Forty-Year-Old Version”

DIRECTOR Aaron Sorkin, “The Trial of the Chicago 7” Chloé Zhao, “Nomadland” David Fincher, “Mank” Darius Marder, “Sound of Metal” Lee Isaac Chung, “Minari” Florian Zeller, “The Father”

ACTRESS IN A MOTION PICTURE, Drama Carey Mulligan, “Promising Young Woman” Frances McDormand, “Nomadland” Vanessa Kirby, “Pieces of a Woman” Viola Davis, “Ma Rainey’s Black Bottom” Kate Winslet, “Ammonite” Sophia Loren, “The Life Ahead”

ACTOR IN A MOTION PICTURE, Drama Anthony Hopkins, “The Father” Delroy Lindo, “Da 5 Bloods” Riz Ahmed, “Sound of Metal” Steven Yeun, “Minari” Chadwick Boseman, “Ma Rainey’s Black Bottom” Gary Oldman, “Mank”

ACTRESS IN A MOTION PICTURE, Comedy or Musical Meryl Streep, “The Prom” Rashida Jones, “On the Rocks” Margot Robbie, “Birds of Prey” Michelle Pfeiffer, “French Exit” Maria Bakalova, “Borat Subsequent Moviefilm” Anya Taylor-Joy, “Emma.”

ACTOR IN A MOTION PICTURE, Comedy or Musical Andy Samberg, “Palm Springs” Lin-Manuel Miranda, “Hamilton” Dev Patel, “The Personal History of David Copperfield” Sacha Baron Cohen, “Borat Subsequent Moviefilm” Leslie Odom Jr., “Hamilton”

ACTRESS IN A SUPPORTING ROLE Amanda Seyfried, “Mank” Olivia Colman, “The Father” Yuh-Jung Youn, “Minari” Ellen Burstyn, “Pieces of a Woman” Nicole Kidman, “The Prom” Helena Zengel, “News of the World”

ACTOR IN A SUPPORTING ROLE Brian Dennehy, “Driveways” David Strathairn, “Nomadland” Sacha Baron Cohen, “The Trial of the Chicago 7” Chadwick Boseman, “Da 5 Bloods” Kingsley Ben-Adir, “One Night in Miami” Bill Murray, “On the Rocks”

MOTION PICTURE, International “Another Round” (Denmark) “Tove” (Finland) “A Sun” (Taiwan) “Two of Us” (France) “Jallikattu” (India) “I’m No Longer Here” (Mexico) “Atlantis” (Ukraine) “My Little Sister” (Switzerland) “La Llorona” (Guatemala)

MOTION PICTURE, Animated or Mixed Media “Over the Moon” “Soul” “Wolfwalkers” “Demon Slayer-Kimetsu No Yaiba-The Movie: Mugen Train” “Accidental Luxuriance of the Translucent Watery Rebus” “No. 7 Cherry Lane”

MOTION PICTURE, Documentary “Collective” “Crip Camp” “MLK / FBI” “The Dissident” “A Most Beautiful Thing” “The Truffle Hunters” “Acasa, My Home” “Coup 53” “Gunda” “Circus of Books”

SCREENPLAY, Original Lee Isaac Chung, “Minari” Aaron Sorkin, “The Trial of the Chicago 7” Jack Fincher, “Mank” Pete Docter, Mike Jones & Kemp Powers, “Soul” Andy Siara, “Palm Springs” Emerald Fennell, “Promising Young Woman”

SCREENPLAY, Adapted Ruben Santiago-Hudson, “Ma Rainey’s Black Bottom” Christopher Hampton & Florian Zeller, “The Father” Jessica Bruder & Chloe Zhao, “Nomadland” Kemp Powers, “One Night in Miami” Edoardo Ponti, “The Life Ahead” Luke Davies & Paul Greengrass, “News of the World”

ORIGINAL SCORE Ludwig Goransson, “Tenet” Trent Reznor & Atticus Ross, “Mank” Alexandre Desplat, “The Midnight Sky” James Newton Howard, “News of the World” Emile Mosseri, “Minari” Terence Blanchard, “One Night in Miami”

