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LOS ANGELES — Taylor Swift won album of the year at the Grammy Awards for “Midnights,” breaking the record for most wins in the category with four. 

She began her speech by thanking her producer and friend Jack Antonoff and added, “I would love to tell you this is the happiest moment of my life,” she told the crowd, but said she feels this happy when she creates music and plays shows.

Earlier in the night, Taylor Swift used her 13th Grammy win on Sunday to announce her new album, “Tortured Poets Department,” will arrive April 19.

“I know that the way that the Recording Academy voted is a direct reflection of the passion of the fans,” she said while accepting the best pop vocal album award. “So, I want to say thank you to the fans by telling you a secret that I’ve been keeping from you for the last two years which is that my brand-new album comes out April 19. It’s called ‘The Tortured Poets Department.’ I’m gonna go and post the cover right now backstage.”

One of the night’s biggest awards, record of the year, went to Miley Cyrus for “Flowers,” her second-ever Grammy and second of the night. 

“This award is amazing. But I really hope that it doesn’t change anything because my life was beautiful yesterday,” she said in her speech.

Victoria Monét won best new artist.

“Thank you to the champagne-servers tonight,” Monét started her acceptance speech. “Thanks to my mom, a single mom raising this really bad girl.” Then she started to cry, telling the room that this award was “15 years in the making.”

Billie Eilish won song of the year for writing the “Barbie” hit, “What Was I Made For?”

“Thank you to Greta Gerwig for making the best movie of the year,” Eilish said during her acceptance speech.

It was just one of several standout moments from Sunday’s show, broadcast live from Cypto.com Arena in downtown Los Angeles.

Karol G made Grammy history Sunday by becoming the first female performer to win best música urbana album for her blockbuster “Mañana Será Bonito” record.

“This is my first time at the Grammys,” she told the audience in English. “And this is my first time holding my own Grammy.”

Performances were many. Olivia Rodrigo brought her bloodsucking ballad “vampire” – or in this case, bloodletting, as red liquid dripped from the walls behind her. Joni Mitchell, 80, made Grammy history by performing “Both Sides Now” from her 1969 album “Clouds”; Travis Scott did a medley of “My Eyes,” “I Know?,” and “Fein.” Burna Boy was joined by Brandy and 21 Savage and did “On Form,” “City Boys,” and “Sittin’ on Top of the World.”

A long and touching In Memoriam segment celebrated many of the musical greats lost in the year. Stevie Wonder performed “For Once in My Life” and “The Best Is Yet To Come” in honor of Tony Bennett; Annie Lennox delivered “Nothing Compares 2 U” for Sinéad O’Connor. “Artists for ceasefire, peace in the world,” Lennox said at the end of the song, her fist extended in the air.

Jon Batiste did a medley of “Ain’t No Sunshine,” “Lean On Me,” and finally “Optimistic” with Ann Nesby for the late great music exec Clarence Avant. Oprah introduced a fiery Tina Turner tribute of “Proud Mary” by Fantasia Barrino and Adam Blackstone.

SZA also took the stage – performing a medley of her larger-than-life hits “Snooze” and “Kill Bill,” joined by dancers wielding katanas.

Later, she’d take home the trophy for best R&B song — for “Snooze,” handed to her by Lizzo. SZA ran to the stage and gave a charming, out of breath speech because she was “changing, and then I took a shot,” before starting to tear up and saying, “Hi Taylor… I’m not an attractive crier. Have a good evening.”

Mariah Carey presented the night’s first award, for best pop solo performance, to Miley Cyrus for “Flowers.” It was also the singer’s first-ever Grammy.

Afterward, Luke Combs’ delivered a heartfelt rendition of “Fast Car” with Tracy Chapman – his cover of the Chapman classic has dominated country radio and won him song of the year at the 2023 CMAs. In 1989, Chapman won best pop vocal performance, female for the song.

Dua Lipa opened the show with a high-octane medley: first, a tease of her forthcoming single, “Training Season,” then, her most recent single, “Houdini,” and finally, her disco-pop “Barbie” hit “Dance the Night.”

