The latest puzzle craze from those twisted minds at The New York Times isConnections, a word association game. Sorry, Wordle, your 15 minutes are long gone.
If you don’t know how Connections works, it’s pretty neat. Each puzzle shows 16 words and the goal is to group the words with a common theme. Some of them are trickier than others, of course, and a few words might seem like they fit together but don’t. You have to try to group them all together without messing up (you only get a few amounts of tries). The topics vary in difficulty, with some meant to trick you. It’s a game, after all.
Just like Wordle, the puzzles are new every day, which means that you need to get it done ASAP in order to prove to your friends that you are, in fact, better and cooler than them. If you have yet to figure it out but need to beat out the rest of your friend group, check out the answers to the latest puzzle.
Answers for the November 10th Connections puzzle:
If you can’t get it on your own (no shame), then here are the answers for the November 10th puzzle. Blue- SPICES: ANISE, DILL, NUTMEG, SAGE Yellow- INTELLIGENT: BRIGHT, QUICK, SHARP, SMART Green- DEODORANTS: AXE, DEGREE, OLD SPICE, SECRET Purple- MEDIEVAL WEAPONS: CLUB, MACE, SPEAR, SWORD
The 2024 Grammy Awards nominations have been announced, and as usual, there are plenty of surprises and snubs to discuss. Although the Recording Academy added some new categories this year to accommodate the emergence of Afropop as a global force, it looks like another growing genre was left out in the cold. Meanwhile, as country music experiences a resurgence, some of the genre’s most dominant stars missed out on the biggest looks of the year. And even though the Grammys have taken huge steps in addressing the awards’ shortcomings in rap and R&B, they appear to have overlooked some of the year’s most talked-about projects and artists.
Here are the biggest surprises and snubs of the 2024 Grammy nominations.
PinkPantheress Wasn’t Nominated Despite A Breakout Year
“Boy’s A Liar” was one of the biggest hits of the past year, sticking its index finger directly on the pulse of the zeitgeist. From predicting the resurgence of the 2-step/garage sounds that shaped huge hits like “Seven” and “Super Shy” (more on them later) to introducing the non-rap-fan population to the pop culture juggernaut that is Ice Spice, “Boy’s A Liar” was an inescapable phenomenon and the fact that PinkPantheress couldn’t get a record, song, or Best New Artist nomination speaks to both how competitive the field was this year and how much further the Academy has to go in bridging that pesky generation gap.
Barbie Took Over
Here’s how dominant the Barbie soundtrack was this year: the Best Song Written For Visual Media category only features ONE non-Barbie song (Rihanna’s “Lift Me Up” from Wakanda Forever) and a Barbie song is nominated in both eligible Big Four categories, as well as for Rap Song of the Year. The doll who does it all is practically guaranteed at least one win at this year’s awards — even at the cost of me and my editor’s bet about “Peaches” from Mario and “Dear Alien” from Asteroid City. And Across The Spider-Verse deserved more.
Foo Fighters Weren’t Nominated For Album Of The Year
In somewhat of a break from Grammy tradition, Foo Fighters’ But Here We Are wasn’t nominated for Album Of The Year, despite the recent death of drummer Taylor Hawkins and the album’s emotional material. It’s grim to think about, but in past years, you could reliably expect a consolation posthumous nomination. It’s downright disheartening to think that this time the Grammys ignored the macabre tradition.
Country Dominated The Charts But Got (Mostly) Shut Out Of The Big Four
The general awards are always controversial but there’s an argument to be made here. While the Big Four are almost never actually tied to commercial achievement — hello Esperanza Spalding — Zach Bryan, Luke Combs, and Morgan Wallen all utterly dominated the charts this year, yet it appears that if this was taken into consideration, it wasn’t enough to lift them out of their respective niches. Perhaps the ideological fractures in that fanbase had an effect. At least there is Jelly Roll.
Where Are The K-Pop Stars?
During the eligibility period this past year, a bunch of songs from K-pop acts took over the American charts. Fifty Fifty’s “Cupid” has been impossible to get away from (I may or may not have tried), New Jeans’ “Super Shy” became a mall P.A. mainstay, and Jung Kook’s solo hit “Seven” peaked at No. 1 on the Hot 100. What makes K-pop’s absence from this year’s nominations stranger is how ubiquitous K-pop has been at the Grammys for the past handful of years, with BTS performing “Dynamite” in 2021 and “Yet To Come” earning a history-making nomination in 2022.
