Why GRAMMYs 2014 Was a Night to Celebrate Free Spirits
Who’d have thought it? The GRAMMY Awards—music’s ultimate insider event, one to which independents, iconoclasts and those who would think outside the box have often found a closed door—ended up, in its 56th edition, being a celebration of living, loving and doing business by one's own rules.
Daft Punk, the self-styled French “robots” who returned in 2013 with a modern take on a retro-funk sound, topped the night. Masked in gleaming helmets, the pair took home four awards, including Album of the Year for Random Access Memories, a record that claimed a new audience and revived the careers of greats like Nile Rodgers and Giorgio Moroder. “I bet France is really proud of these guys right now!” said Pharrell Williams, acting as spokesman for the non-verbal duo, when the irresistible “Get Lucky” was named Record of the Year. For their performance, the group transformed a vintage recording studio into a neon-trimmed space disco, and, with the help of Stevie Wonder, seemed to have the entirety of Staples Center up and dancing.
Right behind them in the golden haul was Macklemore & Ryan Lewis’ The Heist, the little indie hip-hop record that could, and did, and did again on this night. Self-produced and self-released, the album that blew up on the strength of goofy, exuberant monster hits like “Can’t Hold Us” and the inescapable “Thrift Shop," was named Best Rap Album, no doubt to the consternation of some. But that was academic, because it was the Seattle pair who provided this night with what will surely live forever as one of GRAMMY’s most talked about moments. More on that later.
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