Taylor Swift Primed to Make Music History at Eclectic Grammys

Taylor Swift stands on the field after an AFC Championship NFL football game between the Baltimore Ravens and the Kansas City Chiefs, Sunday, Jan. 28, 2024, in Baltimore. (AP)
Taylor Swift stands on the field after an AFC Championship NFL football game between the Baltimore Ravens and the Kansas City Chiefs, Sunday, Jan. 28, 2024, in Baltimore. (AP)
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Taylor Swift Primed to Make Music History at Eclectic Grammys

Taylor Swift stands on the field after an AFC Championship NFL football game between the Baltimore Ravens and the Kansas City Chiefs, Sunday, Jan. 28, 2024, in Baltimore. (AP)
Taylor Swift stands on the field after an AFC Championship NFL football game between the Baltimore Ravens and the Kansas City Chiefs, Sunday, Jan. 28, 2024, in Baltimore. (AP)

Taylor Swift's name is on everyone's lips as music's glitterati descend on Los Angeles for Sunday's Grammys, but with one of the more eclectic nomination fields in recent memory, the prestigious awards are anyone's game.

Women make up the vast majority of the contenders for the top Best Album and Best Record prizes, with just one man, the jazz polymath Jon Batiste, in the running.

The genre-bending SZA has the most chances at Grammy gold at nine, with Billie Eilish, the supergroup boygenius, and -- of course -- Swift all in tight contention for the major prizes.

Olivia Rodrigo, Miley Cyrus, Janelle Monae and Lana Del Rey are also in the mix to take home trophies.

An Album of the Year win for Swift would be her fourth -- the most for any artist, a new record that would break the tie she is currently in with Frank Sinatra, Paul Simon and Stevie Wonder.

It would be a cherry on top for the 34-year-old, who is already the toast of the music world.

She makes headlines with every breath, not least for her romance with NFL star Travis Kelce, who can't make it to the ceremony as he'll be tied up preparing for next weekend's Super Bowl.

The Grammys will also have a heavy dose of Barbie World: music from the effervescent summer smash earned 11 nods thanks to a bevy of catchy performances, including from Eilish, Dua Lipa, rapper Nicki Minaj and the movie's sleeper standout... Oscar-nominated actor Ryan Gosling.

Bubbly Bronx rapper Ice Spice is also up for an award for her work on "Barbie" as well as the prize for Best New Artist, which industry watchers predict she could take home after a banner year that saw her win the internet.

'Keep pushing'

That seven of eight nominees in the Album and Record of the Year categories are women is a sea change many industry watchers see as long overdue.

Speaking to AFP at a pre-Grammys gala over the weekend, the head of the Recording Academy -- the organization behind the awards -- said he's "optimistic" the strong showing among women nominees is not just a one-off, but part of larger institutional change.

The Grammys have long been accused of being too male and too white, but Academy chief Harvey Mason Jr. said in the past five years, the voting body has brought in 2,500 new women and is now 40 percent people of color.

"We're always going to tinker with the voting, we're always going to try to improve it and look at what's happening in music, and the percentages of what's being created and consumed. We want to make sure we're matching that," he said.

"So we've got work to do. We always do. We've got to have more women, we've got to have more people of color, we've got to have more genre diversity, so we're going to keep pushing."

Best New Artist nominees The War and Treaty -- the blues-country husband-wife duo comprised of Michael Trotter Jr. and Tanya Trotter -- told AFP they feel change is afoot but also emphasized there's much progress to be made.

"I would like to see a day come where it's not like an 'aha!' moment to play a female on radio. It's not like an 'aha!' moment to play different nationalities in country music," said Trotter Jr.

And recognition matters, said Tanya: "Just being nominated for a Grammy, it puts you on a different playing field."

"It gets more eyes on you."

'Full circle'

It will be a particularly poignant evening for Batiste, who triumphed at the 2022 gala while facing immense personal struggle behind the scenes as his wife, the writer Suleika Jaouad, was receiving treatment for a recurrence of leukemia.

This time around, she will be able to join the party as her partner contends for some of music's most prestigious honors.

Among them is the top songwriting prize for "Butterfly," which Batiste wrote for Jaouad while she was in hospital.

"For us to be able to celebrate the album and that song, and to also be at the Grammys again, with her this time? That's what my favorite part of this is," Batiste told AFP in an interview late last year.

"It's full circle."

The vast majority of the more than 90 competitive trophies are doled out prior to the Grammys gala broadcast, which is heavy on spectacle: many of the top nominees, including SZA, Eilish and Rodrigo are on deck to perform.

Nigerian sensation Burna Boy and rapper Travis Scott will also take the stage, along with country singer Luke Combs, who is expected to perform his hit cover of "Fast Car" with Tracy Chapman herself.

The main Grammys gala airs on Sunday at 5:00 pm (0100 GMT Monday) on US network CBS.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.