Reggaeton And Latin Trap Were Locked Out Of The Big Awards, Too
Take everything said about K-pop above and translate it into Spanish. Sure, there’s a Latin Grammys, but that smells suspiciously of “separate but equal,” you know? You’d think Peso Pluma or Karol G would warrant a nod, even if Grammys voters could hardly be expected to tunnel all the way down to discover newer breakout artists like Myke Towers or Rauw Alejandro. Again, with the Latin Grammys coming just a few weeks after the “standard issue” ceremony, perhaps interested voters were just too distracted to manage both sets of ballots. Still, it’s a black mark for sure.
Gunna Didn’t Make The Cut For Best Rap Album
Yes, awards nominations are subjective, but there’s a general consensus among rap fans online — corroborated by chart performance — that Gunna had one of the standout albums of the year, if not the only one with any real staying power. Yet, it seems Grammy voters went for the lowest-hanging fruit: Killer Mike and Nas are obvious “prestige” picks for the Gen X hip-hop heads that mostly make up the part of the Academy most well-versed in rap (heyo), while Drake and Travis Scott are brand-friendly pop mainstays. However, Utopia only spent four weeks on the Billboard 200 — a massive drop off from his last two projects, and reception was largely lukewarm. Metro Boomin is a nice addition, but again, for the wrong album (Across The Spider-Verse getting snubbed is going to give me heartburn for the rest of the year).
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Last month, Brian Cox surprised Succession fans by revealing that his follow-up to the critically-acclaimed series is a James Bond reality show. Seemingly out of nowhere, the actor appeared in the 007: Road to a Million trailer where he’ll play The Controller, the show’s game-master who tasks the contestants with a series of Bond-esque tasks to complete for the chance to win a million pounds.
When asked by Variety why he would do a reality show after locking down an Emmy nomination for his role as Logan Roy in Succession, Cox couldn’t help but give a blunt response as he so often does. “They paid me an enormous amount of money. And that’s always very attractive,” Cox said.
However, the actor has since changed his tune. While appearing on The Tonight Show, Cox told Jimmy Fallon that the whole thing was a mix-up. He mistakenly thought the reality TV role was for a new Bond movie and jumped at the chance to meet with legendary Bond producer Barbara Broccoli.
“For years, I thought, you know, I would love to be in James Bond,” Cox told Fallon via Decider. “It would be really interesting. And I thought, ‘This is my moment,’ but it wasn’t.’”
Despite learning that he would not be the next Bond villain, Cox stuck around and still had fun on the reality series. “You know, I love bossing people around,” he joked to Fallon.
007: Road to a Million starts streaming November 10 on Amazon Prime Video.
For a country whose entire population is roughly half that of a midsize American city like Dayton, Ohio, there’s a surprising amount of music within Iceland’s borders. Sure, there are big names like Björk and Sigur Rós, but in recent years, the country has produced a two-time Grammy Award-winning composer (Hildur Guðnadóttir), a chart-topping folk rock band (Of Monsters And Men), and a Eurovision Song Contest finalist (Daði Freyr). While the country’s stunning, mossy pastoral landscapes and breathtaking waterfalls offer endless creative inspiration, Reykjavík’s annual music festival Iceland Airwaves gives insight into why the country has so many creatives making waves globally.
Reykjavík is a city that’s no stranger to tourism. At any given time, one-third of the people in Reykjavík are international travelers keen to get a glimpse of the Northern Lights or take a dip in one of the city’s hangover-curing geothermal pools. But for one weekend every November, the city prioritizes a different kind of tourism: Music tourism. Iceland Airwaves, which took place the weekend of November 2nd through 4th 2023, invited over 100 musicians from around the world to take over the city’s downtown venues.
Those who have visited SXSW in Austin would be familiar with Iceland Airwaves’ setup. Rather than cramming thousands of attendees into a stadium or filling up a local park with a few stages, Iceland Airwaves is sprawled across the city in a handful of different venues of all shapes and sizes. That way, attendees are able to experience the city, its culture, and its music in a unique way.
Photo by Florian Trykowski
All of Iceland Airwaves’ scheduled performances take place after sunset, opening attendees up to playing tourist in the daytime. Before shifting into festival mode, I was able to peruse the shops (and gawk at the price of authentic Icelandic wool sweaters) in Reykjavík’s Rainbow Street shopping district. I stopped by the picturesque church Hallgrímskirkja and climbed its tower to see stunning 360-degree views of the quaint city before picking up the best cinnamon roll of my life at Braud & Co (I promise TikTok influencers are not overhyping this one), and warmed myself up after a day of meandering with a traditional Icelandic lobster bisque.
