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The Recording Academy Actually Addressed Some Of The Biggest 2021 Grammy Nomination Snubs

Getty Image Recording Academy interim president/CEO Harvey Mason Jr. spoke about The Weeknd and Harry Styles missing out on major nominations. …

Every year after the Recording Academy announces its extensive list of Grammy nominations (which it did this morning), music fans take to the internet to point out the artists and works they feel should have been up for certain awards. One thing that doesn’t usually happen, though, is the Academy addressing those snubs, but interim president/CEO Harvey Mason Jr. has done so this year.

The Weeknd didn’t earn a single nomination despite having one of the year’s most successful and beloved albums in After Hours, and Harry Styles’ Fine Line and accompanying singles were also excluded from the Big Four categories (Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist). Mason was asked about that in a new Billboard interview, as the publication’s Paul Grein said, “I was shocked that The Weeknd wasn’t nominated at all, and that Harry Styles wasn’t nominated in any of the Big Four categories. Why do you think they weren’t nominated?” Mason responded:

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“For The Weeknd, in every year you only have a certain amount of people you can nominate for each category. As for Harry, he has some great nominations this year [even though he wasn’t nominated in the top categories]. We are excited about some of the other categories where he was nominated. It’s never easy to tell where people are going to land.”

The interviewer then continued, “There was a day where both of these artists would have been nominated for album, record and song of the year. The Grammys have shifted in terms of what they value. Now they seem to value championing newer and less well-known artists over reinforcing things that have already been rewarded in the marketplace.” Mason “hesitantly” (as the publication put it) responded, “Yeah, it’s interesting.”

It was later pointed out to Mason that country artists weren’t well-represented in the Big Four categories, to which he responded, “There are a certain amount of nominations that we can give out. The voting body really determines where those nominations go. We take it very seriously. We review every bit of music that is submitted. From year to year, it is really hard to predict who is going to be nominated and who’s not. I personally wish we could give everybody a nomination, but there are only a certain amount of slots. There were some amazing records that did not get nominated.”

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Mason was then pressed, “There doesn’t seem to be a high priority given to making sure country is represented, like there is to making sure the nominations are diverse.” He replied, “We don’t sit down and decide we have to have this person and we have to have that person; We have to have that genre; and we have to have this race. We really are trying to land on quality. In my experience, it’s not really been about trying to even the playing field for every different group and make sure that everyone’s included. It’s really about trying to highlight quality and excellence. We really hope that is a diverse group; that it represents a lot of genres. I think this year if you look at the overall nominations, we have represented more genres than we generally do in our Big Four categories. They’re very diverse across the board in gender, age, and genre.”

Read the full interview here.

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Artist Spotlight

Sadie Brown delivers a heartfelt illusion of a fake life with her new single “Counterfeit”

Sadie Brown

At the heart of “Counterfeit” is a tale of love manipulated for selfish purposes, yet still feels captivating. Sadie Brown’s new single “Counterfeit” invites listeners into the deceptive lull of beautiful and bleak love, one that promises everything while lacking genuine vulnerability, ultimately delivering only heartbreak. Brown adeptly illustrates the anguish of being entangled in a romantic relationship that never fully reveals itself, leaving listeners caught between longing and the painful acknowledgment of reality. Through ethereal pop sensibilities and a bittersweet melody, Brown explores the complexity of a “counterfeit love life” alluring yet reserved, a love that’s perpetually poised to “cut its losses.” The outcome is a sonic experience that feels as vast and unreachable as a memory of love gone awry.

Counterfeit” doesn’t just touch on the hurt that comes from unrequited love; it captures the quiet resignation accompanying it. With “Counterfeit,” Sadie Brown steps into a new creative direction in her music, mixing introspective storytelling with emotional resonance.

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Written during the lockdown and produced by Cashybear (Tim Ross, formerly of Cash+David), “Counterfeit” builds a hazy, indie-pop atmosphere that feels grounded and otherworldly. The collaboration with guitarist Jimmy Sims (known for his work with George Ezra) lends a retro warmth, creating swirling riffs that complement Sadie’s soft yet piercing vocal delivery. This subtle instrumentation mirrors the song’s themes: a relationship built on false pretenses, with its sweetness fading away like mist.

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Brown draws inspiration from artists like Camera Obscura, Kate Bush, and Lana Del Rey, bringing a charming and restrained sense of vulnerability. Like Joni Mitchell, Brown leans into the contradictions of love, evoking nostalgia but never retreating from the reality of unfulfilled desire. “Counterfeit” is a thought-provoking piece that establishes Sadie Brown as a voice that can authentically convey both the charm and the ache of illusion.

 

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For more information about Sadie Brown, please visit [website]. 
CLICK HERE TO STREAM Sadie Brown’s Counterfeit on Spotify.
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Indie

“Is Everything Okay?” by Tom Minor drops an anthemic vibe wrapped in a gold question

Tom Minor

The newest single by Tom Minor, entitled “Is Everything Okay?” presents a compelling fusion of introspective lyrics and vibrant soundscapes, establishing a unique intersection where self-reflection meets the assertiveness of indie rock. The song commences with an almost casual inquiry, “If you are unhappy and you do not know it, what value does it possess?” This opening lyric serves as both a reflective mirror and a cautionary prompt; it suggests that well-meaning inquiries from others may compel listeners to confront uncomfortable truths they might prefer to overlook while seeking clarity within their complex emotions.

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What renders “Is Everything Okay?” particularly noteworthy is Minor’s effective amalgamation of contemplative lyricism with a multifaceted, genre-defying composition. While indie rock sound with splashes of new wave and power pop have a discernible influence, the track ventures into unexpected realms of psychedelic music. Under the meticulous production of Teaboy Palmer, the song radiates the vitality of garage rock, simultaneously incorporating subtle elements of soul and R&B. The arrangement, characterized by vibrant guitar riffs and a fluid rhythmic structure, conveys the emotional depth of the message without appearing overly burdensome. Minor skillfully employs melody to construct an engaging groove that embodies optimism and challenge.

Additionally, Tom Minor’s vocal delivery demonstrates notable sincerity, reflecting his earnest intent to engage with the audience personally while allowing them space to process their emotional responses. By the conclusion of “Is Everything Okay?“, this work emerges as a significant addition to the contemporary musical landscape. It acts as a dialogue that invites contemplation of one’s current circumstances. The composition provides a form of sonic therapy that avoids offering simplistic solutions. This piece may represent Tom Minor’s most substantial achievement to date, as it fosters a more profound understanding among his audience.

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CLICK HERE TO STREAM Tom Minor’sIs Everything Okay? on Spotify.
CONNECT WITH Tom Minor | Facebook |

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