Eilish and Finneas brought their “Barbie” ballad to the Grammys stage with live string accompaniment, the second of two songs from the blockbuster film in one hour. They were followed by Cyrus, who performed “Flowers” for the first time live on television – moments after receiving her first Grammy. 

“Why are you acting like you don’t know this song?” she teased the crowd — John Legend and wife Chrissy Teigen were among those in the audience who got up to dance — and later cheered mid-song, “I just won my first Grammy!”

Four-time Grammy host — and two time nominee — Trevor Noah greeted an excited crowd, starting things off with a kiss on the cheek from Meryl Streep. “The Grammys are gonna win as Oscar,” he joked about the moment.

Best country album went to Lainey Wilson for “Bell Bottom Country,” — her very first Grammy — as presented by Kacey Musgraves. “I’m a fifth-generation farmer’s daughter,” she told the crowd, adding that she’s a “songwriting farmer,” and that’s where the musical magic came from.

Jay-Z was awarded the Dr. Dre Global Impact Award and used his speech to talk about the hip-hop greats that came before him – and heavily suggesting at the Grammys history of placing rap on the backburner – or at the very least, not in the televised version of the show. (This year, there were no rap categories on screen, but two pop, one Latin, one country and one R&B.)

“We want you all to get it right,” he said. “At least get it close to right,” before switching focus to Beyoncé. “Most Grammys, never won album of the year. How does that work?”

Bridgers took an early lead at the Grammys, quickly winning four trophies ahead of the main telecast, with her and her boygenius bandmates bringing an infectious energy to the Premiere Ceremony.

Songwriter Justin Tranter gave her the first award Sunday, best pop duo/group performance, which went to SZA and Bridgers for “Ghost in the Machine.”

Jack Antonoff took home producer of the year, non-classical for a third year in a row, tying Babyface as the only other producer to do so consecutively. “You need the door kicked open for you,” he said in his acceptance speech. “Taylor Swift kicked that (expletive) door open for me,” referencing their work together.

The first of three new categories in 2024, best pop dance recording, was given out shortly afterward and went to Kylie Minogue for “Padam Padam” — her first win in 18 years.

About 80 Grammys were handed out pre-broadcast. Regional Mexican star Peso Pluma won his first Grammy for his first and only nomination, for best música Mexicana album for his “Genesis.”

 
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Karachi, Pakistan — There’s a scrum of people trying to get photos with the married couple at the Radiance banquet hall, and you can barely hear someone talk above the din of 400 guests tucking into biryani and chicken tikka, music and the drone whirring around the room. The bejeweled bride and her natty groom are beaming.

Outside, the street is jammed with cars heading to wedding parties in neighboring banquet halls, L’Amour, Candles and Hill Top. Hill Top, a multiplex, has three weddings going on at once.

It’s winter in Pakistan, and that means weddings. Lots of weddings. During the cooler weather between November and February, millions of people attend weddings every week. Pakistani diaspora come home from around the world for the season, packing airport arrival halls and five-star hotels.

People call it Decemberistan.

“December is when everybody has an excuse to put a pause on worrying, whatever income level you are,” said Karachi-based communications consultant Khizra Munir. “Everyone’s on the same page that we’re going to live in the moment. It’s a great time to have a reunion, a great excuse to dress up.”

Weddings are one of the few opportunities for people in the conservative Muslim country to socialize and party. So it’s no surprise that people draw them out a bit.

A typical Pakistani wedding means at least three events, and often more: there’s the engagement, the gathering when friends and family apply turmeric paste to the bride’s hands and face in a pre-glam ritual, another party for applying henna to the bride’s hands and feet — which, of course, means more music and dancing. The bride gets a procession. So does the groom.

In Karachi’s Cantonment area, Yamima Teresa Bhagtaney and Sharoon Arjumand John tied the knot at Holy Trinity Cathedral.

Guests thumbed through the order of service, which one Muslim guest in the pews said was “very helpful” for navigating the Christian ceremony.