ORIGINAL SONG “Io Sì” – Dianne Warren, The Life Ahead “Hear My Voice” – Daniel Pemberton & Celeste Waite, The Trial of the Chicago 7 “Rocket to the Moon” – Christopher Curtis, Marjorie Duffield & Helen Park, Over the Moon “Speak Now” – Leslie Odom Jr. & Sam Ashworth,One Night in Miami “Everybody Cries” – Rod Lurie, Larry Groupe & Rita Wilson, The Outpost “The Other Side” – Justin Timberlake, Trolls World Tour

CINEMATOGRAPHY Martin Ruhe, “The Midnight Sky” Joshua James Richards, “Nomadland” Eric Messerschmidt, “Mank” Dariusz Wolski, “News of the World” Tami Reiker, “One Night in Miami” Hoyte Van Hoytema, “Tenet”

FILM EDITING Chloé Zhao, “Nomadland” Yorgos Lamprinos, “The Father” Alan Baumgarten, “The Trial of the Chicago 7” Kirk Baxter, “Mank” Tariq Anwar, “One Night in Miami Harry Yoon, “Minari”

SOUND, Editing and Mixing Phillip Bladh, Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés & Carolina Santana, “Sound of Metal” Willie D. Burton, Richard King, Kevin O’Connell & Gary A.Rizzo, “Tenet” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance & Drew Kunin, “Mank” Gary Megregian, David Giammarco, Mark Paterson & Steven A. Morrow, “The Prom” Randy Thom, Dan Hiland, Todd Beckett, Danny Hambrook & Bjorn Schroeder, “The Midnight Sky” Sergio Diaz, Zach Seivers & M. Wolf Snyder, “Nomadland”

VISUAL EFFECTS Mark Bakowski, Georgina Street & Jill Brooks, “The Midnight Sky” Pablo Helman, Mathew Cowie, Erin Dusseault & Flannery Huntley, “Mank” Andrew Jackson, “Tenet” Kevin Souls & Thrain Shadbolt, “Birds of Prey” Nathan McGuinness & Pete Bebb, “Greyhound” Sean Faden, “Mulan”

ART DIRECTION & PRODUCTIO DESIGN Cristina Casali & Charlotte Dirickx, “The Personal History of David Copperfield” Page Buckner, Barry Robinson & Mark Zuelzke, “One Night in Miami” Donald Graham Burt, Chris Craine, Dan Webster & Jan Pascale, “Mank” Jim Bissell & John Bush, “The Midnight Sky” Jamie Walker McCall & Gene Serdena, “The Prom” Grant Major & Anne Kulijan, “Mulan”

COSTUME DESIGN Bina Daigeler, “Mulan” Alexandra Byrne, “Emma” Ann Roth, “Ma Rainey’s Black Bottom” Trish Summerville, “Mank” Suzie Harmon, Robert Worley, “The Personal History of David Copperfield” Francine Jamison-Tanchuck, “One Night in Miami”

SPECIAL ACHIEVEMENT AWARD

Mary Pickford Award: Tilda Swinton

Tesla Award: Dick Pope

Auteur Award: Emerald Fennell, “Promising Young Woman”

Best First Feature: Channing Godfrey Peoples, “Miss Juneteenth”

Stunt Performance Award: Gaëlle Cohen

Humanitarian Award: Mark Wahlberg

Ensemble, Motion Picture: “The Trial of the Chicago 7”

#international press academy #ipa awards #ipa 2020 #satellite awards #satellite awards 2020 #nominees

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francisp0rter · 3 years

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The Grammy Awards are Decadent and Depraved

By Blunted

Before writing anything about the Grammy Awards, it should be duly noted that nobody really gives a shit. Everyone knows that the nominated artists are nowhere near the best the industry has to offer, but at the end of the day (8PM EST, to be specific) we all tune in to watch the big train wreck in the hopes that at least a couple of shining moments will come through.

