#record of the year (AIW)

[awesomefringey]

Well I guess BBC isn't only shit to Louis but Harry too now

https://twitter.com/dancashio/status/1597365506373464064?t=wqU4xd8FfDocph19bIweAQ&s=19

That's very odd...

[larrylimericks]

15Nov22

Grammy noms — Harry got a sextet! (With three from the main Big Four set!) We hope that the mantle In his House can handle One or two or six more statuettes.

[whereimfeminine]

awwwww lizzooooo

[redgoldblue]

rules: shuffle your repeat playlist and post the first ten tracks, then tag ten ppl

tagged by: @luredin

Everybody Lost Somebody • Bleachers (which I swear I've barely listened to in the last month but it's somehow stayed on there)

Hits Different • Taylor Swift

Love You For A Long Time • Maggie Rogers (....i've been writing state of disrepair. i don't think this has moved off my On Repeat all year)

Loving You • Paolo Nutini (i also swear I've barely listened to lately? spotify what's good my man)

You Keep Me Dancing • Samantha Sang (S/H Disco Vibes Only)

Surrender My Heart • Carly Rae Jepsen (I scored a $40 The Loneliest Time vinyl from the record shop down the street the other day. in the last ten minutes before they closed but the guy looked at my two vinyls and went "Dusty, I love Dusty. oh and Carly! Two queens.")

Cleaning Windows • Van Morrison

Bummin' Cigarettes • Maren Morris

Sparks Fly (Taylor's Version) • Taylor Swift

I Can See You • Taylor Swift (i'd like to know why i have yet to see even one Buddie edit with this song. just putting it out there)

tagging: ykw i'm gonna follow Adrienne and tag the last ten people in my notifs. if you want to obvs. @spclnds @mrsluellabateswashingtonjones @hardcandyfilmclub @nola-aiwe @osccrisaac @smooth-mccrimmonal @gothwizardmagic @anyonecanplay @goldenaltar @codenamecondor

[twopoppies]

i was so SURE he was going to win soty. if he doesn’t get record of the year i swear to god i will commit a crime

I really was, too. I don’t know how Bonnie Raitt snuck in there, but that’s the way it goes. Honestly, so often I think viewers vote for names they recognize. Or people who should have won for other things and viewers want to right a wrong. Anyway, Bonnie Raitt is a legend, and I’m sure the song is god, but I was super surprised because AIW seemed to have such a huge impact this year.

[skepticalarrie]

MAJOR cop out from the recording academy. They clearly couldn’t choose who to give song of the year to and chose the least successful song 🫠

Absolutely no shade to the people winning I'm sure the lady that won Song of the Year is absolutely lovely although I've never heard her song before, and Lizzo is amazing, I love her.... but these awards belonged to AIW. This is fucked up

[nightmare-foundation]

I don't think you know what a script is. unless you're 13 or younger no I'm sorry, you don't have a script of a game from 2007 and even if you were there's no way it'd be done successfully. introjecting is not a script, I don't doubt you could have introjected a lot, but that's not what a script is. these words mean things. scripts are a program driven into young children that take time to make and figure out how to implement. they're not just "Oh I have an iw and fictives based of x". the most common is aiw for a reason, it's been around A LONG time (1865). that's a long time for multiple groups to make their version and implement it.

Anon, I don't know how to tell you this nicely- quit invalidating TBMC survivors experiences. You don't know me, and I don't know you.

Also, I know what a script is. Considering we were literally tortured and programmed, you'd think I know about programming.

For the record, halo came out in 2001. That's more than enough time to create a script between then and 2012, when we were programmed. Halo is currently 22 years old! Not only that, but it's EXTREMELY popular. That's more than enough time to brainstorm and create a script! It was our main interest and started when we were 4. It'd be VERY easy to hide programming that way.

Also, i don't even know everything about our system, and the stuff I've shared is barely the tip of the iceberg. You don't know our experiences, so you can't say we don't have x thing. Not to mention halo is something that's actually PERFECT for scripting.

I suggest not trying to police survivors experiences. It only makes you look like an asshole.