While I made music discovery a prime objective of the weekend, catching a few of my favorite North American artists in an Icelandic setting was a highlight. Indie darlings Blondshell brought their early aughts-inspired sound to a sizeable crowd at Reykjavík’s art museum, Andy Shauf delivered a stripped-down version of his latest album Norm and some of his early fan favorites to dedicated listeners at an opera house, Ghostly Kisses performed their haunting tunes to an intimate show at a lit-up church, and Anjimile closed out a packed hostel living room with their arresting tunes.
My personal music tastes had me prioritizing sets by indie artists, but the Icelandic musicians I caught made it clear there’s not just one genre of music the country specializes in. I saw everyone from the industrial electro-house trio Ex.Girls, which had an entire crowd dancing even after a long day, alt-rock group Tilbury, which sounded like they could have headlined Shaky Knees Festival, and singer-songwriter Nanna (of Of Monsters And Men fame) who brought a crowd to tears with her moving melodies. I even got the chance to see folk songwriter Elín Hall deliver a breathtaking acoustic set inside the Raufarhólshellir lava tunnel.
Photo by Cat Gundry
Though they might not share a genre, the real throughline of Icelandic artists is how the country uplifts them. As Reykjavík mayor Dagur Bergþóruson Eggertsson put it at a welcome party, “Music gave Reykjavík the confidence to stand up and be who we are.” It’s a way for Icelanders to “find their voice, even if it’s not in the mainstream.” It’s clear the city puts an emphasis on the arts, whether it’s the countless murals you see walking throughout the city, the feature-length Icelandic films screening in their theaters, or the fact that a country with a relatively small population produces such a wide variety of musicians. Iceland has a dedicated music export office, which helps their artists earn grants and put them on the map globally. They even incentivize artists to record music in their country through a program aptly called Record In Iceland, which uses funding from the State Treasury to reimburse 25 percent of the recording costs for music incurred in Iceland.
Like most festivals, getting there is the hard part. Thankfully, Icelandair teams up with the festival each year to offer packages that include flights, festival passes, and airport transportation, so the “getting there” portion of the trip is actually pretty seamless. Unlike most festivals, though, there are no lengthy security lines to get in, and you won’t find yourself queuing up to use a Porta Potty that hasn’t been cleaned in three days (In fact, there wasn’t a single Porta Potty in sight). The venues are clustered around Reykjavík’s city center, allowing for natural crowd control that results in shows actually feeling intimate. One moment, I was seated in the pews of Fríkirkjan, a 124-year-old church adorned with fading frescos that transformed the concert into a spiritual experience. Then, a short walk had me seated at a show at the ornate opera house Gamla Bíó.
The downside of the spaced-out venues is that it’s easy to find yourself on a 20-minute trek back and forth if set times put your favorite artists at opposite ends of the city center (and when it’s 30 degrees outside with icy wind that gives Chicago a run for its money, this Los Angeles resident felt like she was in an arctic spinoff of Survivor). Another tip for future Iceland Airwaves travelers: Plan your arrival several days before the music starts. I took a red-eye flight that had me touching down in Reykjavík the day the music started, which meant I was so jet lagged I had to miss a handful of performances I was really looking forward to.
One weekend and many fish and chips meals later, I boarded my flight back to the US inspired by the stunning natural surroundings I witnessed, the kind people I met, and the moving music I heard. Overall, Iceland Airwaves is the perfect festival for adventurous travelers who want to discover new music and culture in a unique way. It pulls back the curtain on how a country is able to foster such a wide variety of music and the arts and offers a chance to witness performances you’d never be able to see stateside.
Uproxx was hosted by Iceland Airwaves for this story. However, they did not review or approve this story. You can read our press trip/hosting policy here.
Viewers of David Fincher’s The Killer (ready to stream now on Netflix) might find themselves experiencing a sense of deja vu in the film’s opening moments, though the feeling won’t last for long. The film’s opening scenes find star Michael Fassbender, playing a character credited simply as “The Killer,” preparing for his latest job. This involves sticking to a meticulous routine, maintaining a superhuman level of discipline, assembling the correct equipment, and waiting patiently while waxing thoughtful in voiceover, sometimes via observations about his job — “Stick to your plan. Anticipate, don’t improvise.”– and sometimes via facts and stats about life on Earth. He’s a cold-blooded killer who lives by a code and possesses a probing intelligence that sets him apart from the world.