The wedding had the hallmarks of a traditional Christian wedding — a white dress, hymns, choristers, an organist, the exchange of vows and rings — and a traditional Pakistani one, with multiple photographers and videographers capturing every detail.

They even accompanied the bride up the aisle but stopped short when the couple and their families received Holy Communion.

The groom’s father, Bishop of Karachi the Right Rev. Frederick John, said Christian weddings were celebrated the same way as any other wedding in Pakistan, including the mehndi – when the bride receives henna on her hands and feet – and a dholki, when guests gather at a family member’s house to sing and dance.

Pakistani weddings only seem to be getting more elaborate.

Munir said she went to 10 events for the wedding of one family friend this season, wearing a different outfit each time. She said weddings have become so big and “over the top” that it’s sometimes hard to build an emotional connection. “It’s all about outfits, what you’re wearing, who you’re wearing, have you posted a picture of your outfit.” The latest trend is guests hiring a choreographer to help them perfect a dance performance.

Then there’s the cost of all those parties. A wedding event in a banquet hall like Radiance can cost upwards of 1 million rupees ($3,576), a hefty price tag in a country whose annual GDP per capita is just over $1,500 and inflation is running high. A wealthier family could easily spend 10 to 20 million on one party.

Banks offer loans and other wedding financing of up to 3 million rupees. Welfare institutions, including a Pakistani government one, support people from disadvantaged backgrounds or low-income households to pay for weddings.

But people still look forward to the wedding season, in spite of its demands on the wallet and wardrobe. “Worrying about how all of this is going to be managed and the financial burden of it, that’s all year,” said Munir. “Decemberistan is the opposite of stressing about the finances.”

The bride at Radiance is called Dua — “like Dua Lipa,” said her husband, Asher — and she went to three other weddings this season. “It wasn’t really hard because I was prepared for everything,” said Dua. “I love the wedding season. It’s about people getting together to celebrate.”

Fizza Bangash expected to attend 10 to 12 events during the season. “In Islamabad, there are areas where you have lots of marriage halls in one place, so you can jump from one event to another quite easily.”

Bangash got married on Dec. 25 at The Pavilion, Islamabad’s oldest wedding hall, with 350 guests including people from Germany, Australia, the U.K. and the U.S. If she had her way, it would have been closer to 100.

But good manners requires inviting extended family, work colleagues of the couple and their parents and neighbors. Host families also need to consider whose weddings they have been invited to and reciprocate accordingly to avoid a social faux pas.

Bangash has fond memories of the homespun weddings she went to as a child. People set up a tent on the ground outside their home and invited close family and friends.

“Now there are so many expectations about the food, decor, sound system and marquee,” she said.

There are a dozen venues around The Pavilion, boxy on the outside and blingy on the inside, and several more are under construction.

At Pacific Mansion, bookings are smaller than last year because of inflation and competition from the new venues, while the newest arrival – Zircon – is still accepting relatively tiny 100-person bookings to drum up custom.

The Manor hosted 35 events in December, and 28 in January. “We’ve only been open seven or eight months and this is our first season. It’s gone better than we could have dreamt of,” said the hall’s general manager, Syed Hassan Mahdi.

“The trend at the moment for weddings is for live cooking stations — steak, pasta. It’s impossible for people to do this at home,” he said.

Of course, some families still do it the old way.

In Karachi’s Lines neighborhood, a marquee sat on open ground in a residential area. There was no fancy decoration, expensive furniture or valet parking. In fact, there wasn’t a bathroom. Guests arrived on motorbikes or in brightly colored buses.

In a makeshift outdoor kitchen, the wedding caterers were preparing kebabs and flatbread by flashlight because of an hours-long power cut.

The groom’s family had rented a generator, but it broke down, leaving everyone in the dark just as the newlyweds began posing for photographs. The groom, Abdul Rehman, looked annoyed; the bride, Mehmoona, looked resigned. Guests whipped out their phones, using them as torches until the electricity came back.

The groom’s uncle, Mehmood Anwar, said the family invited around 400 people, and event cost less than 400,000 rupees. “There’s no point in spending so much money on a wedding,” Anwar said. “You can give that money to your daughter or son-in-law.