[pop-punklouis]

hopeeee what are your predictions tonight for the top grammy wins? do you think harry will win one or more?

hi!!

hmm i think beyoncé will take album of the year (deserved imo)

adele will take best pop vocal album (harry’s house has a big chance of being an upset to that but idk the grammys love adele and 30 feels like it fits best here)

harry will take song or record of the year— it’s a toss up for me with record/song of the year i think it’s between adele + harry but i do think they’ll both win at least one of these. i could potentially see harry taking both here for AIW too but we’ll see (but steve lacey could def sneak in here as well)

best new artist belongs to maneskin but i do think anitta might swoop in and get it instead which i wouldn’t be mad about either winning

best rap album is kendrick’s all day long

and best traditional pop album is a tossup between diana ross and michael bublé

[septembersghost]

I was really sure that taylor was gonna win SOTY for ATW10 but now I don't think so😔Harry is literally everywhere. AIW was the most streamed song AND one of the biggest radio hits. The sound is retro rock and lyrics are somewhat meaningful instead of filler.It was critically acclaimed and commercially successful and broke a lot of records. Now I really think he's gonna grab both SOTY and ROTY. It was even in charts until recently. What do you think?

if taylor, an artist who, above all things, is renowned for her songwriting, and has never won the songwriting grammy award (a fact that is objectively nuts!), doesn't win SOTY for a ten minute version of the most widely acclaimed song in her entire, very expansive, catalog...i will have no words. it'll make the academy look like a joke tbh. i think it has added appeal because it's such a magical journey of a story, following red from its initial release and the reaction to it transforming over time, knowing she sang atw on the grammys all those years ago because *we* wanted her to, the lives the song has had, the mystique of the ten minute version finally coming to fruition. plus, it is genuinely gorgeously written and performed, and did add real substance and new facets to the original work, that in turn opened up the rest of the album. it should win and i'll be shocked (and very sad tbh) if it doesn't.

one key thing is, the grammys have been a bit better about spreading the wins around in the last couple of years. so i don't think they'll focus on only one artist or vote for a sweep.

as it was undeniably is the biggest hit of the year (definitely the song of the summer and a defining piece of 2022), it was #1 for fifteen weeks, it's currently the fourth longest running number one in the hot 100 charts' history. it would still be in the top ten right now were it not for christmas music, it's had real longevity. i think harry has a great chance at winning ROTY and best pop vocal for the album. i think they'll recognize the strength of its sound (it's interesting because i don't even think aiw is the standout of the album, but it's a perfect single. retro edge, sparkling synths, sounds upbeat but the lyrics are lonely and vulnerable, personal yet spoke to a vast audience's different experiences, the tubular bells, that now iconic bridge!) and why it's been such a success. (the bizarre foaming at the mouth hatred people have for him and for taylor is laughable at this point.) harry's a good songwriter and he keeps growing in new ways! we love to see it! but if you put aiw and atw toe-to-toe just on the merit of the songwriting alone, there's no way all too well doesn't come out on top unless they deliberately ignore it, which i really don't believe they will now. it broke a #1 record of its own, which was special to see, but ultimately everything rests on the strength of the song itself, and the song is a jewel.

[zot3-flopped]

I saw people on twitter defending zayns song and saying: harry‘s aiw came out during the lockdown so ofc it would do more views on tiktok

have they noticed that even for it not being lockdown, the comeback of zayn is flopping, and we don‘t even have a full song to chart yet

Nobody was in lockdown in April 2022 - how stupid are these people? Plus As It Was was a hit everywhere, not just on TikTok. Huge sales, huge streams on Spotify.

Are these brand new Zayn fans who have no knowledge of his dismal charting record of the past six years? The two NiL singles were released when the UK was in lockdown, and both flopped disastrously.

[lordendsavior]

Ben Winston said on a podcast he suggested H play a diff song at the Grammys but H doubled down and said no bc AIW is the hit 🫶🫶🫶🫶🫶 I can’t believe we’re coming up on a year of AIW and it’s still so fresh and FUN

as much as i absolutely adore AIW and can never get enought of it, i am mildly excited about the performance, because so far i haven't got from him a live version of that song that would even come close to how great the recorded version sounds, so i'm really hoping for some kind of spin on it

[wellthatwasaletdown]

He stands a chance at song of the year as AIW has done numbers and the critics seem to genuinely like the song and how it was mastered together. Can’t say he will win others though, the competition is too big with adel and Beyoncé however those albums were not as well received as their previous ones but like you said, the Grammys isn’t about popularity to an extent. //

Song of the year is for songwriting, so as it was won't be winning that. It'll probably go to Adele Or Taylor. He'll getting an award for Record of the year. They see charts and production stuff.

