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Mostrando entradas con la etiqueta Grammys. Mostrar todas las entradas
Mostrando entradas con la etiqueta Grammys. Mostrar todas las entradas

sábado, 18 de febrero de 2012

Dave Grohl aclara su discurso de los grammys


Dave Grohl clarifies his Grammy speech
¡ Ay, qué noche tuvimos el domingo pasado en la 54ª entrega anual de los Grammys. El oropel! El Glamour! SEACREST! ¿Dónde empezar??? tranquilo con la reunión con Lil’ Wayne, contento con la adorable madre de Cyndi Lauper, la cortesía de Coldplay… mucho, demasiado para recapitular. Realmente está aún todo un poco desenfocado. Pero, si hay una cosa que recuerdo muy claramente, fue a mi aceptando el Grammy para mejor actuación de rock, diciendo:
“Para mí este premio significa mucho porque muestra que el elemento humano al hacer música es lo más importante. Cantando en un micrófono y aprender a tocar un instrumento y aprender a hacer tu oficio, es lo más importante para la gente . No tiene que ser algo perfecto, no tiene que ser algo absolutamente correcto, no es acerca de lo que pasa en un equipo, es sobre lo pasa aquí (señalándose en el corazón)] y lo que pasa aquí [señalándose en la cabeza].”
No es el discurso de Gettysburg, pero hey……¿Soy un batería, recordáis?
Bueno, yo y mi gran boca. 33 segundos en los que dije cosas sobre las grabaciones de hoy en día…. Quizás Kanye me tiene en este caso, pero….da igual….quiero aclarar una cosa
Amo a  la música. Me encanta  todo tipo de música. Desde Kyuss a Kraftwerk, Pinetop Perkins a Prodigy, Dead Kennedys a Deadmau5…… Me encanta la música. Acústica o electrónica, eso no me importa.  El simple acto de crear música es un hermoso regalo con el que todos los seres humanos son bendecidos. Y la diversidad de la personalidad del músico al siguiente es lo que hace música tan emocionante y… humana
Eso es exactamente a lo que me refería con El “elemento humano”. Lo que sucede cuando una canción se acelera ligeramente, o unos vocales van un poco fuerte. Esa cosa que hace que la gente suene como personas. En algún lugar a lo largo de la línea de esas cosas que fuesen “malas”, y con los grandes avances en la tecnología de grabación digital en los años se convirtió en fácil “fijo”. ¿El resultado final? Que mi humilde opinion….. mucha música que suena perfecto, pero carece de personalidad. Lo único que hace a la música tan emocionante es lo primero, el elemento humano
Y, lamentablemente, algunos de estos grandes avances han adoptado el enfoque general en la música. Mira, yo no soy Yngwie Malmsteen. Yo no soy John Bonham. Joder…Yo no soy incluso Josh Groban, de eso se trata. Pero traro de verdad follar duro por lo que no debe de depender de cualquier cosa, solo mis manos y mi corazón para tocar una canción. Hago lo mejor que posiblemente pueda hacer dentro de mis limitaciones y aceptar que suena como yo. Porque eso es lo que creo que es lo más importante. ¿Debe ser real, vale? Todo el mundo quiere algo real.
No sé cómo lo hacen Skrillex (realmente son los putos amos) pero sé que él es tan querido porque él realmente suena a Skrillex, y es macarra. Tenemos un proceso diferente y un conjunto de herramientas diferentes, pero la “nave” es igualmente importante, estoy seguro. ¿Quiero decir…..si fuera tan fácil, cualquiera podría hacerlo, vale?