He’s a movie hitman, in other words, a now familiar type. No wonder the character doesn’t have a name. But Fincher, working from a screenplay by Seven screenwriter Andrew Kevin Walker adapting a French comic by Matz and Luc Jacamon, keeps short-circuiting expectations created by the hitman movies that preceded The Killer, just like the movie keeps muffling the many songs by The Smiths on its soundtrack just as they get to the good part. The Killer is good at his job, or so he says. But the moment that sets the film’s plot in motion (after many extended scenes of watching him wait for his moment) finds him blowing his shot. Why? Did he just choke or was there some sort of subliminal impulse at work? The movie never fully answers the question. In fact, it only complicates it with its cryptic final moments. But one thing is clear from this moment on: this guy is not to be taken at face value.
Fincher’s film plays with expectations set by decades of films treating hitmen as philosophical weirdos who operate by a code with implications beyond their chosen profession, and beyond the films containing them. They’re there to take out their targets, but also to serve as brutal vehicles by which films can explore some big questions — and most often return with uncomfortable answers. Movies have featured hitmen of one kind or another for as long as they’ve told crime stories— to say nothing of the assassins found in Westerns and other genres — but if there’s a ground zero for the philosophical hired killer it’s probably the 1958 film Murder by Contract.
Columbia Pictures
Vince Edwards stars as Claude, who gives up a steady day job for the life of a professional hitman, picking up a reputation as a consummate professional that makes him in great demand (even after he takes out the mobster who gives him his first big break after a rival meets his price). He brings this reputation to Los Angeles when he’s hired to take out a musician named Billie (Caprice Toriel) before she can testify against her mob boss ex-boyfriend. His handlers find his demands — like spending a day at the beach and refusing to check out the location of the hit — peculiar, but that doesn’t mean he’s not the right man for the job. Or at least it might not mean that.
A film about an outsider made by outsiders. Director Irving Lerner was blacklisted for leftist sympathies, as was uncredited co-writer Ben Maddow (The Asphalt Jungle). Claude’s success in a world where everything has its price and his inability to save enough to buy a home without becoming a killer echo their politics, but Claude’s identity issues run deeper. He begins the film waiting by the phone for the call that will offer him his big break, getting food delivered, and exercising to keep his body and mind in shape while he fights boredom. (You can bet Fincher knows this film, also a favorite of Martin Scorsese’s.) In the most literal sense, he has no life outside of work. He is his job.
Jean-Pierre Melville’s 1967 film Le Samouraï takes the philosophical implications raised by Murder by Contract and runs with them, creating a film as haunting as it is stylish. Like Claude, Paris hitman Jef Costello (Alain Delon) lives a pared-down existence defined by a strict routine. Unlike Claude (who despises women), Jef has found room for a lover (played by Delon’s wife Nathalie Delon) but even this aspect of his life is carefully controlled. Or so he believes: when a job goes wrong, the film depicts Jef’s system unraveling — and with it his sense of self. Who is he if he can’t perform his job? The final scene provides a definitive answer.
Stylish and hauntingly calm, Delon’s performance helps create a film that’s at once seductive and unsettling, romanticizing the life of the assassin as the ultimate outsider hero even as it glides toward a conclusion that depicts the cost of such a life. As such, it provided the blueprint for the protagonists of many films that followed. John Woo borrowed part of the plot of his 1989 film The Killer from Douglas Sirk’s Magnificent Obsession, but Chow Yun-fat’s Ah Jong is practically Jef reborn. Just as there would be no Ah Jong without Jef there would be no Vincent (John Travolta) and Jules (Samuel L. Jackson) in Pulp Fiction, who joined the coolness of their predecessors to Quentin Tarantino’s trademark verbosity. And without Tarantino, it’s hard to imagine everything from Martin McDonagh’s In Bruges to the John Wick movies taking quite the same shape, if they existed at all.
Focus Features
It’s the flexibility suggested by the span between In Bruges and John Wick that reveals why hitmen are such popular subjects. They can serve as superhuman badasses (see also The Professional, The Long Kiss Goodnight, etc.) But they can also anchor self-aware genre deconstructions (Jim Jarmusch’s Ghost Dog: The Way of the Samurai), turn professional codes into psychopathy (the Coens’ No Country for Old Men), or illustrate how easy it is to lose one’s soul in America (Martin Scorsese’s The Irishman).
