There is plenty to unpack about Irving’s time in Brooklyn, where he and Kevin Durant only played in 74 games together over three years and never made it beyond the conference semifinals, as well as what Irving will bring (good and bad) to the Mavericks. On Monday’s First Take, Stephen A. Smith, Jay Williams, and Tim Legler were planning on doing just that when things got spicy and a little bit personal between Smith and Williams, who had a very tense two-minute exchange.
Serious sparks are flying between Stephen A. Smith and Jay Williams over Kyrie Irving pic.twitter.com/Cp7MaSeTQD
Williams accuses Smith of having personal issues with Kyrie and letting that color his commentary of Irving. Smith, unsurprisingly, takes issue with that, coming from”you of all people,” referencing how Williams is rather famously close with Irving and has defended him on a number of occasions since he arrived in Brooklyn. He also calls out Jay for talking about things he finds interesting rather than simply saying what he feels.
The best part of the whole thing is when they pan to the camera behind Molly Qerim and you just see Legler chuckling to himself and sitting there wondering what the hell he’s doing there. Molly tries her best to get things back on track while Smith and Williams insist on trying to get the last word, but it didn’t seem like this segment did anything to resolve any lingering issues between Stephen A. and Jay.
2023 will see the returns of Succession, Yellowjackets, and Justified, but not Stranger Things. Netflix’s biggest show might not be back next year, either.
In an “Actually Me” video for GQ, Finn Wolfhard (who plays Mike) responded to a YouTube comment about season five being the final season. “I can’t really believe that it’s the fifth season either. By the time it comes out, I will be 22, I think, and I started working on the show at 12,” the When You Finish Saving the World star said.
He continued:
“That is insane, and I’ll be able to drink with Gaten [Matarazzo], Caleb [McLaughlin] and Noah [Schnapp] and the whole cast at the premiere of Stranger Things 5, which couldn’t have said the same thing at the season one premiere, which blows my mind.”
Wolfhard is 20 years old. He’ll turn 22 on December 23, 2024, but it’s unlikely that Netflix would drop new episodes between Christmas and New Year’s, so expect Stranger Things season five to premiere during 2025. That’s a long time from now. But 2025 will also see the release of M3GAN 2.0, so you have two things to look forward to.
Wolfhard told Uproxx that he’s not ready for Stranger Things to be over. “I’m just really excited to start working on it because after I finished watching season four, I just was like, ‘Damn, let’s just go back and film now.’ I just want to help finish it off, but not in a way of I want to be done with it,” he said. “It’s just like I want to know what happens.”
As George Santos reportedly faces an FBI investigation into allegations that he absconded with the proceeds from a GoFundMe account meant for a veteran’s dying dog, the embattled New York congressman is being accused of even more shady transactions while running a supposed animal charity.
According to a new report on Santos’ charity, Friends of Pets United, the organization has a questionable past starting with the fact that it is not registered as a non-profit nor did it save over 2,500 animals as Santos claimed on its website. Friends of Pet United also had an issue with pet owners not receiving GoFundMe proceeds raised on their behalf. (Sound familiar?)
Regina Spadavecchia, who runs the Adore-a-Bullie Paws and Claws rescue in the Bronx, said that Mr. Santos boasted of his fund-raising prowess, saying he was a financial money manager with connections. In reality, he had worked for a Turkey-based hospitality technology company, eventually moving on to work at a small company that organized conferences for investors and fund managers.
But Mr. Santos never fully followed through on his promises, Ms. Spadavecchia said, sending her around $400 instead of the thousands of dollars he had suggested. She decided to cut ties with him.
“If you’re doing fund-raising in my name, and you’re claiming you can make a couple of thousand, and you’re sending me $400, then something’s off,” Ms. Spadavecchia said. “You’re either boasting about stuff you can’t do, or you’re keeping money on the side. I don’t know.”
In one damning incident, Santos allegedly instructed a pet store owner to make a check out to “Anthony Devolder” — an alias Santos used at the time — instead of “Friends of Pets United” during a charity drive. When the owner refused, his bank records showed that Santos crossed out the charity name and added his alias as the payee anyway.
When reached for comment by the Times, Santos’ lawyer refused to answer questions about Friends of Pets United due to “pending investigations.”