“We did everything ourselves. It took a full day to set this up,” said Anwar, pride in his voice.

By the time March rolls around, Pakistanis will go back to dealing with the warmer weather and everyday woes, including the bills for all those parties. But for now, it’s still Decemberistan.

“The whole objective is, for that pocket of time, forget about everything that’s dragging us down,” Munir said. “We’ve got political unrest. We’ve got insane inflation like we’ve never seen before… Every year we’re just like, it can’t get worse, but it does get worse. But, suddenly, December arrives.”
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A new documentary called “Vishniac” tells the story of 20th century Jewish photographer Roman Vishniac, who was born in Russia, escaped the Holocaust, and eventually settled in America. His iconic photographs later helped inform the movie “Schindler’s List.” Anna Nelson has this report, narrated by Anna Rice. VOA footage by: Elena Matusovsky, Natalia Latukhina.
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New York — Apple has had its first box office flop.

“Argylle,” the $200-million star-studded spy thriller from Apple Studios, debuted with $18 million in ticket sales, according to studio estimates Sunday. The film, directed by Matthew Vaughn, managed to lead the weekend box office, but still found little interest from moviegoers.

Although Apple has been in the original film business since 2019 and won the Oscar for best picture with 2021’s “CODA,” the company has only recently produced its own lineup of big-budget releases. The first two — Martin Scorsese’s “Killers of the Flower Moon” and Ridley Scott’s “Napoleon” — could be called successful.

“Killers of the Flower Moon,” though not profitable with $156 million in global sales, was one of the most celebrated films of 2023 and is nominated for 10 Academy Awards. “Napoleon,” released in November, has raked in $219 million worldwide — also not enough to turn a profit. But both films raised Apple’s reputation as a home to top directors and prestige filmmaking.

The same can’t be said for “Argylle,” a twisty thriller starring Bryce Dallas Howard, Sam Rockwell and Henry Cavill. The movie was badly dinged by critics, who gave it a Rotten Tomatoes score of 35% “fresh.” Ticket buyers also gave it a thumbs down, with a C+ CinemaScore.

Apple has paired with traditional studios for each of those releases. Universal Pictures handled the rollout of “Argylle,” which opened in 3,605 North American venues and took in an additional $17.3 million in 78 international markets. Paramount handled “Killers of the Flower Moon,” while Sony steered “Napoleon.”

“Argylle,” with “Kingsman” director Vaughn at the helm, was made with aspirations of starting a new franchise. But one of its biggest talking points ahead of its release was conjecture that Taylor Swift might have been involved with the movie thanks to the prominent presence of argyle patterns and a cat in the promotional materials. Despite plenty of online discussion, Swift had no involvement in the film.

Second place on the weekend went to the Christian drama series “The Chosen.” The first three episodes of the fourth season of the series, which dramatizes the life of Jesus, played in 2,263 theaters. The Angel Studios release grossed $6 million Friday through Sunday.

On another quiet weekend in cinemas, the rest of ticket sales went mainly to holdovers and awards contenders.

Warner Bros.’ “Wonka,” in its eighth week, crossed $200 million domestically. After four weeks in theaters, Paramount’s “Mean Girls” crossed $100 million. “The Beekeeper,” from the Amazon MGM, neared $50 million in its fourth week.

Although many Oscar contenders hit theaters months ago, the top choices of those in theaters remain Cord Jefferson’s “American Fiction” ($15 million thus far for MGM), starring Jeffrey Wright, and Yorgos Lanthimos’ “Poor Things” ($28.2 million, plus $40.1 million overseas), starring Emma Stone.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Argylle,” $18 million.

2. “The Chosen,” $6 million.

3. “The Beekeeper,” $5.3 million.

4. “Wonka,” $4.8 million.

5. “Migration,” $4.1 million.

6. “Mean Girls,” $4 million.

7. “Anyone But You,” $3.5 million.

8. “American Fiction,” $2.3 million.

9. “Poor Things,” $2.1 million.

10. “Aquaman and the Lost Kingdom,” $2 million.
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