LOS ANGELES – Lizzo led the nominations for the 62nd Grammy Award with eight nods, while Billie Eillish and Lil Nas X followed close behind with six nominations each. The three musicians are all are first-time Grammy nominees.
Lizzo leads 2019 Grammys with 8 nominations.
Ariana Grande, H.E.R. and are tied behind them with five each. O’Connell’s five nominations mark his first Grammy nods whereas Grande and H.E.R. have been nominated in the past with one and two wins, respectively.
Bon Iver’s “I, I,” Lana Del Rey’s “Norman F***ing Rockwell,” Billie Eilish’s “When We All Fall Asleep, Where Do We Go?”, Ariana Grande’s “Thank U, Next,” H.E.R.’s “I Used To Know Her,” Lil Nas X’s “7,” Lizzo’s “Cuz I Love You” and Vampire Weekend’s “Father Of The Bride” all received nods for the album of the year.
Alicia Keys will return as host of the ceremony for the second year in a row, making her the third woman and the first female musician to host the show twice.
The Grammy Awards will take place on Jan. 26 at Los Angeles’ Staples Center. The broadcast will air live on CBS at 7 p.m. ET/PT.
See the list of nominees below:
Record Of The Year:
“Hey, Ma” — Bon Iver
“Bad Guy” — Billie Eilish
“7 Rings” — Ariana Grande
“Hard Place” — H.E.R.
“Talk” — Khalid
“Old Town Road” — Lil Nas X Featuring Billy Ray Cyrus
“Truth Hurts” — Lizzo
“Sunflower” — Post Malone & Swae Lee
Album Of The Year:
“I, I” — Bon Iver
“Norman F–ing Rockwell!” — Lana Del Rey
“When We All Fall Asleep, Where Do We Go?” — Billie Eilish
“Thank U, Next” — Ariana Grande
“I Used To Know Her” — H.E.R.
“7” — Lil Nas X
“Cuz I Love You” (Deluxe) — Lizzo
“Father of the Bride” — Vampire Weekend
Song Of The Year:
“Always Remember Us This Way” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters (Lady Gaga)
“Down Bad” — Dreamville ft. J.I.D, Bas, J. Cole, Earthgang & Young Nudy
“Racks In The Middle” — Nipsey Hussle ft. Roddy Ricch & Hit-boy
“Clout” — Offset ft. Cardi B
Best Rap/Sung Performance:
“Higher” — DJ Khaled ft. Nipsey Hussle & John Legend
“Drip Too Hard” — Lil Baby & Funna
“Panini” — Lil Nas X
“Ballin” — Mustard ft. Roddy Ricch
“The London” — Young Thug ft. J. Cole & Travis Scott
Best Rap Song:
“Bad Idea” — Chancelor Bennett, Cordae Dunston, Uforo Ebong & Daniel Hackett, songwriters (Ybn Cordae ft. Chance The Rapper)
“Gold Roses” — Noel Cadastre, Aubrey Graham, Anderson Hernandez, Khristopher Riddick-tynes, William Leonard Roberts Ii, Joshua Quinton Scruggs, Leon Thomas Iii & Ozan Yildirim, songwriters (Rick Ross ft. Drake)
“A Lot” — Jermaine Cole, Dacoury Natche, 21 Savage & Anthony White, songwriters (21 Savage ft. J. Cole)
“Racks In The Middle” — Ermias Asghedom, Dustin James Corbett, Greg Allen Davis, Chauncey Hollis, Jr. & Rodrick Moore, songwriters (Nipsey Hussle ft. Roddy Ricch & Hit-boy)
Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling):
“Beastie Boys Book (Various Artists) — Michael Diamond, Adam Horovitz, Scott Sherratt & Dan Zitt, producers
“Becoming” — Michelle Obama
“I.V. Catatonia: 20 Years As A Two-Time Cancer Survivor” — Eric Alexandrakis
“Mr. Know-It-All” — John Waters
“Sekou Andrews & The String Theory” — Sekou Andrews & The String Theory
Best Comedy Album:
“Quality Time” — Jim Gaffigan
“Relatable” — Ellen Degeneres
“Right Now” — Aziz Ansari
“Son Of Patricia” — Trevor Noah
“Sticks & Stones” — Dave Chappelle
Best Musical Theater Album:
“Ain’t Too Proud: The Life And Times Of The Temptations” — Saint Aubyn, Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope & Ephraim Sykes, principal soloists; Scott M. Riesett, producer (Original Broadway Cast)
“Hadestown” — Reeve Carney, Andre De Shields, Amber Gray, Eva Noblezada & Patrick Page, principal soloists; Mara Isaacs, David Lai, Anais Mitchell & Todd Sickafoose, producers (Anais Mitchell, composer & lyricist) (Original Broadway Cast)
“Moulin Rouge! The Musical” — Danny Burstein, Tam Mutu, Sahr Ngaujah, Karen Olivo & Aaron Tveit, principal soloists; Justin Levine, Baz Luhrmann, Matt Stine & Alex Timbers, producers (Original Broadway Cast)
“The Music Of Harry Potter And The Cursed Child” – In Four Contemporary Suites — Imogen Heap, producer; Imogen Heap, composer (Imogen Heap)
“Oklahoma!” — Damon Daunno, Rebecca Naomi Jones, Ali Stroker, Mary Testa & Patrick Vaill, principal soloists; Daniel Kluger & Dean Sharenow, producers (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2019 Broadway Cast)
Best Compilation Soundtrack For Visual Media:
“The Lion King: The Songs” — (Various Artists)
Quentin Tarantino’s “Once Upon A Time In Hollywood” — (Various Artists)
“Rocketman” — Taron Egerton
“Spider-man: Into The Spider-Verse” — (Various Artists)