The whole thing was off to a bleak start when, in an astoundingly bone-headed move, the Grammys decided to relegate the Rap Album of the Year awards to the pre-show, forcing one of the greatest emcees who ever lived to accept his first Grammy nomination in complete silence. The argument in the Grammys favour is that none of the nominees are popular enough to warrant a spot on the main show, but that doesn’t seem to matter so much to the Grammys when they drag out H.E.R, who elicits a collective “who the fuck is that?” anytime she appears on screen.

And even if it’s a case of the nominees not being popular enough, why nominate them in the first place? Freddie Gibbs and Royce Da 5’9 don’t need the Grammys, we already know that they’re two of the best poets this great genre has to offer. And Nas CERTAINLY doesn’t need the Grammys, as he’s gone his whole illustrious career without even receiving one. How are you gonna make him accept his first ever Grammy award off-air like he’s winning Best Classical Compendium or some shit?

For the Grammys to nominate these incredible talents and then stick them in the pre-show is not only an insult but just downright fucking dumb. Letting Nas on the Grammy stage to accept his first ever award would have done a hell of a lot more to remedy the Weeknd boycott situation than having Harvey Mason Jr. come on screen and beg everyone not to be mad at him.

With that being said, the 63rd Grammy Awards were pretty god-damn weird. You could probably chalk the strange vibes up to the lack of a real audience and the battle-of-the-bands style layout the Grammys opted for, but that’s not entirely it. Something else was off, something nearly intangible. After about an hour of this uncanny-valley feeling, I realized where it was coming from: Trevor Noah.

Possibly the least funny person on the entire planet Earth, Trevor Noah bumbled his way through over three hours of jokes that would have bombed even if they were performed at an open mic night in Tacoma, Washington. The only funny thing that left his mouth was,

“Gobble me, swallow me, drip down the side of me. We’re back at the 63rd Grammy Awards,” and it was only funny because it didn’t make any fucking sense.

Worst host of all time aside, the show ranged from pretty good to downright cringe-inducing, with some moments of greatness sprinkled in. Billie Eilish kicked the show off with a sleepy performance of her Record of the Year nominated track “Everything I Wanted,” in which she sang on top of a luxury car submerged in a cloud of smoke. Eilish, as always, left little to be desired and delivered her performance with the precision of a well-trained theatre kid. There’s an inherent starry-eyed quality to Eilish’s music, but her talents make it easy to look past.

Haim’s blistering performance of “The Steps” was stellar. The group’s musicality was on full display as Danielle Haim led the track on drums and vocals, before quietly switching out with her sister Alana to take centre stage, proving once again that the best way to make a splash at the Grammys is simply by playing music and playing it well.

Bruno Mars and Anderson Paak also gave two incredible performances as Silk Sonic. The first was a Soul Train-inspired rendition of their brand new track “Leave the Door Open” that looked like it was equally as fun to perform as it was to watch. Later, the duo took the stage and set the place on fire with a tribute to Little Richard. Anderson’s drumming was the highlight of the performance, and whoever was running the sound seemed to know this too, centring the rhythm section in the most prominent part of the mix.

There were plenty of moments that were good, but not overly special that I’m gonna run through really quick here. Harry Styles came through and did his cool gender-bending thing. I really like “Watermelon Sugar,” I think it’s a perfect pop song, and I think Harry Styles is way too good to have ever been in One Direction. I’m excited for his next album and that’s all I really have to say about him.

Taylor Swift’s performance was excellent, and it was great to see her bring out Aaron Dessner and Jack Antonoff and give them the credit they deserve for helping her expand her sound on her stellar 2020 offerings “Folklore” and “Evermore.”

Meg Thee Stallion, Cardi B, and Dua Lipa banged out some hyper-sexual performances that didn’t really seem to have a point other than being shocking. But the songs are nice and at least Meg can rap.

Oh, and Beyonce broke the record for most Grammys ever. Does anyone really give a shit about that? I thought it would be a bigger deal.

The rap performances left something to be desired, which is an absolute fucking shame considering the emcees they had nominated in the Rap Album of the Year category. DaBaby came out and did his one flow, and then Roddy Ricch joined him, which was nice. Roddy’s solo performance was actually really great. He’s one of the first rappers I’ve seen play an instrument while rapping. Scarface is the only other one to my memory. Maybe Mac Miller, too.