Well, I regret to report that the Grammys, despite staging a celebration of 50 years of hip-hop history (supposedly), still can’t seem to get hip-hop right despite all the ways the world makes it easy these days. And we’ll get to that performance in a minute, but first, let me dust off the drum I’ve been banging for the past six years to once again call out the rap establishment for either overlooking or downplaying the contributions and accomplishments of women in hip-hop for, well, the past 50 years.
From the obvious, like omitting Gangsta Boo from the In Memoriam segment to the subtle, like the vague respectability politics displayed by which female stars’ songs didn’t make it into the 10-minute-long tribute, the Recording Academy members’ biases were evident throughout the rap-focused portions of the ceremony.
Now, hip-hop doesn’t need and has never needed the Grammys’ approval or acknowledgment. But the Grammys have been striving for more relevance through engagement with hip-hop and to continue to do so on a purely surface level after all this time despite being called out repeatedly over the past decade isn’t going to get them there.
Make no mistake; that engagement is definitely surface-level. I’m not arguing that the Grammys should be honoring the most underground rappers… We don’t need Griselda menacing the crowd or a full slate of Memphis trap rappers dominating the nominations. But look, when one of the very pioneers of Memphis trap rap passes away a month before the ceremony, it makes very little sense for her name to be omitted from the In Memoriam segment (this isn’t the first time this has happened, either).
But let’s stick a pin in that thought because it’s going to tie into some of my points about the 50 Years of Hip-Hop tribute performance. Judging from that performance, the Grammys have also taken what feels like a reductive outlook on hip-hop in general. Check out the list of songs that supposedly represent 50 years of hip-hop history.
It looks a lot more like something that would have been done in 2003 than in 2023, doesn’t it? How else can you explain that 15 of the 23 songs were from before the year 2000 and only six of those were from between 1990 and 2000? The jump from The Lox to Lil Baby was called jarring on Twitter but even more than that, it belies the Grammys’ commitment to honoring younger, more diverse artists.
Sure, the logistics of pulling together something like that performance are likely Herculean, but do you truly mean to tell me that Soulja Boy was doing something more important than the Grammys on Sunday night? What about Chief Keef? Future was in the room, awaiting his eventual disappointment as the rightful Rap Album Of The Year winner, they couldn’t ask him to do “Turn On The Lights” or “March Madness?”
I could expend at least a couple more paragraphs on just the missing 2010s. It appears the Grammys’ current contingent of hip-hop representatives – to be sure, a crowd of Gen-Xers who all remember “Rapper’s Delight” coming on the radio in 1979 but who couldn’t name a recent Young Thug song to save their lives – are more than content to let that decade fall by the wayside while paying lip service to the last year or so of contemporary hits.
I certainly understand the compulsion, I really do. For literal decades, not just one, but two generations who grew up on rap watched those old-school pioneers of the ‘80s get overlooked or ignored – hello, the first untelevised Rap Grammy in 1989 – so it makes sense they’d want to give themselves these flowers now.
But they shouldn’t come at the cost of throwing their successors under the bus. That only starts a cycle that is self-destructive and counterintuitive – although it is also, to be fair, instructive of the way the Grammys works in the first place (see: Bonnie Raitt winning Song of the Year for a song literally no one listened to). And it’s a modus operandi that first and second-generation hip-hop stars have been employing for far too long, dumping on ‘90s and 2000s kids because they don’t like the greater emphasis on melody and trap aesthetics.
It’s also telling that the only women included were the upright-seeming, “wholesome” ones. Salt-N-Pepa may have been sex-forward and unapologetic for their time, but compared to Cardi B and Megan Thee Stallion, they are downright tame. Queen Latifah and Missy Elliott – who are among my personal favorites, and are indisputable legends – are also the most often pitted against contemporary faves like Nicki Minaj as the role models for girls to look up to.
Even Lil Kim and Foxy Brown, largely credited as the godmothers of modern “pussy rap” – the subgenre of hip-hop that women are mostly allowed to dominate – were absent from the celebration, giving the impression that the history of hip-hop is being sanitized as the disruptors of yesteryear age into the conservative parental figures youth movements are designed to rebel against.
Rap music is the most popular genre in the world. Hip-hop culture has permeated every corner of the globe. It’s done so largely by the efforts of the members of the Recording Academy who helped push rap forward. But now that they’ve done so, they seem intent on holding it back.
