vmas
Page: 6
From Olivia Rodrigo and Nicki Minaj to Doja Cat and STRAY KIDS, the 2023 MTV Video Music Awards certainly weren’t short on performances. Nonetheless, there was one artist who some very vocal fans were hoping to see on the stage, but she says she was denied the opportunity to perform.
Grammy-nominated R&B singer-songwriter Victoria Monét took to X (formerly Twitter) to explain to inquiring fans why she did not perform at Tuesday night’s show, writing, “I see your advocation for me to have performed tonight and I’m so grateful to you!! Sincerely! My team was told it is ‘too early in my story’ for that opportunity so we will keep working!”
Monét is set to kick off her first headlining tour on Friday at Howard Theatre in Washington, D.C. The tour is in support of Jaguar II, her debut studio album, which became her highest-charting Billboard 200 entry upon release (No. 60). Jaguar II serves as the sequel to the original Jaguar EP, which debuted and peaked at No. 174 on the Billboard 200 back in 2020 and spawned singles such as “Moment” and “A– Like That.” The Jaguar Tour will feature a rotating cast of opening acts, including Alex Vaughn, Ambré, Kendra Jae, Lavish, Leon Thomas, Tanerélle and Tone Stith.
“I’m grateful for YOU, for my tour starting this Friday and for the ability to see some of my favorite people perform tonight and receive the love they so deserve!!!” Monét concluded her message.
Monét’s absence follows what some fans on social media perceived as a disregard for the R&B genre at the 2023 VMAs. No solo R&B artists performed during the nearly four-hour ceremony, and the only R&B category — best R&B, won by SZA’s “Shirt” — was not accepted by the artist during the telecast. (The best R&B category returned in 2019 after a 12-year hiatus from the show.)
Billboard reached out to reps for the MTV Video Music Awards for comment on Monet’s post.
Monét’s “On My Mama,” the breakout single from Jaguar II, recently became her first unaccompanied Billboard Hot 100 entry (No. 98) and the song’s ’00s Black South-tribute music video and Sean Bankhead-helmed choreography went viral across social media. She also is a three-time Grammy nominee thanks to her work with Ariana Grande (“7 rings”) and Chloe x Halle (“Do It”).
Monét’s writing credits include Diddy-Dirty Money, Coco Jones, Fifth Harmony, Brandy and BLACKPINK. She released her debut EP, Nightmares & Lullabies: Act 1, in 2014.
Read Monét’s tweet here:
I see your advocation for me to have performed tonight and I’m so grateful to you!! Sincerely! My team was told it is “too early in my story” for that opportunity so we will keep working! I’m grateful for YOU, for my tour starting this Friday and for the ability to see some of my…— Victoria Monét (@VictoriaMonet) September 13, 2023
The annual MTV Video Music Awards have been one of pop culture’s biggest nights for decades. Good, bad or ugly, the show has had more than its fair share of headline-making moments since its debut in 1984. Remember when Drake professed his love for Rihanna on stage in 2016? Or Michael Jackson and Lisa Marie […]
After a clip seemingly showing Megan Thee Stallion and Justin Timberlake arguing at the VMAs goes viral, the two cleared the air in a new TikTok. Ice Spice has collaborated with Dunkin’ on a new drink featuring munchkins. We also break down the biggest winners, the show-stopping performances and all the highlights from the 2023 […]
Earlier this summer, reports swirled that Diddy, by way of Revolt, award-winning filmmaker Tyler Perry and Entertainment Studios founder Byron Allen were all vying for majority stake in BET. In a new interview with Billboard (Sept. 13), Diddy revealed that his mind is still set on collaborating with his two fellow businessmen in some capacity.
Of Revolt, which is nearing its ten-year anniversary this year, Diddy said, “As far as our business strategy, we’re in acquisition mode to really build a Black-owned media conglomerate. That’s why we were looking at BET and at a couple of other businesses.” He continued, “BET is definitely the mecca, the originator of Black media, and still is…. We’re not going to be able to reach our highest level of success in the media world, like a Rupert Murdoch, if we don’t unify. Like me, Tyler Perry and Byron Allen. We have a responsibility because it’s like 15 of us getting money, but 10 billion people in the world.”
Nonetheless, by the end of the summer (Aug. 16), Paramount decided against selling their majority stake in BET.
Diddy’s talk of unification comes alongside his understanding that diversity in the music industry has “gotten worse” since #TheShowMustBePaused. “It’s all a bunch of bulls–t. Diversity isn’t about inclusion; diversity is about sharing power. And nothing has changed. It’s gotten worse,” he said. “We have some representation … Shout out and all due respect to everybody that’s in power. But [for most people], there’s still somebody over them, a white man that they have to get permission from to do something. And it’s always been the same, no matter what the industry.”