Lil Baby’s performance was, at first, captivating and powerful, but upon further inspection feels kind of weak, especially considering the weird diatribe from neoliberal grifter Tamika Mallory that he placed halfway through the performance. Re-enacting a police killing with paid actors was also a little tasteless in retrospect. Baby rapped his ass off though, and hopefully his performance will show clueless rap fans that trap music isn’t just a genre meant to soundtrack frat parties.

The worst performance of the night belonged to Post Malone, as it so often does. The Texas troglodyte appeared on stage in the worst Blade costume I’ve ever seen to deliver a dead-in-the-water rendition of his abysmally bad single “Hollywood’s Bleeding.” I remember there was a time when Post Malone’s whole thing was being this pop-crossover Bob Dylan type with rap aesthetics. I didn’t like it, but it was infinitely better than whatever weird gothic thing he’s doing now.

All things considered, the Grammys were the Grammys. You can’t really expect too much from them. While the highs were really high, the lows were so unbelievably low that it was almost embarrassing. Before I sign off, I just wanna give another quick “fuck you” to Harvey Mason Jr. You’re the worst, man.

#features

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redcarpetview · 6 years

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RCA INSPIRATION GARNERS TWO NOMINATIONS FOR THE 2018 SOUL TRAIN AWARDS

Snoop Dogg and Kirk Franklin. Photo by Earl Gibson.

Nashville, TN (October 27, 2018) – RCA Inspiration celebrates two nominations for the 2018 Soul Train Awards, with gospel icon Kirk Franklin (Fo Yo Soul/RCA) and hip-hop icon Snoop Dogg (All The Time Entertainment/RCA Inspiration) getting nominated in the category of Best Gospel/Inspirational Award. Kirk Franklin and Snoop Dogg are both previous Soul Train Award winners, while this marks the first nomination in the Gospel/Inspirational category for Snoop Dogg, who released his first gospel project, Snoop Dogg Presents Bible of Love, earlier this year. The 2018 Soul Train Awards will be taped on Saturday, November 17th, 2018 in Las Vegas, and air on Sunday, November 25th, 2018 on BET and BET HER at 8 pm ET.

The two prolific hit makers even first met backstage at the Soul Train Awards in the ‘90s early in their careers, recounting their first meeting – and sharing stories about their upbringing in church, the influences of gospel and hip-hop, discussing collaborating on music some twenty years ago, God’s grace, faith, spirituality, and more – in a fresh in-depth conversation series between Snoop and Kirk called From Gangster To Gospel To Redemption. A three-part series, the first two episodes recently premiered on BET.com, with all three episodes available to watch now on YouTube.

Watch the three-part series with Snoop Dogg & Kirk Franklin, From Gangster To Gospel To Redemption:

Episode 1

youtube

Episode 2

youtube

Episode 3

youtube

For more information on RCA Inspiration, visit:

Website: http://rcainspiration.com/

Facebook: https://www.facebook.com/RCAInspiration

Instagram: @RCAInspiration

Twitter : @RCAInspiration

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#Music #Soul Train Awards #Soul Train Awards 2018 #RCA #RCA Inspiration #Snoop Dogg #Kirk Franklin #Naomi Richard #naomijrichard #Naomi Jean Richard #RCV #Red Carpet View #Soul Train Nominations #Soul Train 2018 Nominations #Soul Train Award Nominations #Soul Train Award Nominees

