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American Music Awards
American Music Awards
American Music Awards Afterparty 2008 at Boulevard 3
Publicist Cecily Wiggins, Chad Tulik (A Shot At Love 2 With Tila Tequila), guest and Jesse Lewis IV (Vh1′s America’s Smartest Model) at Interscope/Geffen Records presents Lady Gaga
American Music Awards
Article by Andy Mccarthy
In 1973, Dick Clark began presenting the American Music Awards, as an honor that aimed to compete with the Grammy’s once CBS had taken over the award show’s broadcasts. The first two Grammy broadcasts had been televised on ABC, but after the move to CBS, ABC developed an awards program to call its own. The American Music Awards were born to fill that void, and the hosts of that first year’s ceremony were Michael Jackson and Donny Osmond. Since then, the show has usually featured multiple hosts representative of various genres, but more recent ceremonies have featured a single host instead. The 2009 ceremony featured no host at all, instead inviting various celebrities to introduce each honor.
The goal of the awards show, aside from competing with the one that ABC had lost, was to celebrate the full spectrum of musical offerings, acknowledging excellence in achievement in all genres of American music, from traditional, to country, to rap, to hard rock. Though named the American Music Awards, the name refers more accurately to the music loved in America rather than indicating exclusivity for American artists. Several international recording artists have received honors for their popularity in the United States, including Elton John, Celine Dion, the Spice Girls, and Shakira.
In contrast with the Grammy’s determination of its nominees and winners by votes from entertainment industry members, American Music Awards nominees are based on sales, airplay, social network activity, and video views relating to material released throughout the eligibility period spanning from December 1st of the year preceding the ceremony to September first of the award yet. Data used from the Radio & Records and Nielson Soundscan, a trade publication that tracks music sales, is used to determine the nominees for the year. Until 2007, the AMA award winners would then be determined by public opinion according to polls of 20,000 music buyers themselves regarding who they believed should be honored each year, which visibly makes the AMA’s awards more about popularity than the artistic merit that the Grammys strive to emphasize. Using a national sample determined by a research and consulting company, ballots were sent out to the national sample of 20,000 voters that have been selected based on geography, age, ethnicity, and gender, then tabulated by the accounting firm Ernst & Young LLP. In 2007, voting online became available instead for any member the viewing public to choose their favorites, and winners have been determined that way every since.
Eventually, beginning in 2003, twenty years after having emerged to compete with the Grammys, then in order to avoid taking place in the midst of the Grammy Awards season, the AMA’s chose to move its ceremony to late November, rather than continue having it in January – no longer wishing to compete not only with the Grammy Award audience but also with the Golden Globes and Academy Awards in the midst of their awards seasons. The transition to later in the year now enables ABC to not only have the high ratings it desires for its awards show broadcast, but to also have these ratings factored into November sweeps.
Winners of the American Music Awards receive a crystal trophy in the shape of a pyramid. Roberta Flack was honored with the very first in 1973, as Favorite Soul/Rhythm & Blues Female Artist, and Favorite Pop/Rock single with Killing Me Softly. Other honorees that night included Bing Crosby, Charley Pride, Diana Ross, Al Greene, Carter Family, The Carpenters, The Temptations, Lynn Anderson, Helen Reddy, Charley Pride, Jim Croce, Stevie Wonder, Charlie Rich, and Tony Orlando & Dawn. Other organizations or corporations wishing to give out similar crystal awards can find them online at retailers such as Visual Awards.
In 1996, Garth Brooks rejected his award for Favorite Artist of the Year – a new category for that year’s show – stating that he had not done anything that year and for that reason could not have possibly won an award. He left the award behind on the podium as he departed the stage after his brief speech, slighting its introduction so much that the category did not appear for the award to ever be offered again in future years.
Number Ones
american music awards – click on the image below for more information.
american music awards
2009 two CD collection from the R&B diva, a career spanning collection that contains 33 of Janet’s global #1 hits, plus the new hit, ‘Make Me,’ available on one album for the first time ever. Janet is one of the biggest, best-selling artists in Pop music history and one of the most successful and influential female artists of all time. She has sold over 65 million albums worldwide. Features 34 tracks including ‘What Have You Don For My Lately’, ‘Miss You Much’, ‘Nasty’, ‘When I Think Of You’ an
Number Ones
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American Music Awards 2011: Taylor Swift wins big
american music awards
Taylor Swift was crowned artist of the year at the American Music Awards for a second time. 'This is so crazy!' the country superstar said after beat such contenders as Adele, Lady Gaga and Katy Perry to capture all three awards that she was nominated …
american music awards question by Elle xx: What channel is the American Music Awards 2011 on in the UK?