“A Star Is Born” — Lady Gaga & Bradley Cooper
Best Score Soundtrack For Visual Media:
“Avengers: Endgame” — Alan Silvestri, composer
“Chernobyl” — Hildur Gu?nadottir, composer
“Game Of Thrones”: Season 8 — Ramin Djawadi, composer
“The Lion King” — Hans Zimmer, composer
“Mary Poppins Returns” — Marc Shaiman, composer
Best Song Written For Visual Media:
“The Ballad Of The Lonesome Cowboy” — Randy Newman, songwriter (Chris Stapleton); Track from: “Toy Story 4”
“Girl In The Movies” — Dolly Parton & Linda Perry, songwriters (Dolly Parton); Track from: “Dumplin'”
“I’ll Never Love Again (Film Version)” — Natalie Hemby, Lady Gaga, Hillary Lindsey & Aaron Raitiere, songwriters (Lady Gaga & Bradley Cooper); Track from: A Star Is Born
I am genuinely surprised that Frankenstein’s Monster’s Monster, Frankenstein is debuting on a thing like Netflix, and not randomly during the 4-4:30 AM slot on Adult Swim ..BY VINNIE MANCUSO
Directed by Daniel Gray Longino (Kroll Show, PEN15) and written by John Levenstein (Arrested Development), this oddball mockumentary runs a brisk 28 minutes and doesn’t appear to be attached to anything other than the idea that watching David Harbour do his best blowhard Orson Welles impression for a half-hour would be really, really funny. And you know what? It is. Nailed it. A+ for absurdity. I don’t know what strange electrical storm brought Frankenstein’s Monster’s Monster, Frankenstein off the slab, but I’m not mad this monster is alive.
The gist is this: Actual actor David Harbour, star of Stranger Things and the Hellboy reboot, is investigating the life of his father, classically trained thespian David Harbour Jr. (also played by David Harbour.) His star power on the wane and career in a downward slope, the elder David Harbour put on one last big teleplay, Frankenstein’s Monster’s Monster, Frankenstein, a gothic tale of horror and deception co-starring Monica Fulton (Kate Berlant), Aubrey Fields (Alfred Molina), and Harbour Jr.’s Hollywood nemesis, the upstart young talent Joey Vallejo (Alex Ozerov). The deeper David Harbour III digs the more secrets emerge, including jealousy, lies, and quite possibly…murder.
Again, there’s not a whole lot to this thing, but what you do get is a delightful ham sandwich with a heaping portion of cheese. This is the salve Harbour fans need in the wake of that truly dreadful Hellboy movie and a divisive Stranger Things season 3 performance that saw Jim Hopper going from “loveably grumpy” to “just yelling literally all of the time.” The reason that floral shirt might’ve been a little snug on season 3 Hopper is that Harbour chews the scenery to shreds in Frankenstein’s Monster’s Monster, and it’s a joy to behold all the way through. As modern-day David Harbour, he’s an intense, stone-faced detective even while flanked by posters of his father’s movies like “The Crying Detective” and “The Pirate’s Husband”. In the “archival” footage from the teleplay itself—shot to look like old grainy film stock—Harbour delivers a masterclass in overacting. I honestly think one of the hardest things a performer can do convincingly is act badly on purpose, and Harbour does so with gusto, eating David Harbour Jr.’s overlong monologues like a full meal. (His constant refrain of “…and THAT is how I got into Juilliard” is never not funny.) Berlant, too, is a joy; an improv veteran, there’s an unscripted looseness to every one of her punchlines here that brings to mind the wonderful lo-fi nature of something like Wet Hot American Summer.
Really, the joy of Frankenstein’s Monster’s Monster, Frankenstein is that it never really explains or justifies itself. It’s just a brief weird thing made by some very funny people during, I assume, whatever lunch breaks Harbour had while shooting Stranger Things. That it landed on an international streaming service with endless resources honestly just makes the whole thing funnier. In that way, it reminds me of The Unauthorized Bash Brothers Experience, the absolutely brilliant 30-minute “visual album” The Lonely Island dropped on Netflix that is so endearingly stupid that I still kind’ve can’t believe it’s not a prank in some way. Or, hell, even I Think You Should Leave with Tim Robinson, which delivers incredible bite-sized episodes of absurdity, good car ideas, and mud pies. With non-original staples like The Office and Friends headed out the door and competition like Disney+ looming on the horizon, Netflix is in for a few re-shaping years ahead. If part of that is a little niche for uber-talented comedians to drop weird shit like Frankenstein’s Monster’s Monster, Frankenstein? That’s a mad scientist’s dream actually worth supporting.