.

[narrie]

kid harpoon and tyler johnson both giving interviews about harry’s songwriting - guess the campaign for the grammy’s has begun lol

he'll def get song or record of the year for aiw, fucked up if the album wins anything tho

[1864-66readingproject]

This is a sideblog for my own sort of personal reading project for the next couple of years. Based on the Reading Like a Victorian website, I have picked six/seven books published serially during 1864-1866 and will 'follow along' throughout 2024-2026, probably also reading some of the other publications from those years in their correct 'serial moment.'

See below the cut for the works I'll be reading and how I'll be tagging, etc.

Why 1864-66?

It lines up with my more general reading goals (at some point in 2024 I hope to move from a focus on literature from 1837-1859 to a focus on literature from 1860-1879)

It's the two-year period on RLV with the most novels I haven't already read (which have librivox recordings available - I have a chronic illness and have to spend a lot of my non-working time lying down, so the vast majority of my 'reading' is in audio form.)

The books I'll be reading serially are:

Luttrell of Arran by Charles Lever in 15 monthly parts, Dec 1863 to Feb 1865 (I didn't decide I was going to include this one in time to begin in Dec 2023, so read 2 parts in Jan 2024, and will otherwise follow schedule until Feb 2025) [This one is the only one not on librivox - I'm using a text-to-speech app instead]

The Doctor's Wife by Mary Elizabeth Braddon in 12 monthly parts, Jan to Dec 1864 (Jan to Dec 2024)

Our Mutual Friend by Charles Dickens in 19 monthly parts (the last month having approx twice the normal number of chapters, as a sort of double-installment), May 1864 to Nov 1865 (May 2024 to Nov 2025)

Wives and Daughters by Elizabeth Gaskell in 18 monthly parts, Aug 1864 to Jan 1866 (Aug 2024 to Jan 2026)

Armadale by Wilkie Collins in 20 monthly parts, Nov 1864 to May 1866 (Nov 2024 to May 2026)

The Belton Estate by Anthony Trollope in 16 twice-monthly parts, May 1865 to Jan 1866 (May 2025 to Jan 2026)

Cradock Nowell: A Tale of the New Forest by R.D. Blackmore in 16 monthly parts, May 1865 to Aug 1866 (May 2025 to Aug 2026

The 'other' works from 1864 to 1866 I hope to read at the corresponding 'serial moment' are:

Henry Dunbar, the Story of an Outcast by Mary Elizabeth Braddon, published as a 3 volume novel in May 1864 following previous serialisation (May 2024)

Brother Jacob by George Eliot, a short story published in a magazine in July 1864 (July 2024)

Enoch Arden by Alfred, Lord Tennyson, a (narrative?) poem published November 1864 (Nov 2024)

Alice's Adventures in Wonderland by Lewis Carroll, children's story published in one volume Nov 1865 (Nov 2025)

Felix Holt, the Radical by George Eliot, a three-volume novel published in August 1866 (Aug 2026)

I'll also be 'binge' reading other works (mainly Victorian, initially focusing on the period 1837-1859, then moving on to the 1860s, then on to the 1870s), so I'm not going to be *strictly* staying in the 'serial moment'... but it will be an interesting project for me nonetheless.

Tagging:

The reason I'm doing this on a sideblog rather than my main is that I want to post fairly unfiltered thoughts, and not to spend much time dithering over a post; therefore please be aware that this blog is highly likely to post untagged spoilers for the works, and probably untagged triggers.

For the most part, I will also not be using the standard tags for the works, as I don't want to clog up the main tags. I'll be using alternative tags like so:

#LoA (Luttrell of Arran)

#TDW (The Doctor's Wife)

#OMF (Our Mutual Friend)

#W&D (Wives and Daughters)

#Arma (Armadale)

#TBE (The Belton Estate)

#CN (Cradock Nowell)

#HD (Henry Dunbar)

#EA (Enoch Arden)

#AiW (Alice's Adventures in Wonderland)

#FH (Felix Holt)

I may also tag with the month & year (e.g. #Jan 1864) and serialised part (e.g. #part 1). When I tag characters, I think I will generally do first name & work initials (e.g. for Bella Wilfer from Our Mutual Friend: #bella OMF) unless I want the post to go in the main tag for that character.