Así, que no me deis dos Crown Royals y luego me pidáis hacer un discurso en vuestra boda, porque yo simplemente he hablado de las ventajas de grabar en casettes
Ahora, creo que tengo que ir a gritar a algunos niños por pisar mi cesped
IN ENGLISH
Oh, what a night we had last Sunday at the 54th Annual Grammy Awards. The glitz! The Glamour! SEACREST! Where do I begin?? Chillin’ with Lil’ Wayne…meeting Cyndi Lauper’s adorable mother…the complimentary blinking Coldplay bracelet…..much too much to recap. It’s really is still a bit of a blur. But, if there’s one thing that I remember VERY clearly, it was accepting the Grammy for Best Rock Performance…and then saying this:
“To me this award means a lot because it shows that the human element of music is what’s important. Singing into a microphone and learning to play an instrument and learning to do your craft, that’s the most important thing for people to do… It’s not about being perfect, it’s not about sounding absolutely correct, it’s not about what goes on in a computer. It’s about what goes on in here [your heart] and what goes on in here [your head].”
Not the Gettysburg Address, but hey……I’m a drummer, remember?
Well, me and my big mouth. Never has a 33 second acceptance rant evoked such caps-lock postboard rage as my lil’ ode to analog recording has. OK….maybe Kanye has me on this one, but….Imma let you finish….just wanted to clarify something…
I love music. I love ALL kinds of music. From Kyuss to Kraftwerk, Pinetop Perkins to Prodigy, Dead Kennedys to Deadmau5…..I love music. Electronic or acoustic, it doesn’t matter to me. The simple act of creating music is a beautiful gift that ALL human beings are blessed with. And the diversity of one musician’s personality to the next is what makes music so exciting and…..human.
That’s exactly what I was referring to. The “human element”. That thing that happens when a song speeds up slightly, or a vocal goes a little sharp. That thing that makes people sound like PEOPLE. Somewhere along the line those things became “bad” things, and with the great advances in digital recording technology over the years they became easily “fixed”. The end result? I my humble opinion…..a lot of music that sounds perfect, but lacks personality. The one thing that makes music so exciting in the first place.
And, unfortunately, some of these great advances have taken the focus off of the actual craft of performance. Look, I am not Yngwie Malmsteen. I am not John Bonham. Hell…I’m not even Josh Groban, for that matter. But I try really fucking hard so that I don’t have to rely on anything but my hands and my heart to play a song. I do the best that I possibly can within my limitations, and accept that it sounds like me. Because that’s what I think is most important. It should be real, right? Everybody wants something real.
I don’t know how to do what Skrillex does (though I fucking love it) but I do know that the reason he is so loved is because he sounds like Skrillex, and that’s badass. We have a different process and a different set of tools, but the “craft” is equally as important, I’m sure. I mean…..if it were that easy, anyone could do it, right? (See what I did there?)
So, don’t give me two Crown Royals and then ask me to make a speech at your wedding, because I might just bust into the advantages of recording to 2 inch tape.
Now, I think I have to go scream at some kids to get off my lawn.
Stay frosty.
Davemau5