From predictably awarding Kendrick Lamar Rap Album Of The Year, seemingly for breaking with the conventions of the genre rather than embracing them, to overlooking so many contemporary rap heroes to trying to shrink and demean women in hip-hop, it seems the Recording Academy has had a bad influence on its rap delegation. They seem to be trying to conform rather than shake things up – and that’s not hip-hop.
No institution can ever be perfect or get everything right, but it’s clear that whatever measures the Grammys have supposedly taken to balance things out aren’t working. Perhaps more transparency is needed – I’d love to see how the ranked voting results are actually shaking out, personally – or maybe more expansion and a larger youth contingent are needed to ensure that more options appear on the ballot. One way or another, the Grammys have to do better, or else why even bother with hip-hop honors in the first place?
Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.
Last night, fans were stunned when the Grammys announced the Album Of The Year winner. While many expected that the win would go to Beyoncé for her groundbreaking album Renaissance, the award was instead given to Harry Styles for Harry’s House. Twitter erupted with fury, with many calling it an outright robbery, but there’s one person who’s not sweating it — arguably the second most invested party, Beyoncé’s husband Jay-Z.
In an interview with Tidal (a friendly outlet if there ever was one) ahead of the ceremony, Jay explained that he takes a different perspective on the importance of the award show, rather than getting his hopes up. “I remove myself from the process and hope they just get it right,” he said. “It got to the point where I was like, it’s just a marketing thing. You go, you got an album out and it could help the sales go up.”
Jay also explained why he thought Renaissance deserved the award, while admitting his bias. “Look what it’s done to the culture,” he observed. “Look how the energy of the world moved. They play her whole album in the club. I don’t know if I’ve ever seen that. The whole entire joint — like, everything?! Every remix is amazing. Everyone’s inspired. It has inspired the world. Every remix is better than the other one. From anybody, we’re just finding these joints out in the street… It’s inspiring creativity. You know how The Black Album had The Grey Album [Danger Mouse’s 2004 mashup project]? And the one with Radiohead? It was called Jaydiohead [Minty Fresh Beats’ 2009 mashup]. When it just inspires creativity, that’s an album. That has to be Album Of The Year. It has to be.”
Unfortunately, it seems the Recording Academy, by and large, disagreed (for what it’s worth, most of them are way too old for “the club” by now, right?). We’ll see how it does affect Beyoncé’s (and Styles’) sales in the future or their award show strategies, but with her world tour in front of her, Beyoncé has bigger fish to fry.
The confusion over Raitt winning out over monster songs by Adele, Beyoncé, DJ Khaled, Gayle, Styles, Kendrick Lamar, Lizzo, Steve Lacy, and Taylor Swift led to some tweeters differentiating between Song Of The Year and Record Of The Year.
BTW.. Song of the Year is about writing and composition.
Record of the Year is about the recording itself (singing, producer, engineering).
But the official website for the Grammys offered an explainer in December 2017. To sum it up, Record Of The Year “goes to the artist(s), producer(s), and engineer(s) involved in crafting the specific recording (hence ‘record’) of a song,” and Song Of The Year “goes to the songwriter(s) (hence ‘song’) of new material (not including sampled or interpolated material) of a song.”
Raitt won Song Of The Year for “Just Like That,” which she produced and wrote herself. Lizzo shared her “About Damn Time” Record Of The Year victory with producers Ricky Reed and Blake Slatkin, engineers/mixers Patrick Kehrier, Bill Malina, and Manny Marroquin, and mastering engineer Emerson Mancini.
Let’s not waste time, here: the Grammys let us all down by failing to acknowledge Beyoncé’s Renaissance as the Album Of The Year, in favor of the audio equivalent of plain oatmeal. I’m sure Harry Styles is a very nice British boy – distinctive lack of personality aside – but I, and indeed, many, many others fail to see what his album accomplished that Beyoncé’s did not.
Where Styles’ album was a fine example of a middle-of-the-road pop album, taking inspiration from the past 40 years or so of Top 40 radio (I’m putting it nicely – others have argued that it was pale imitation), Renaissance excavated 40 years of Black music history. Beyoncé sought to shine a spotlight on an oft-and-long-overlooked subculture of Black joy and rebellion.
And while the Grammys were certainly happy to make a fuss about her setting the record for most-awarded act ever, shutting her out from Album Of The Year – again – felt like a repudiation, a rejection, of not just Beyoncé’s efforts, but of the validity of the lived experience of the people her album highlighted. It’s a slap in the face.