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lboogie1906 · 1 year

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Canzetta Maria "Candi" Staton (born March 13, 1940) is a singer-songwriter, known for her 1970 remake of "Stand by Your Man" and "Young Hearts Run Free". In Europe, her biggest-selling record is the anthemic "You Got the Love". She was inducted into the Christian Music Hall of Fame and is a four-time Grammy Award nominee. Born in Hanceville, Alabama, and in Nashville. As teenagers, her group toured the traditional gospel circuit during the 1950s with the Soul Stirrers, C. L. Franklin and Mahalia Jackson. They recorded several sides for Nashbro, Apollo, and Savoy Records. She was introduced to Rick Hall by Clarence Carter and launched her solo career as a Southern soul stylist, garnering 16 R&B hits and gaining the title of "First Lady of Southern Soul" for her Grammy-nominated R&B renditions of the songs "Stand by Your Man" and "In the Ghetto". She appeared on Soul Train. She began collaborating with producer David Crawford on disco songs such as "Young Hearts Run Free", which reached #1 on the US R&B charts, #2 on the UK Singles Chart, and went Top 20 on the Pop Hot 100. It was remixed and re-released. Follow up song "Destiny" hit the Top 50 in the UK and her version of "Nights on Broadway" hit the UK Top 10. She scored another Top 50 hit in the UK with "Honest I Do Love You". She released the single "When You Wake Up Tomorrow" and the title song "Chance", a top 20 R&B chart record. Other dance club chart hits included "When You Wake Up Tomorrow" and "Victim". She has since recorded twelve gospel albums, two of which received Grammy Award nominations. She appears on the United Nations Register of Entertainers, Actors, And Others Who Have Performed in Apartheid South Africa. She married Pentecostal minister Joe Williams (1960-1968), and together they have four children. She married singer Clarence Carter (1970–1973) and they had one child. She married Jimmy James (1974-1977). She married Drummer John Sussewell (1980-1998). She married former baseball player Otis Nixon (2010-2012). She married Henry Hooper (2017-). #africanhistory365 #africanexcellence #womenshistorymonth https://www.instagram.com/p/Cpurah-O-tW/?igshid=NGJjMDIxMWI=

#1 #2 #africanhistory365 #africanexcellence #womenshistorymonth

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coghive · 2 years

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Marvin Sapp Lands Seventh Soul Train Music Award Nomination

It’s beginning to look a lot like award show season, and Marvin Sapp has landed his 7th Soul Train Music Award nomination just weeks after celebrating his single “All In Your Hands” reaching the #1 position on Billboard’s Gospel Airplay Chart. He is nominated in the Best Gospel/Inspirational category. 6Marvin Sapp is a two-time Soul Train Music Award winner, and remains excited anytime his name is announced as a nominee. “I love that the Soul Train Music Awards continue the great tradition of celebrating Black joy through song,” says Sapp. “It is an honor and a privilege to be among those considered to have released music this year that made people smile and gave people a sense of hope.” 2022 has marked numerous firsts for Sapp, including the first album released on his own record label, the TVONE premiere of the biopic Never Would Have Made It: The Marvin Sapp Story, and being officially crowned a “Billion Spinner” on Pandora. Still, the “preacher who happens to sing” has remained a consistent, in-person presence at The Chosen Vessel Cathedral where he is Senior Pastor. Currently celebrating three years at the Fort Worth, Texas based church, Sapp and his pastoral team recently oversaw a mass baptism of more than 100 people. “I began pastoring at a new church in a new city just months before the height of the COVID19 pandemic. We had virtual services for almost two years, so this year has been one of renewed focus and revitalization at the Chosen Vessel Cathedral. The mass baptism was a time of refreshing for all of us.” Sapp is nominated for his 15th album, Substance. The album debuted #1 when it was released, making it the singer’s seventh consecutive number one Gospel album debut. It also debuted #3 on the Top Christian/Gospel Albums sales chart. Substance is available now everywhere digital music is sold. https://open.spotify.com/album/3eDMY9RySuq97wflZUQ9XF?si=wDCk1tT7SeKPweihNYoiAQ Read the full article

#MarvinSapp

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infiniteshawn · 5 years

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Since We’re Alone | 1

Phoebe Rose Bray wasn't a spontaneous woman. But when she drunkenly applied to become a seat filler six months prior, she hadn't been thinking about her internship or her god-awful boss, Margaret, or her starving bank account. She'd been feeling ambitious.

And that's why when she got the email regarding the Sixty-fourth Annual Grammy Awards, she huffed a rather annoyed sigh and silently accepted the invitation.

