From ‘Bad Blood’ to Britney: Five Highlights from the Billboard Music Awards

19 May 2015 | Author: | No comments yet »

Chrissy Teigen Accidentally Trips Woman at Billboard Music Awards 2015: Watch.

Taylor Swift won multiple prizes at the Billboard Music Awards on May 17, including such major awards as Top Artist, the Billboard Chart Achievement Award, and Top Female Artist. By barely being visible during his four-and-a-half-minute closing slot, veiled by a heavy fog of smoke that took most of the song “All Day” to dissipate and the sort of lighted sparks you’d expect to find on a birthday cake. On television and live at MGM Grand’s Grand Garden Arena, the rapper could hardly be seen for a good minute of his performance, prompting many to wonder if the plume was intentional or a mistake. Similarly, the number of curse words in his two-song set (‘Ye segued into “Black Skinhead”) necessitated so much bleeping (in the form of muted bursts), that others took to social media asking whether his microphone was broken.

According to the New York Times, country music, the genre in which Swift’s first albums were officially released, became the most popular genre over top 40 music as of early 2014. “Country’s audience has grown stronger, wider, and younger,” NYT writer Ben Sisario wrote. Trying to avoid a collision, the unidentified attendee rushed to get out of Teigen’s way, only to trip over the train of the supermodel’s red gown and fall to the floor. The 2014 Sports Illustrated cover girl (and current Lip Sync Battle color commentator) paused for a moment as she was going up the stairs, turning her head slightly as the woman stepped on her dress. Just a few months back, for example, he performed his new song “Wolves” at the Saturday Night Live 40th anniversary show, all while lying on his back. Her debut album, “Taylor Swift,” wasn’t reviewed by many, but after the release of her 2008 album, “Fearless,” Guardian critic Alexis Petridis wrote that “she is fantastically good at regarding teenage life with a kind of wistful, sepia-toned nostalgia,” while Rolling Stone critic Jody Rosen wrote of “Fearless,” “Swift is a songwriting savant with an intuitive gift for verse-chorus-bridge architecture… It’s hard not to be won over by the guilelessness of Swift’s high-school-romance narratives.” And things got even better after that – for her second-newest album “Red,” Boston Globe writer James Reed wrote that “the songwriting is leagues ahead of where Swift was as recently as two years ago.” Her announcement that her newest album, “1989,” would be a pop album was also a smart move.

And while the rapper’s name as a headliner was certain to draw eyeballs to the BBMAs, he’s really only obligated minimally to conform to a program’s tone, visual or otherwise. Just four months after the NYT article about the popularity of country that called Swift “its biggest star,” Swift said that “1989,” the album released in October, would be her “first, documented, official pop album.” It was a better move to simply acknowledge that her recent work was far from traditional country. “Does anyone still think of Taylor Swift as a country artist anymore?” Rolling Stone contributing editor Anthony DeCurtis asked USA Today in an interview. “She’s very career-savvy, and I’m sure she and her handlers are convinced she can withstand any potential blowback. The next morning, Teigen, 29, addressed the minor mishap on Twitter, writing, “for the record I couldn’t even see the woman falling behind me — she stepped on my dress and i was trying not to eat s–t.” She went on to address comments that she should have turned to help the woman up. “everyone is saying i am some sort of monster for not stopping and giving her CPR or something — she is fine, was not a big deal,” John Legend’s wife wrote, jokingly adding, “she should be out of the hospital by christmas.” You’d be hard-pressed to find a TV booker for any awards show who would turn down a Kanye appearance on the grounds of his unpredictability, because it’s exactly that which entices potential viewers to tune in.

Assumedly yes, as an artistic statement to a track that boasts (“And you ain’t gettin’ money ‘less you got eight figures”), warns (“I don’t let ’em talk to me no kind of way / Uh, they better watch what they say to me”) and prays (“For that Jesus piece, man, I’ve been saved”), even as it cycles through 44 mentions of the N-word. Forbes writer Rob Schwartz wrote of Swift’s “1989” campaign that “her dexterity with the marketing maze of today is only rivaled by her facile way with words and chords,” praising her partnerships with companies and how she engages with fans, including question-and-answer sessions on Twitter and Skype. Also consider this: perhaps the intention was to take the focus away from the celebrity of Kanye — the person we associate with the Kardashian clan and insulting Taylor Swift — and encourage an audience to listen rather than gawk.

She trusts that this personal engagement will help ensure her shows sell out in 15 minutes for years to come.” With “1989” still ranked at number nine on the Billboard 200 months after its release and Swift currently involved in a world tour, it’s obvious the singer isn’t going anywhere anytime soon. And his more recent material from Yeezus, as well as what he’s released from his forthcoming album Swish, is as forward sounding as it comes, at times bordering on just plain strange.

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