Things I hope to pay particular attention to:

Serialisation: serialised parts, how the part-breaks are utilised (or not), how characters who have been out of the narrative for a few months are recalled to mind (or not), etc

The characters of Cynthia Kirkpatrick (Wives and Daughters) and Bella Wilfer (Our Mutual Friend)... W&D and OMF are the only two books of the above that I've read before, and I don't think it would really have occurred to me to compare them as they are so different in setting and tone, but actually - once I began thinking about it - I realised that both of them explore, in different ways, the psychological effect of financial insecurity on lower-middle class young women, and how that affects their approach to life and the choices they make and so on, so l think that will be an interesting thing to consider as I read. I will also consider if characters in any of the other works also explore similar ideas.

Social class as it relates to romantic storylines (again, I think there are some possible parallels to be drawn between W&D and OMF at least)

Class more generally, and all the different things that contribute to class and perceived class (wealth, posessions, income, occupation, education, birth & family, company & connections, 'manner', 'respectability', etc)

Women and reputation

Women in sensation plots...

Sensation plots more generally... In particular, I want to see if I can figure out why I've never seen anyone categorise OMF as a Sensation novel, despite it being from the right time period and including a lot of the hallmarks of the Sensation genre, including questions of identity, deception, crime, scheming, moral dilemmas, etc. I'm hoping that reading it alongside a few Sensation novels (Cradock Nowell is apparently a sensation novel, as are Armadale and both Braddon novels) and a few novels from authors associated with non-sensation literature (Gaskell, Trollope and Eliot), will help me figure out what I'm missing... [Actually, between writing the above and posting, I found this from the review of OMF by E.S. Dallas, published in The Times 29 Nov 1865: "The story, of course, we are not going to tell. It is very ingenious, and the plot is put together with an elaboration which we scarcely expect to find in a novel published in parts. All we shall say of it is, that those readers who pant for what is called "sensation" may feast in it to their heart's content on sensation; and that those who care more for quiet pictures and studies of character will also find that the author has provided for them. Mr. Dickens's range is wide, [...]"]]

Crime and morality

Violence

The role of the urban and the rural

Wives and Daughters contains a woman who becomes the wife of a doctor, and based on the title, I rather assume The Doctor's Wife does too... this could be a very shallow parallel but I guess I'll find out!

The last installment of W&D... I'm wondering if (by that time) being used to the 'rhythm' of the novel's serial publication will shed any sort of light on how things might have played out, beyond what is explicitly given...

Possible queer readings, esp of Our Mutual Friend

Other things worth mentioning:

The illustration used in my header and icon is by Marcus Stone, for the original serialisation of Our Mutual Friend.

I will also be attempting to do some relevant academic reading around some of the themes, etc, but 1) I want to avoid spoilers for the works I haven't already read, and 2) I don't have a lot of time/energy due to being both chronically ill and employed, so I don't know how successful I'll be at that.

[twopoppies]

Oh yeah, the Grammy committee can basically do whatever it wants with submissions, and most artists allow it because they’d rather be acknowledged in a different category than not acknowledged at all. Like most things in the US, often these choices have racial undertones— Lizzo, the poppiest pop girl i can think of, is often placed in R&B or “Urban Contemporary” (whatever that means) categories, while Billie Eilish puts out heavily rhythm driven music and is placed in pop. (For the record, I’m not sure where Lizzo and Billie submitted their music, but undoubtedly they had better chances of being accepted in those categories.)

For what it’s worth, this is why Justin Bieber opened his mouth to question why his R&B song and album were categorized as pop. He’s a funny example, because many didn’t think Yummy or his album deserved a nod at all, but the point still stands. I don’t see why Adele isn’t an R&B artist— the Grammys would undoubtedly consider her one if she was black.

Overall, the case with Super Freaky Girl is interesting. You often see black artists being moved to “Black Categories” to compete against each other, not other white artists. But in this case, Nicki probably has a lower chance of winning in Pop (she’ll almost definitely be up against AIW and other big tunes of the year). But until the Grammys changes the committee-based format, this is how it works.

Yeah that makes so much sense. I remember years ago when Jethro Tull won for Hard Rock/Metal over actual metal bands. The Grammys are a shit show. LOL!

[daydreamrry]

AIW was released a year ago today and we thank Daydreaming for its success.

EXACTLY!!!!!! she’s the reason why aiw is still breaking records but harry treats her so poorly.