A massive turn of events, a tragic production slip-up, and a quick diversion led her exactly where she hadn’t intended on ending up: in front of millions of people, wrapped up in the arms of a pop sensation.

a/n: here it is. 1.6 k. new series, or so i think. we’re gonna see how this one goes first. feedback: appreciated

She couldn’t believe she was doing this. Phoebe Rose Bray gave herself a one-over in her hotel bathroom, smoothing out her satin dress with her carefully manicured hands.

It wasn’t often that she travelled out of the country and it was far less often that she travelled alone. But when she drunkenly applied to become a seat filler six months prior, she hadn’t been thinking about her internship or her god-awful boss, Margaret, or her starving bank account. She’d been feeling ambitious.

And that’s why when she got the email regarding the Sixty-fourth Annual Grammy Awards, she huffed a rather annoyed sigh and silently accepted the invitation.

Phoebe began to understand the fuss about Los Angeles traffic when what should have been a ten-minute drive to the Staples Center turned into an hour-long road trip. Thank God Uber provided snacks.

It was more of a process than a celebration—for Phoebe, at least—and she was more interested in being assigned a seat than looking around for the faces of her childhood idols. Relieved to be inside with air conditioning and away from flashing cameras and hollering paparazzi, she settled into her seat and prayed to her lucky stars for a mediocre night.

The show was uneventful, for the most part. For the first half. As soon as the big categories began to surface, the crowd got antsy. From her spot at the back of the floor, Phoebe zoned in on the A-listers sitting closest to the stage, and it was clear they were shifting in their seats. Something was coming.

That something was Record of the Year, she deducted. She tried her best to focus on Justin Timberlake’s never-ending monologue about finally being able to host music’s biggest night, but the headset-wearing woman equipped with a clipboard was inevitable, and Phoebe knew where she was headed.

“You’re next,” the woman spoke, hastily yet quietly, “get ready.”

Phoebe kept a trained eye on the tops of people’s heads because she hadn’t memorized where each artist was sitting and it seemed like the only way she could possibly know where to go.

People came out—Katy Perry and some guy—to present the nominees. Phoebe straightened her spine and firmly planted her stiletto, preparing to jump up at any second. She reminded herself of the importance in being stealth, avoiding taking away from the artist’s acceptance speech because while this was their big moment, she was also contractually bound not to disturb the audience. Names were called. Snippets were played. An announcement was made. And before she knew it, Phoebe was silently power-walking toward the front of the arena, sitting her ass down in Lizzo’s still-warm folding chair.

The crowd had settled and she was giving a very animated speech about the song’s significance, and all Phoebe could focus on was the pointed boot almost touching her strapped-in-toes.

She was positive that the row of seven-or-so people sitting next to her were there together. Most of them muttered to each other during Lizzo’s speech, but the guy beside her was dead silent. He stared straight forward, face aimed directly at the stage. Phoebe could feel his brown eyes on her. She wondered if he was suspicious of her, or frowning upon the idea of seat fillers because maybe he believed that general audience members had no place up front. She never considered that the warmth engulfing her body wasn’t from her own embarrassment, but was instead radiating off of him.

The crowd broke into applause and they, together, realized that they, too, should probably be clapping. So they clapped. The show went on. And though neither of them said a word to the other, they were very aware of one another’s presence.

So much that Phoebe’s brain was running in circles, dreading the moment “Shawn Mendes” would be called as the winner of Album of the Year because he’d somehow have to wiggle past her, and she knew that with her luck she’d probably fall over. Her heart raced as she began debating whether she’d be standing with them in applause or remaining seated, and if she’d be shown on national television. It was all very much very fast and she didn’t even notice that Shawn was muttering under his breath in her direction.

“Psst,” she heard, and she turned in his direction quickly enough to give herself whiplash.

“What?” she whispered in a more offended tone than she’d hoped for. She just wasn’t expecting it.

“I said,” he spoke lowly, leaning in a little closer, “if it helps, I’m nervous too.”

“I’m n-”

“Yes, you are,” he cut her off, shooting her the million-dollar grin that was plastered on every billboard from New York to Tokyo.

He was ethereal. Phoebe knew that celebrities were ridiculously idealized in the media, and with the help of round-the-clock makeup artists and photoshop and endless reserves of cash, they were almost always eternally beautiful. But even this close up, with that damn curl hanging on his forehead, Shawn Mendes was inevitably gorgeous. She avoided his gaze.