lunes, 13 de febrero de 2012

Fotos de los Foo Fighters en los Grammys


Photos of Foo Fighters at the Grammys

Stone Gossard y su Grammy (No de este año)


Stone Gossard and his Grammy (not this year)

Todos los premiados en los Grammys


All the winners at the Grammys
Pop vocal album: Adele’s 21
Album of the year: Adele’s 21
Record of the year: Adele’s Rolling the Deep
Best pop solo performance: Adele’s Someone Like You
Song of the year: Adele’s Rolling in the Deep
Short-form music video: Adele’s Rolling in the Deep
Best rock performance: Foo Fighters’ Walk
Long-form music video: Foo Fighters’ Back and Forth
Hard rock/metal performance: Foo Fighters’ White Limo
Rock song: Foo Fighters’ Walk
Rock Album: Foo Fighters’ Wasting Light
Best rap performance: Otis, by Kanye West and Jay-Z
Rap performance: Jay-Z and Kanye West’s Otis
Best new artist: Bon Iver
Alternative music album: Bon Iver’s Bon Iver
Country duo/group performance: The Civil Wars’ Barton Hollow
Folk album: The Civil Wars’ Barton Hollow
Country solo performance: Taylor Swift’s Mean
Country song: Taylor Swift’s Mean
Dance recording: Skrillex’s Scary Monsters and Nice Sprites
Dance/electronica album: Skrillex’s Scary Monsters and Nice Sprites
R&B album: Chris Brown’s F.A.M.E.
Country album: Lady Antebellum’s Own the Night
Recording package: Caroline Robert’s Scenes from The Suburbs, for Arcade Fire
Pop duo/group performance: Tony Bennett and Amy Winehouse’s Body and Soul
Pop instrumental album: Booker T. Jones’ The Road from Memphis
Traditional pop vocal album: Tony Bennett and various artists’ Duets II
R&B performance: Corinne Bailey Rae’s Is This Love
Traditional R&B performance: Cee Lo Green and Melanie Fiona’s Fool for You
R&B song: Cee Lo Green and Co.’s Fool for You
Rap/sung collaboration: Kanye West, Rihanna, Kid Cudi and Fergie’s All of the Lights
Rap song: All of the Lights
Rap album: Kanye West’s My Beautiful Dark Twisted Fantasy
New age album: Pet Metheny’s What’s It All About
Improvised jazz solo: Chick Corea’s 500 Miles High
Jazz vocal album: Terri Lyne Carrington and various artists’ The Mosaic Project
Jazz instrumental: Corea, Clarke and White’s Forever
Large jazz ensemble: Christian McBride Big Band’s The Good Feeling
Gospel/contemporary Christian music performance: Le’Andria Johnson’s Jesus
Gospel song: Kirk Franklin’s Hello Fear
Contemporary Christian music song: Laura Story’s Blessings
Gospel album: Kirk Franklin’s Hello Fear
Contemporary Christian music album: Chris Tomlin’s And If Our God Is For Us…
Latin pop, rock or urban album: Mana’s Drama Y Luz
Regional Mexican or Tejano album: Pepe Aguilar’s Bicentenario
Bands or Norteno album: Los Tigres Del Norte’s Los Tigres Del Norte and Friends
Tropical Latin album: Cachao’s The Last Mambo
Americana album: Levon Helm’s Ramble at the Ryman
Bluegrass album: Alison Krauss and Union Station’s Paper Airplane
Blues album: Tedeschi Trucks Band’s Revelator
Regional roots music album: Rebirth Brass Band’s Rebirth of New Orleans
Reggae album: Stephen Marley’s Revelatino Pt. 1: The Root of Life
World music album: Tinariwen’s Tassili
Children’s album: All About Bullies… Big & Small
Spoken world album (includes poetry, audio books and story telling): Betty White’s If You Ask Me (And of Course You Won’t)
Comedy album: Louis C.K.’s Hilarious
Musical theatre album: The Book of Mormom
Compilation soundtrack for visual media: Boardwalk Empire: Vol. 1
Score soundtrack for visual media: Alexandre Desplat’s The King’s Speech
Song written for visual media: I See the Light (from Tangled)
Instrumental composition: Bela Fleck and Howard Levy’s Life in Eleven
Instrumental arrangement: Gordon Goodwin’s Rhapsody in Blue for Gordon Goodwin’s Big Phat Band
Instrumental arrangement accompanying vocalist: Jorge Calandrelli’s Who Can I Turn To (When Nobody Needs Me), for Tony Bennett and Queen Latifah
Boxed or special limited edition package: Dave Bett and Michelle Holme’s The Promise: The Darkness on the Edge of Town Story
Album notes: Hear Me Howling: Blues, Ballads & Beyond as recorded by the San Francisco Bay by Chris Strachwitz in the 1960s
Historical album: Band on the Run (Paul McCartney Archive Collection – Deluxe Edition)
Engineered album, non-classical: Alison Krauss and Union Station’s Paper Airplane
Producer of the year, non-classical: Paul Epworth
Remixed recording, non-classical: Cinema (Skrillex Remix)
Surround sound album: Layla and Other Assorted Love Songs (Super Deluxe Edition)
Engineered album, classical: Aldridge: Elmer Gantry
Producer of the year, classical: Judith Sherman
Orchestral performance: Brahms, Symphony No. 4 by Los Angeles Philharmonic, conducted by Gustavo Dudamel
Opera recording: Adams: Doctor Atomic
Choral performance: Light & Gold – Eric Whitacre, conductor (Christopher Glynn & Hila Plitmann; The King’s Singers, Laudibus, Pavão Quartet & The Eric Whitacre Singers)
Small-ensemble performance: Mackey: Lonely Motel – Music from Slide
Classical instrumental solo: Schwantner: Concerto for Percussion and Orchestra by Christopher Lamb, Giancarlo Guerrero conducts Nashville Symphony
Classical vocal solo: Joyce DiDonato with Kazushi Ono and Orchestre de l’Opera National de Lyon with Choeur de l’Opera National de Lyon for Diva Divo
Contemporary classical composition: Robert Aldridge and Herschel Garfein’s Elmer Gantry