To add insult to injury, these are the people and this is the scene that has most directly influenced pop music over the past 40 years. All of your faves? They got their swag from queer Black folks. If you ask just about any dance-pop star with a Billboard Hot 100 hit who they were inspired by, you’re going to get the same answers: Britney Spears, Madonna. Well, who inspired Madonna? I’ll wait.
Actually, no I won’t. It was that New York rave culture, where queer Black folks pioneered house and techno, ball culture, and the sampling techniques that permeate modern music today. Look at Sam Smith and Kim Petras winning Best Pop Duo/Group Performance last night. That doesn’t happen without the queer Black community opening the door, at the roots of things, laying the foundation for the branches to flourish.
And Beyoncé, who brought that underground movement to the daylight, went out of her way to acknowledge those contributors to the culture. She put Grace Jones on the album. She nodded to the dozens of collaborators and inspirations for that album in both the liner notes and on her website. As my colleague, Alex Gonzalez, pointed out on Twitter, “Both Harry and Beyoncé noticeably took inspiration from LGBTQ+ aesthetics and culture for their respective album eras… but only one of them actually thanked the queer community.”
And musically, she embraced the breadth and range of those contributions, from disco to neo-soul and everything in between. She displayed versatility and depth and grace and vulnerability and gratitude. She, to quote the kids (who are, again, only quoting Black drag queens), ate and left no crumbs.
Harry’s acceptance speech, oddly enough, inadvertently highlighted just how insultingly tone-deaf this pick really was. “This never happens to people like me,” he said. People like who, Harry? British people? Paul McCartney, Sting, and Adele all have several. Guys who were hand-picked and groomed by some of the biggest producers on the planet to be pop stars from their teens? Hey, have you ever heard of Justin Timberlake?
There is literally no category or tag that you could place on Harry Styles that would put him at a disadvantage in today’s society, let alone at an institution like the Recording Academy, which has had a 100-year history of dropping the ball on honoring Black artists, women, queer artists, or people of color in general at best, and outright racism at worst. Harry is, to the best of anyone’s knowledge, a straight, white, rich dude… the people modern society is set up to serve.
You can’t even blame this on the voting process; in a Variety feature about Academy voters, two anonymous members of this “prestigious” group openly admitted they didn’t vote for Beyoncé “because she always wins.” There was true spite behind this robbery, like the heist in Ocean’s Eleven. It wasn’t just about seeing Harry win – it was about seeing Beyoncé, a Black woman whose commitment to excellence in her craft oozes out of every fiber of her being, who has sacrificed so much to be the best at her craft, who shouldered the burden of representing an entire community in her work… lose.
That is truly heinous.
But, it’s also business as usual in America, where we Black folks are told we have to work twice as hard for half as much. If nothing else, last night’s Grammy result adds one more exhibit to the mountainous pile of evidence for this. It’s all just proof that the Grammys, like most everything else, ain’t really for us – and that’s a shame, because America, and its music, owe us so much.
It seems like, once again, we have been betrayed by Nicole Kidman. She brought us to AMC theaters to laugh and cry and become way too attached to robotic dolls, only to sneak in a new price hike while nobody was looking. Only kidding. It’s not really Kidman’s fault, but her “heartbreak” commercial hits differently now.
AMC theaters announced that they will be adjusting seat prices starting this week at select locations. Despite sounding like a fun gondola ride, Sightline at AMC is a less-fun new ticket pricing model that will adjust seat prices based on where the viewer is sitting in the auditorium.
Kind of like how there is an unspoken hierarchy of seats in your family’s living room, each seat will be priced differently based on where it’s located in the theater according to the screen. Less desirable seats like the front row will be a lower price than those in the middle of the room, where you can get that crystal clear view of alien fish.
The new price model will begin this week in select New York, Chicago, and Kansas City locations and is expected to be introduced domestically later in the year. According to Variety, there will be three ticket pricing options: Standard Sightline, which is a standard price ticket for the most common seats, then there’s Value Sightline, referred to as “seats in the front row of the auditorium, as well as select ADA seats in each auditorium, and are available at a lower price than standard sightline seats” and finally, Preferred Sightline seats, which are middle “premium” seats at higher prices. These options are available to AMC Stubs A-list for no additional cost.