What Channel are the American Music Awards 2011 shown on in the UK? What date and time? I really want to know, so I can watch them! PLEASE HELP!
american music awards best answer:
Answer by ChocolateLips.
OMG, I’m trying to find the the same thing too! even live stream on the internet, update it if you find it, ill do the same too! aha 
x
Filed under: Music News · Tags: American, AWARDS, music
An AMAZING Collection!,
So, I’ve been waiting for a new Janet collection for awhile, so when she announced “Number Ones”, I was super excited. I was even happier when she announced the official track listing. I thought, except for the exclusion of “You Want This”, it was perfect. And when I got the CD, it even exceeded my expectations. The remastering is superb! You hear it as soon as you put in the first CD and hear the very beginning of “What Have You Done For Me Lately”. It really stands out on the first disc, especially songs like “When I Think Of You”, “Let’s Wait Awhile”, and “Love Will Never Do (Without You)”.
Another thing I like is the rare tracks, or at least rare versions. Thankfully they included the Single Remix of “Let’s Wait Awhile” unlike on “Decade”. Another great inclusion is the video mix of “All For You”, which includes the dance break and was originally only available on the CD Single. I DO wish they would have just used the single edit for “Any Time, Any Place” instead of the R. Kelly Remix, which it didn’t even say it was. Another ‘false labeling’ is the fact that it said “Janet feat. BLACKstreet” on “I Get Lonely”, but was actually the solo album/radio edit instead. I like the solo version better, but I hate that they put one thing and it says another.
Overall, I would suggest this collection to major fans, minor fans, and everyone in between. It covers her past 23 years of music so well.
Here is the track listing including which version it is: (PLEASE CORRECT ME IF I AM WRONG)
DISC ONE
1. What Have You Done For Me Lately? – Album Version w/o Spoken Intro
2. Nasty – Album Version
3. When I Think of You – Album Version
4. Control – Album Version
5. Let’s Wait Awhile – Single/Remix Version
6. The Pleasure Principle – Album Edit
7. Diamonds – Main Version
8. Miss You Much – Album Version
9. Rhythm Nation – Single Edit with Pledge Intro
10. Escapade – Album Version
11. Alright – Video Edit (aka 7″ Mix) with Heavy D Rap
12. Come Back to Me – The 12″ I’m Beggin’ You Mix
13. Black Cat – Video Edit
14. Love Will Never Do (Without You) – Single Version
15. The Best Things in Life Are Free – 1992 Soundtrack Version
16. That’s The Way Love Goes – Album Version
DISC TWO
1. If – Album Version
2. Again – Album Version
3. Because of Love – Album Version
4. Any Time, Any Place – R. Kelly Remix
5. Scream – Radio Edit
6. Runaway – Album Version
7. Got ‘Til It’s Gone – Clean Radio Edit
8. Together Again – LP/Radio Edit
9. I Get Lonely – LP Edit (*NOTE: Does NOT feature BLACKstreet)
10. Go Deep – Album Version
11. What’s It Gonna Be?! – Radio Edit
12. Doesn’t Really Matter – Full Soundtrack Version
13. All For You – Video Version with Dance Break
14. Someone to Call My Lover – Single/Radio Edit
15. All Nite (Don’t Stop) – Album Version
16. Call On Me – Album Version (Including a 10 second intro from the end of “With U” on 20 Y.O.)
17. Feedback – Single Version (Almost same as album version, except with an extended outro)
18. Make Me – Single Version
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|34 REMASTERED JANET TRACKS – 5 STAR WINNER,
34 tracks on 2 discs remastered to perfection. I have fallen in love with Janet’s music all over again.
PROS
1. Excellent Remasters of all her classic hits!
(“that’s the way love goes” sounds brilliant.
“when I think of you” never sounded better.)
2. Almost complete and comprehensive collection of Janet’s career spanning hits, including duets she has done through the years! (Diamonds,Best Things In Life,etc)
3. New track – Make Me (Produced by Darkchild/Rodney Jenkins) Disco House/Pop Janet is Back. This song is a major stand-out.
CONS
1. I am not a fan of some of the versions chosen to be on this collection. The one that is really glaring at me is the hip hop sounding mix of “Best Things In Life Are Free” Would have much preferred the more popular version used in the music video over this one.