“All I’m saying is,” he leaned in a little closer, and she was pretty sure she could feel his breath on her neck, “you can loosen up a bit. Sit back. Look around, no one’s looking at you,” he paused, allowed her to finally adjust to her surroundings, “except me.”

If she wasn’t blushing before, she was bright red now. She figured he would be like this—a womanizer, for the lack of a better term—but she never thought she’d fall victim to any of his one-liners.

Shawn clammed up when a uniformed-producer announced the final commercial break, and Phoebe sat in silence, unable to avoid eavesdropping on the group to her right.

“I’m not sure, man,” Shawn mumbled, leaning toward the suited guy beside him. Both of them were leaning forward, and Phoebe was able to make out the label on his seat. Andrew Gertler.

“Relax, Shawn,” the man she assumed to be Mr. Gertler spoke, “we’ve been here before. They’re either gonna recognize that you deserve it or they aren’t, and in both cases you need to remember that there’s a camera on you. Regardless of what you’re feeling, I need you to really sell it.”

“Yeah, yeah,” Shawn nodded, “just happy to be here. I know.”

“Good,” the man said before taking a sip of his water, “I have a good feeling, kid.”

Shawn didn’t respond. He took a deep breath and sunk back into his seat, watching intently as the rest of his team had a muffled conversation about the afterparty.

Phoebe picked at her cuticles until Shawn rubbed his massive hands together and muttered, “Showtime,” and Timberlake came out once again, thanking everyone for coming and prefacing some montage video of past Album of the Year winners.

She nudged his knee with hers. Shawn’s eyebrows shot up a bit, silently asking if the contact was intentional or if she was just a bit twitchy. She nudged him again.

“If it helps,” she whispered, neither of them looking at each other, “I’m nervous too.”

She couldn’t help but notice the tight-lipped grin creeping up his cheeks in her peripheral vision, and she knew that was just what he needed.

But the wave of comfort and confidence that had overcome Shawn didn’t last long, because the video was over and Pharrell Williams was standing before them, hastily reading through a list of eight album names as if these artists hadn’t put their absolute hearts and souls into each body of work.

A name was called. Phoebe wasn’t sure who it belonged to, but it didn’t belong to Shawn Mendes. The sinking feeling in his stomach somehow translated to her because she, too, felt it. Weightless.

Something was happening, though. The split-screen of nominees hadn’t focused-in on the winner as it usually would, and by some work of the devil it was displaying a massive live-video of Shawn’s face. And the heartbreak-with-a-hint-of-anger written all over it.

Neither Shawn nor his team had caught on to the technical slip-up, and the few seconds they were all on camera felt like hours to Phoebe. She was thinking at a million miles a second, debating tapping him on the shoulder or just saying something, anything, to bring his attention to his very-public negative reaction.

She knew this would be the big headline.

Unless she could make an even bigger one.

Without thinking long enough to convince herself otherwise, Phoebe twisted in her seat and faced the man she’d been so intimidated by for the last half-hour. His distraught eyes met her determined ones, and before he could resist, she muttered something along the lines of, “Just go with it,” and lunged at him, kissing him with everything she had.

Shawn froze and Phoebe panicked—had he not hit on her, this wouldn’t have even been a thought in her mind—but quickly, he melted into it. The gears began turning and her words had convinced him that she had a reason, supported by the way she kissed him with such purpose.

Her hand was on his jaw and his were in her hair, and while he refrained from slipping her the tongue for the sake of everyone watching at home, he still kissed her wildly.

Andrew was jostling Shawn’s arm. The cameramen had sorted their shit out. And Phoebe was up from her seat and running out of the arena faster than any of it had even happened.

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#shawn mendes #shawn mendes fanfic #shawn mendes fanfiction #shawn mendes fic #shawn mendes smut #shawn mendes fluff #shawn mendes angs #shawn mendes angst #shawn #mendes #mendesarmy #sm3 #shawn mendes x reader #shawn x phoebe

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