In 2020, Atlantic Records senior directors of marketing Brianna Agyemang and Jamila Thomas launched #TheShowMustBePaused in conjunction with an industry-wide Blackout Tuesday intended to pause music business happenings and focus on ways to protect and uplift the Black community. That same year, Diddy himself challenged the Recording Academy to reckon with their history of not respecting Black music “to the point that it should be.”
One of the most powerful names in music, Diddy has traversed different genres and styles of Black music throughout his career. In fact, his new Billboard interview is in support of his forthcoming The Love Album: Off the Grid, his first studio album since 2010’s Last Train to Paris, a collaborative album with Dawn Richard and Kalenna Harper billed under the Diddy — Dirty Money moniker.
Diddy lamented how he “had to compromise the uncut Blackness and soul” of the album because his “intentions were to get another No. 1 record instead of keeping the album uncut and soulful.” Despite his feelings about the project, Last Train to Paris — which peaked at No. 7 on the Billboard 200 — has undergone an interesting trajectory. “As time went on, people were able to connect with the album, and it’s become a cult classic,” Diddy mused.
The Grammy-winner, who was recently awarded the global icon award at the 2023 MTV Video Music Awards, also touched on his highly anticipated Verzuz battle against Jermaine Dupri, saying “The only Verzuz I want to have right now is Puff Daddy versus Diddy. The only person I’m in competition with is myself. But the battle with Jermaine isn’t off the table. We’re still trying to work it out, and I definitely look forward to that.”
Click here to read the full interview.
If there’s one thing you can count on both Selena Gomez and Taylor Swift to deliver during an awards ceremony, it’s incredible reaction shots. But the pair was spotted in a candid moment together at the 2023 MTV VMAs that has even Gomez laughing. In a post to her Instagram Stories late Tuesday night (Sept. […]
With the 2023 MTV VMAs in the rearview mirror, the time has come to reflect on one of the most important questions from Tuesday evening’s ceremony (Sept. 12): Which performers really brought it to the main stage of the annual awards show? Throughout the nearly four-hour show on Tuesday, viewers were treated to all kinds […]
Megan Thee Stallion wants to make it very clear that she has no beef with Justin Timberlake. On Wednesday morning (Sept. 13), the Grammy-winning “Savage” rapper took to TikTok clear up any confusion stemming from a widely misinterpreted video from backstage at the 2023 MTV Video Music Awards on Tuesday night (Sept. 12). In a […]
Some of the awards at the 2023 MTV Video Music Awards, which were presented on Tuesday (Sept. 12) at Prudential Center in Newark. N.J., were entirely predictable. Taylor Swift’s sweep, including video of the year, song of the year, album of the year and artist of the year, was hardly a surprise, given the year […]
09/13/2023
What soared and what bored.
09/13/2023
Around 9:30 ET on Tuesday night (Sept. 12), you might have been ready to declare that the Video Music Awards were back. The awards thus far had been elevated by show-stopping performances from Olivia Rodrigo (cleverly pivoting from a dramatic “Vampire” to a captivatingly choreographed and thrillingly energetic “Get Him Back!”) and Doja Cat (executing at the highest level on a three-song run through her upcoming Scarlet era). Further star power was provided by winners Taylor Swift and Selena Gomez, performers Cardi B and Megan Thee Stallion and nominal “emcee” Nicki Minaj. By the time Shakira blazed her way through her typically ass-kicking Video Vanguard resumé performance, the show was feeling fuller and more satisfying than any VMAs so far this decade.
Unfortunately, there were still two hours to go. Maybe more like two and a half.
Complaining about award show length in 2023 is, of course, about as scintillating as griping about there being too many previews before a movie, or too many TV timeouts during a football game — at this point, you should probably just accept it as part of the bargain going in or not even bother in the first place. Still, there’s a difference between an award show going a little bit over its scheduled 11:00 ET end-time and damn near crossing the border to midnight. Three hours would’ve certainly already been more than enough of these VMAs, but getting up to the precipice of hour four was Pearl Harbor Director’s Cut territory.
It also doesn’t help that the VMAs have clearly begun subscribing to the increasingly common data-dump approach to award shows, pacing their action like a streaming act’s new album: front-loaded with hits and fairly merciless on the back end. The biggest-name performers — at least domestically — were mostly out of the way in the first couple hours, leaving a hodgepodge of VMA first-timers and unexciting return guests to fill out the many remaining minutes.