2. Album cover = Snooooze!
As you can see, we are short on the cons here and the fact that you have amazing remasters trumps any negatives for this project. A&M and Janets team have really done a spectacular job on making this a very neat and concise collection. There was another remastered comprehensive greatest hits that came out just a couple months ago from another artist (whose name I wont mention) which was disastrous in such a number of ways that it is now impossible for me not to appreciate this strong effort.
This is a real must-have for anyone who grew up in the 80′s, 90′s and today with Janets great sounds!
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|Nice body of work, Ms. Jackson,
Barring a major comeback–which I would gladly welcome–Janet Jackson’s hit-making career seems to have come to an end when she performed with Justin Timberlake at a certain Super Bowl halftime show. Prior to that lapse in judgment, she had been one of America’s pre-eminent pop-R&B singers–after all, she came from musical royalty. Even if she is never able to return to her former glory (sadly, radio is not kind to performers over 35, in any genre, no matter how good the music), this collection will stand as an impressive body of work. The first disc is the stronger of the two, and covers the years of 1986-1993. Many of these songs are certified classics: “What Have You Done for Me Lately” is a wonderfully defiant statement:, “That’s the Way Love Goes” is a sexy treat, “Love Will Never Do (Without You)” still goes off like a bomb when it plays in your iPod, not to mention “Escapade”, “Miss You Much”, and “Nasty”, among others. This disc also includes Janet’s collaboration with Herb Alpert–a hit-maker before she was even born–whom Jimmy Jam and Terry Lewis gave one final top ten hit, “Diamonds”, as well as “The Best Things in Life Are Free”, recorded with the late great Luther Vandross and those guys from New Edition. The second disc finds her career kicking into a lower gear, but not always for a lack of trying. The disc opens with the rest of Janet’s 1993-94 work from the album “janet.” This material is still great overall, but you can see the sexiness start to creep in–”Any Time, Any Place” is pretty ribald compared to “Escapade”. This era also ushered in interludes–short skits that occur on R&B albums, marring the overall flow of the album. The only time these every really worked was on “Rhythm Nation 1814“, when they were part of the flow and not like speed bumps standing in the way of good music. The disc also includes some important one-off items: the collaboration with her King of Pop brother, “Scream” (the first time it has appeared on a Janet album); a duet with Busta Rhymes(!) on “What’s It Gonna Be?!” and a reprise of the hit single from “Design of a Decade”, “Runaway”. Surprisingly, “The Velvet Rope“–a dark, sexy album that showed many sides of Janet’s personality–is well represented. It includes top five hits `Together Again” and “I Get Lonely”, as well as dance/airplay hits “Go Deep” (good slice of pop) and “Got Til It’s Gone” (a song I’ve never quite understood, but nice to have on here). The “All for You [Extra Track]” era is well-represented, too, by “Doesn’t Really Matter” and “All For You” (both #1 pop hits) and “Someone to Call My Lover” with its “Ventura Highway” sample. Around this time, Janet seems to have pushed the limits of her image too far. She was more or less nude on the cover of “All For You”, and then topless on the cover of “Damita Jo”. She began to lose her funky independence and her clothes in favor of breathy tunes about her…climax. Rather than tantalizing, it just came off as desperate. Granted, many men sing about the same thing on their albums and I also find that desperate. Perhaps I am just showing my age, as this has been increasingly popular in today’s music world. “Damita Jo” found Janet failing to reach the top 40 with any singles, in spite of a #45 debut for “Just a Little While” and strong R&B airplay for “I Want You”. The lone inclusion from that album–a bloated disappointment that might have been better with some trimming, some different production, and better publicity–was a song that mainly just got dance airplay, “All Nite (Don’t Stop)”. Around this same time, Janet was also dating Jermaine Dupri, a decent-if-annoying producer whose M.O. is to say “uh-huh” and “yeah” all over his artists’ productions. He seemed to steer Janet in a different direction–away from her record label, her longtime producers and her fanbase. Her next album, “20 Y.O”, seemed like an attempt to recapture former glory. I streamed the album and couldn’t find much to get excited about. The magic was gone. The album is represented here by “Call on Me”, an okay duet with Nelly–another artist whose career seemed to decline as this decade wore on. With this album out of the way, Janet gave the world “Discipline“. This album returned Janet to the top of the sales charts but did not include Jimmy Jam and Terry Lewis behind the boards. The single “Feedback”, which is pretty good if not great, is included here. The final track is new–called “Make Me”, it recalls her brother’s “Don’t Stop `Til You Get Enough” as well as…
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