The sheer number of cinematic hitmen might suggest a distressing cultural obsession, so perhaps it’s oddly comforting that most hitmen stories end in tragedy or disaffection. (Jules walks away and tries to be a “shepherd.” Vince meets a different fate.) If the life of a killer is in any way a life worth living, it’s not one that can be sustained. From Murder by Contract through The Killer (Fincher’s but also Woo’s), the most discomforting element of hitmen movies isn’t the violence or the glamorization but the sense that, without killing, these characters are nothing. That what they’ve built their lives around might be meaningless. That those lives might be a waste. That in spite of their skills they’ve focused on all the wrong things. And maybe, by extension, so have we.
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Seeing the northern lights is a common bucket list adventure for many people. After all, it ticks a lot of boxes—being a dazzling light show, rich historical experience and scientific phenomenon all rolled into one. Plus there’s the uncertainty of it all, never quite knowing if you’ll witness a vivid streak of otherworldly colors dance across the sky…or simply see an oddly colored cloud. It’s nature’s slot machine, if you will.
Traveler and content creator Pency Lucero was willing to take that gamble. After thorough research, she stumbled upon an Airbnb in Rörbäck, Sweden with an actual picture of the northern lights shining above the cabin in the listing. With that kind of photo evidence, she felt good about her odds.
However, as soon as she landed, snow began falling so hard that the entire sky was “barely visible,” she told Upworthy. Martin, the Airbnb host, was nonetheless determined to do everything he could to ensure his guests got to see the spectacle, even offering to wake Lucero up in the middle of the night if he saw anything.
Then one night, the knock came.
In a video Lucero posted to TikTok, which now has over 12 million views, we hear Martin ushering her out to take a peek. Then we see Lucero’s face light up just before seeing the sky do the same.
“I thought it was a prank,” the onscreen text reads in the clip. “And then I see it….”
I’m on the verge of crying every time I watch this video I still cannot believe it. 📍 Rörbäck, Sweden
“I was mostly in awe of what this Earth is capable of,” Lucero recalled. “I never expected it to be THAT beautiful for the naked eye.” This is a hopeful sentiment against the widely accepted notion that the northern lights are often better looking in photos than they are in real life.
As Lucero asserted in a follow-up video, “Our video doesn’t do it justice at all…I would argue it’s even better for the naked eye.”
Others were quick to back Lucero with anecdotes of their own experience.
“It’s definitely possible to see it like in the pics. I saw it this winter in Norway, there was bright green, purple and so much movement.”
“They’re so much better in person, the way they dance and move around is insane and beautiful.”
Of course, if you ask Martin, who everyone agreed was the best host ever, seeing guest reactions of pure wonder and joy is even “better than the lights themselves.” But still, he can’t deny that there’s a breathtaking magic to it all. He shared with Upworthy that “Sometimes it feels like it will pull you up in the sky like you are in the middle of it. I wish everyone would have the chance to witness it.”
When it comes to tips for actually seeing the northern lights, Martin admits it still mostly comes down to being in the right place at the right time. Luckily, his Airbnb listing can help with that.
Nature has a great way of reminding us that beyond the distractions and distresses of modern life, there is sublime beauty waiting for the chance to capture our hearts.
Social media has made it very easy to alter your appearance using filters. They may come in handy when you need to record a video but look a bit under the weather—just turn on a soft glow or a makeup filter, and boom, you’re camera-ready in less than two seconds. But there has been a lot of talk around the use of filters and teen girls’ self-esteem and unrealistic expectations seemingly placed on women.
One woman has taken it upon herself to strip away the filters to prove that, while she is beautiful, her face doesn’t actually look the way it does with the filter on. The most interesting thing about these filters is that they’re so good, you can’t tell they’re filters. Gone are the days of filters that made everyone look like a Glamour Shot from the 90s. These filters move with you and even have pores so no one can tell it isn’t actually your face.
Well, it is your face—kinda.
Mimi Webb starts off the 20-second clip using the infamous Bold Glamour filter. It’s the filter that has people questioning their perception of their own faces because the contrast is so jarring. But Webb doesn’t stop with one filter. She puts on another and makes sure she emphasizes her use of a ring light. After turning the ring light off and taking all the filters off as the video is ending, the woman removes her makeup, revealing an inflamed, irritated and blemished face.
People flocked to the comments to thank her for exposing the truth behind filters.
“You’re beautiful & this message is SO important thanks for the reminder,” one person wrote.
“You are beautiful. In real life, we all have imperfections. As a mature woman, I appreciate your honesty. Thank you,” another said.
“Thank you so much. You did not know how much this was needed,” a woman commented.