It seems like a potentially risky move, though there is one upside: Sightline is not applicable to $5 Discount Tuesdays, the best day of the week to see a movie. Tuesday Moviegoers, we are safe this round.
The Grammys: They sure are long! Shout out to my fellow East Coasters who watched the 2023 Grammys until midnight yesterday and got 45 quality minutes of sleep before getting ready for work this morning.
Within all the length of last night’s show, a lot of things happened. Some awards went to their expected recipients, others went to nominees viewers probably forgot were even up for consideration. Some artists put on spectacular performances, others were certainly at least on stage performing music. Some people got their flowers, others would have settled for just a glimpse of a dried-out petal.
With the dust settling now, all of these events can be generally placed into three categories: winners, losers, and surprises. In fact, the highlights of these goings-on have been categorized thusly… by me… below.
Beyoncé took a slight L when she got stuck in traffic and consequently showed up late to the Grammys. That was profoundly overshadowed, though, by one of the biggest moments of Bey’s career: Renaissance won the Grammy for Best Dance/Electronic Music Album. In a vacuum, that’s kind of neat, but zoom out: That Grammy was the 32nd of Beyoncé’s career, which is the new all-time Grammy record. The ever-composed Beyoncé was clearly emotional while accepting the award, which goes to show how major the win was not just in music history, but to her personally.
Surprise: Bonnie Raitt/Samara Joy
Bonnie Raitt’s reaction to winning Song of the Year is everyone’s reaction to her winning Song of the Year #Grammyspic.twitter.com/HYcMZK00hc
Beyoncé’s big win wasn’t a shock. You know what was, though? Half of the Grammys in the “big four” categories.
The Best New Artist field was strong and the winner ended up being Samara Joy, a jazz singer who’s a relative unknown when compared to competitors like Anitta, Latto, and Wet Leg.
Then came Song Of The Year.
Up for consideration were songs by Adele, Beyoncé, Bonnie Raitt, DJ Khaled, Gayle, Harry Styles, Kendrick Lamar, Lizzo, Steve Lacy, and Taylor Swift. Looking at that list, clearly, there’s one artist that stands out, and not favorably in terms of contemporary acclaim and pop culture relevance: Raitt. Just like that, though, “Just Like That” won.
Raitt is a legend and a Rock And Roll Hall Of Fame inductee, but even she was left scratching her head: When her name was called, she gave an open-mouthed look around the room like she just won $100K on a gas station scratcher. That was a fair reaction: “Just Like That” currently has under half a million streams on Spotify. Last year, around 9.5 million people watched the Grammys. So, if those numbers remain similar for this year’s broadcast, that means about 20 times as many people watched “Just Like That” win the award than had actually heard the song before (and that’s being generous by assuming every Spotify listener has only played the song one time).
The Grammys aren’t supposed to be a popularity contest, but cultural relevance should have been a bigger consideration here.
Loser: In Memoriam segment
Getty Image
Every year, the Recording Academy honors esteemed deceased musicians with its In Memoriam portion of the show. Also every year, they find a way to piss people off. Fans were quick to notice that artists like Gangsta Boo and Aaron Carter weren’t mentioned during the broadcast, which rubbed some viewers the wrong way.
To the Recording Academy’s credit, in a post shared ahead of the show, they shared an In Memoriam list featuring more names than made it onto the broadcast, noting that “some” of them would be included in the video tribute. Carter was on that list, but not the broadcast. They also note that the people on the list all died between January 1, 2022 and December 6, 2022; Boo died on January 1, 2023.
So, the Recording Academy technically has some plausible deniability here, but maybe policies that exclude people who should obviously be named could use some reconsidering.
Winner: Wet Leg
Wet Leg – Alternative Music Album, Alternative Music Performance
Previously, leg was dry. At the Grammys, though, leg was wet: Emerging rock favorites Wet Leg was up for five awards and they took home two of them: Best Alternative Music Performance for “Chaise Longue” and Best Alternative Music Album for Wet Leg.
Harry was one of the evening’s most-nominated artist with seven total nods. He ended the night with a strong winning percentage, too, taking home three awards, most notably picking up Album Of The Year for Harry’s House. That said…
…boy was his performance during the show dull and weird.