That’s not to fault MTV for scheduling game late-evening performances from K-pop sensations Stray Kids and Tomorrow x Together — they were fine, and it was still late morning in Korea at that time, anyway. But Fall Out Boy, rocking through a sweaty and uncomfortable-looking outdoor-stage performance of their absurd “We Didn’t Start the Fire” redo? A Måneskin performance for the second straight year — without so much as a wardrobe malfunction this time? This is what we’re pushing into Seinfeld-rerun hours for? By the time the show got to veteran country hitmaker Kelsea Ballerini’s hard-earned VMAs debut, her legitimately arresting “Penthouse” was totally undercut by coming over three and a half hours in, its penultimate performance slot doing the intimate ballad zero favors.
And it was doubly unfortunate, in this year of 50th anniversary hip-hop celebrations, to find the show floundering a little when it came to representing rap from either a contemporary or legacy standpoint. Doja’s performance was a home run, and Cardi and Megan are always reliable, but the Metro Boomin-led performance of “Superhero (Heroes and Villains)” and “Calling” could not have been much lower-energy, with guests like Nav and A Boogie wit da Hoodie seemingly competing for who could be drowned out by their backing track the most. Nicki Minaj and Lil Wayne are both all-time legends, but we didn’t need them both on solo performances of relatively unconvincing new tracks (Minaj’s “Last Time I Saw You” is actually a bit of a grower, but this wasn’t the stage for it) and as part of the obligatory show-closing medley. Meanwhile, still-rising MCs Ice Spice and GloRilla presented but didn’t perform; the show really could’ve used a little of their zip — or more than 30 seconds at a time of Extended Stage performer Kaliii.
And speaking of that show-closing medley: It wasn’t quite the disaster of Madonna’s Aretha Franklin tribute in 2018, but it was yet another fine example of how the next time MTV has internal “we have to do something for it, right?” discussions about a timely topic for the VMAs to cover, some intern really needs to pipe up, “Well…. do we, really?” Hip-hop’s 50th anniversary has been exhaustively covered by this point in 2023, and there was no way the VMAs were going to be able to compete with either the Questlove-curated history lesson at the Grammys in February, or the cavalcade of decades-spanning performers popping up throughout the BET Awards in June. So what could the VMAs even do?
If you guessed, “Basically use it as an excuse to have one of Run-D.M.C. perform ‘Walk This Way’ at the VMAs for the 25th time,” you would of course be absolutely correct. The closing hip-hop tribute was poorly organized, unhelpfully introduced — here’s hoping all the kids watching at home are already well-schooled in their Doug E. Fresh and Slick Rick, because no IDs were given — and ultimately purposeless, featuring six disjointed performers (two of whom had already been heard from) giving no remotely coherent representation of hip-hop history. With MTV already locking themselves into two extended medleys every year now via their Video Vanguard and Global Icon awards (the latter went to Diddy for 2023), they should maybe start rejecting any further pitches that involve squeezing a half-dozen songs and/or artists into the same flailing performance. We promise, no one will miss them — or be upset at MTV for not trying to elbow its way into a cultural moment nobody really needs its take on.
The reason all of this is even worth moaning about in the first place is because for the first half, these awards did seem like they were going to be MTV’s best in some years. Getting Olivia Rodrigo and Doja Cat — two legitimate pop A-listers, within a week of the former releasing a new album and the latter hitting No. 1 on the Billboard Hot 100 — was a huge win for the show, and both artists met the moment with the kind of thoughtful, artful and unforgettable performances that illustrated why the VMAs’ stage is still a meaningful one. Peso Pluma and Karol G are undeniably two of the most exciting artists in popular music in 2023; getting both of them for their first big English-language award show looks further demonstrated how the VMAs have actually been a little ahead of the game in recent years when it comes to going international. And of course, even without her performing, nothing makes an event feel like The Place to Be in 2023 like the attendance of Taylor Swift — especially when she’s reduced to a babbling pre-teen in the presence of a reunited *NSYNC, presenting her the best pop award, in the kind of indelible cross-generational moment of pop connection that was once commonplace at the VMAs.
By the fourth award she picked up for the evening, though — best video (for “Anti-Hero”), making her a winner in the VMAs’ premier category for the second year in a row and fourth time total — it even got to be a little too much Taylor, as it started feeling less like an artist in their peak moment of dominance and more like a channel in its peak moment of desperation. Indeed, as Swift ascends to a pop echelon only a handful of other artists in the VMAs’ now-40-year history have ever visited, her investment in the show as an institution worthy of her time and attention is perhaps the greatest reason the VMAs still has whatever cultural credibility it does. But when the show lasts a half-hour longer than an Eras Tour date and burns through all its biggest crowd-pleasers early in the setlist, the Swifties — like all other pop fans watching — are gonna end up wanting to skip the encore to beat the traffic.