Social media can really do a number on people’s self esteem, especially when they’re comparing themselves to something that’s not real. Messages like the one Webb shared can help pull back the curtain on the reality of social media. Watch her video below.
Scammers are going to scam. This seems to be something that has rung true since the dawn of time and they just get more sophisticated with technology. If you’re on social media platforms like Facebook, then you’ve inevitably seen friend’s and loved ones lose their accounts to hackers or witnessed a scammer try to pretend to be them.
Usually people just alert others and move on from the experience but wouldn’t it be fun to give them a run for their money while they try to take yours? Jeremy Roberts decided to do just that when his mom, Tami’s Facebook profile was recently cloned by scammers. He took the potential scammer on a adventure with more twists and turns than a mystery novel.
The exchange started off innocent enough with the scammer writing, “Hello How are you doing,” in messenger, not realizing that the message was being sent to Tami’s son.
Roberts immediately engages pretending that he has no idea that he’s not talking to the real Tami. By the next question, the scammer was asking for a favor from Roberts but before “Tami” can ask, Roberts asserts that he’s busy with his brother Doug who thinks he’s possessed b a demon. The brothers are supposedly on their way to meet with a priest to check out Doug’s demon possession.
You’d think hearing of a demon possession would make “Tami” pause. Instead the scammer posing as Tami continued right into their spiel about a “program” called Community Trust Foundation, but Roberts doesn’t bite, he sticks to his bit about his brother being possessed. “Tami” sees an opening after Roberts says the priest sent him to the store for a crucifix and Pepto, though priest generally come equipped with their own crucifix.
Instead of being concerned about the potentially possessed brother or why a priest preparing to do an exorcism didn’t have his own crucifix, “Tami” asked Roberts to buy Apple gift cards to upgrade their phone camera since he was in the store anyway. The scammer is persistent if nothing else. Of course Roberts agrees but continues to string the scammer along with the urgency of getting back to his possessed brother.
After so much back and forth, the scammer got comfortable enough to start answering Roberts’ random questions about the best type of medicine for an upset stomach. Eventually Roberts informed “Tami” that a demon was confirmed by the priest and he needed to get back to Doug. The entire time the persistent scammer kept asking about a $200 gift card while simultaneously answering questions about Doug’s presumed possession. Shortly after Roberts posted the interaction, it quickly went viral and commenters can’t get over the elaborate story and the scammer’s persistence.
“That is the best exchange ever. That smoooooth transition for the gift card request,” someone writes.
“Scamming someone and trying to cast out demons. Nope, Satan can’t cast out Satan,” another says.
“My 14 year old and I were screaming laughing “a picture of the demon?” Snort.,” one woman laughs.
The entire exchange is so comical that you’d have to read the entire thing to get the full effect and the ending was definitely a jump scare, not to the reader but probably for the scammer.
On Friday morning, November 10, The Recording Academy announced the full nomination field for the 2024 Grammys, which will occur on February 4, 2024 at Crypto.com Arena in Los Angeles and broadcast live on CBS. The eligibility window was set for October 1, 2022 to September 15, 2023. So, while Dua Lipa’s freshly released single “Houdini” will have to wait, Lipa is still nominated for Song Of The Year and Best Song Written For Visual Media for “Dance The Night” from the Barbie movie. But two nominations is far from the most earned by a single artist. SZA has the most nominations for the 2024 Grammys with nine.
SZA shook the world when she dropped SOSon December 9, 2022. Her sophomore album spent 10 weeks at No. 1 on the Billboard 200, but she shared that debuting on Billboard‘s Hot 100 Songwriters chart meant “so f*cking much to me.” SOS singles “Kill Bill” and “Snooze” peaked at Nos. 1 and 2, respectively, on the Billboard Hot 100.
At the 2024 Grammys, SZA is nominated for Record Of The Year (“Kill Bill”), Album Of The Year (SOS), Song Of The Year (“Kill Bill”), Best Pop Duo/Group Performance (“Ghost In The Machine” Feat. Phoebe Bridgers), Best R&B Performance (“Kill Bill”), Best Traditional R&B Performance (“Love Language”), Best Progressive R&B Album (SOS), Best R&B Song (“Snooze”), and Best Melodic Rap Performance (“Low”).
At the 2022 Grammys, SZA won her first and only Grammy as the featured artist on Doja Cat’s “Kiss Me More” in the Best Pop Duo/Group Performance category. So, simple math: winning any of her nine nominations at the 2024 Grammys would mark her first Grammy as a solo artist.
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This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