He started his rendition of “As It Was” with some backing dancers, all spinning slowly on a rotating platform, like the song’s music video. It was an extremely low-energy environment for a minute or so, all while the relentlessly upbeat song charged on in defiant tonal contrast. It looked as though Styles and company had the stage set up to perform an Adele ballad before switching to “As It Was” seconds before going on. Things didn’t really improve after the intro, either. Styles’ current tour has obviously gone well, as the banner he has hanging in Madison Square Garden indicates, but the watermelon sugar high appears to have worn off since his last arena show.
Winner: Viola Davis
Viola Davis has achieved EGOT (Emmy, Grammy, Oscar, and Tony) status. “It has been such a journey, I just EGOT!” pic.twitter.com/YYj4MMJvRg
Congratulations are in order for Viola Davis: She e-got her EGOT! She’s now one of only 18 people to ever do it and it’s thanks in part to last night’s win in the Best Audio Book, Narration, And Storytelling Recording category, for her Finding Me memoir.
Beyoncé was the evening’s leading nominee with nine total nods, but Lamar was right behind her with eight of his own. Despite getting shut out of the main categories, Lamar did well in the hip-hop categories, winning in Best Rap Performance (“The Heart Part 5”), Best Rap Song (“The Heart Part 5”), and Best Rap Album (Mr. Morale & The Big Steppers). Furthermore, he did it all while dressed like Goodwill Kid, M.A.A.D. City.
In the Best R&B Song category, Beyoncé came out on top with “Cuff It.” Another Renaissance track, “Virgo’s Groove,” was up for Best R&B Performance, and while that may have felt like an obvious pick there, Muni Long actually pulled off the upset with “Hrs & Hrs.”
That’s not to say, of course, that Long’s win (her first Grammy victory) is inexcusable. “Hrs & Hrs” is an accomplished track, as it was only the second song by an independent artist to top the Billboard Hot R&B Songs chart, it’s certified platinum, and it achieved a No. 16 peak on the Hot 100. Beating Beyoncé for a Grammy is a tall mountain to scale, so congrats to Long!
Winner: 50th Anniversary Of Hip-Hop Tribute Performance
The Recording Academy put a major focus on honoring hip-hop in 2023, since this year marks the half-century anniversary of the genre’s inception. They went all out with a gargantuan 10-minute performance that spanned eras, featuring stage time from Grandmaster Flash, Rakim, RUN-DMC, Salt-N-Pepa, Future, GloRilla, Lil Baby, Busta Rhymes, De La Soul, Missy Elliott, Method Man, Nelly, and Too Short, among others. If you’re looking for a hip-hop history lesson, the setlist is a terrific starting point.
To her name, Brandi Carlile has racked up 24 Grammy nominations in her lifetime. She’s usually firmly in the Americana and country categories, but this year, she earned her first rock nominations. She actually dominated on that front, with “Broken Horses” winning Best Rock Song and Best Rock Performance. While on the surface, Carlile getting rock Grammys might read as off, she performed the track during the broadcast and it was very clearly a rock song, and a pretty good one, too.
Last night, a lot of songs did, but “God Did” was not among them. The DJ Khaled, Rick Ross, Lil Wayne, Jay-Z, John Legend, and Fridayy song was nominated for Song Of The Year, Best Rap Performance, and Best Rap Song. It won none of those awards.
Then, Khaled and company had to close the show with a performance of the song, which featured Khaled spouting his classic substance-free motivational nuggets. His loud claims of “we the best” or whatever while actual musicians were performing around him fell especially flat, since the Recording Academy just finished declaring on national television that he is in fact not the best.
Loser: Benny Blanco
Getty Image
Benny Blanco wore that to the 2023 Grammy Awards.
Find the full list of this year’s Grammy nominees and winners here.
Some viewers were upset that the likes of Aaron Carter and Gangsta Boo were noticeably missing from the segment, and others wondered why Taylor Hawkins, the late Foo Fighters drummer, wasn’t mentioned.
We can’t defend the omissions of Carter and Gangsta Boo, but there is a reasonable explanation for Hawkins, who died suddenly last March.
The 2022 Grammys aired on April 3, 2022 — roughly one week after Hawkins’ passing — so Hawkins was honored during last year’s ceremony.
Additionally, Billie Eilish wore a shirt with a photo of Hawkins on it during her performance of “Happier Than Ever.” Foo Fighters won three Grammys last year: Best Rock Album (Medicine At Midnight), Best Rock Song (“Waiting On A War”), and Best Rock Performance (“Making A Fire”).
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