I decided to skip yesterday’s televised Grammy Nominations concert last night. To me it seems like yet another way to drag out awards season. And the Los Angeles Times’ Ann Powers pretty much assures me that I didn’t miss anything except an amazing Maxwell performance of Michael Jackson’s “The Lady in My Life” (which I will be watching on YouTube as soon as it’s available) Anyway, the nominations were dominated by the same two women we’ve been watching on music award shows for the past few months, Beyoncé and Taylor Swift with 10 and 8 nods respectively (and a little Lady Gaga thrown in for good measure). There were no surprises here and probably won’t be during the telecast early next year. Me thinks the Grammy’s have jumped the shark.

There was a time when this was the award show. But now the Grammys seem woefully out of step with the times. I don’t know if it’s the eligibility rules or when it’s telecast but a lot of eligible songs like Jasmine Sullivan’s “Lions, Tigers & Bears” just seem old next to more current fare like Melanie Fiona’s “It Kills Me”. This plus the fact that the MTV and American Music Awards precede them make them seem like an also-ran. Now it’s sort of the music award show Granddaddy where tradition instead of innovation seems to win the day. And most of us struggle to get through the entire telecast.

This is less of a problem with the Academy Awards because movie companies tend to release the films they deem award-worthy toward the end of the year. These movies not only stay top-of-mind they also don’t seem so old. And the odd film or two that was released earlier in the year is an anomaly rather than the norm.

But back to the Grammys…It doesn’t help that Whitney Houston didn’t get a nod. She’s the comeback story of the year (although now she’s more heart than vocal range) and well a lot of us would tune in on g.p.. And chances are the awards that feature Ledisi, Lalah Hathaway and Anthony Hamilton will all be given out at the part of the show that isn’t televised (and we’ll be watching the same ol’ performances…sigh). And as much as I love Keri Hilson I doubt she’ll take home the prize—even though I’ve never heard of the other nominees. So while I am happy for Beyoncé it’s sad to see that this award show is on the border of becoming irrelevant (prestige and all).

So, today’s the day Whitney Houston gets to see how the public really feels about her comeback. Her new CD I Look To You ($12.98) hits store shelves today. (I’m sure some of her diehard fans took advantage of the pre-order deals by QVC and others.) Although its clear that Clive Davis and company were hoping to find another “I Will Always Love You” since they stacked the deck with ballads, her faster tracks like “Million Dollar Bill” are the ones that make me smile. I think it’s gutsy that she redid the Donny Hathaway hit,  ”A Song For You”,  but I applaud her for giving it a contemporary edge that doesn’t really invite comparisons. But I really think that we’re all are waiting to see Whitney does live and we won’t have to wait long. Tomorrow she performs live in Central Park for Good Morning America. Set those DVRs.

Okay so this week is becoming one of ‘official’ comebacks. A few days ago the Sade return was confirmed and now Arista has announced that Whitney Houston’s long-awaited CD has a release date of September 1st. While I join Whitney’s fans with a chorus of Yays, I can’t help wondering if the embattled diva is ready to be back in the spotlight. 

Arista is putting all of its might behind this project and has made sure that our Whitney is paired with the best songwriters (Diane Warren), producers (Swizz Beats) and collaborations (Akon and possibly R. Kelly—I’m not so happy about that one). And all the rumors about her voice not being what it used to have died down. So the album has the potential to be hit (or so it would seem). 

But y’all know where I am going….What about Whitney, the woman? Is she really ready? Earlier this year I wasn’t so sure when her bizarre behavior and shaky delivery at the Grammys and on the BET special had me scratching my head. We are all secretly hoping that her ‘crack is whack’, ‘Hell to the No’ (and telling radio host Wendy Williams off Newark-style) moments are a thing of the past. Yet incidents like those give us all pause (and make us start worrying about her all over again). 

When Whitney was at the top of her game she seemed to be better able  to the handle the pressures of the spotlight (but who knows how long she had that drug issue). The new Whitney, however, doesn’t seem as tough and a lot more vulnerable. Here’s to hoping that she has the real support she needs to comeback in every sense of the word.

Here’s Arista “Sizzle Reel” on Whitney:

I don’t know about you but I smell a public relations ploy (albeit an ill-conceived one like that rumored duet with Chris Brown) or they must be totally reinventing this role. Sure Houston played a pop star and that wouldn’t be much of a stretch for Ri-Ri. But Houston was not just a diva, she was a sister with a real attitude. And frankly, the original movie still works so there is no need to update it. Plus, isn’t the premise about the star needing protection because someone is trying to kill her? If you think about it, the film may simply be a reminder of  the incident Rihanna is hoping we’ll all forget. 

Then there is the song, you know the one in that airport scene that made us all cry. I am tempted to say that the heartbreak rivals that of “Casablanca”. (Before folks get up in arms I did say tempted). Anyway, “I Will Always Love You” makes that film and also makes people forget that Dolly Parton ever recorded it. So I am wondering whether Rihanna would even attempt to a make her own rendition. Note to Ri-Ri: Just so you know, that’s not a good idea. 

On another note, we all know that singers don’t always make transition to actress easily. Queen Latifah cut her teeth on “Living Single” (and back then she was a rapper, not a singer). But the jury is still out on Beyoncé (although she gets credit for trying really hard) and Alicia Keys, while Jennifer Hudson turned out to be  a natural. Mariah Carey has gotten  good notices in “Push” (now called “Precious”) but remember her first outing in a starring role? “Glitter” rivals “Showgirls” in the so bad it’s good category. 

So before this remake threatens to forever change our love for “The Bodyguard” check out vintage Whitney (and keep  her and Rihanna in your prayers).

BET is working hard to shake its reputation as home to the rump-shaking video. And let me just say that I’m not mad at them for trying to add more quality choices to the airwaves. But their lastest effort, BET Honors falls flat. it was a veritable snoozefest with a few notable exceptions.

Maybe I am having this reaction because this show seems dated to me. (It was only taped a few weeks ago during the Inaugural weekend in D.C.) And there is an air of seriousness that sort of zaps the energy right out of the room. But our girl, Gabrielle Union, tried to keep the mood going with her many gown changes. (I counted four dresses but there may have been more.)

Of course the tribute to Miss Mary J. Blige was the highlight of the show IMHO—in part because this sister is so real that she lets the tears flow. It was nice that BET went beyond the usual suspects in this segment and included Anita Baker and Monica—who channeled vintage Mary with her outfit and her rendition of “I’m Not Gonna Cry.”

Some of the other performances were both surprising and disappointing. I thought perhaps the sound system was faulty when Queen Latifah sang “Wishin On A Star.” And I was convinced there was a definite problem when Yolanda Adams didn’t have her usual power. But then Joss Stone opened her mouth and it was clear that the sound was just fine. The truth is the other  performers weren’t that strong.

And then there was Whitney, it is great to see her two days in a row. But this was actually her first appearance in the public eye (not the Grammys). She looked better (a nicer gown and a good wig) and sounded a little less inebriated. But she was still visibly nervous but she didn’t flub a single line (or make you want to look at her cross-eyed).

Although the show was a tad too serious for me, I do think that it is a sign that BET is trying. Hopefully, next time they can add a bit more umph (but still leave the rump shaking out).

When I think of this year’s Grammy Awards I can’t help thinking of that Frankie Beverly & Maze classic “Joy & Pain.” Because it was certainly a night of mixed emotions when it comes to the sisters. Let’s start with the glaringly obvious one: the reason Rihanna may not have been there. First we heard that she had been in a car accident. But as the night wore on rumors began to speculate that something went on between the singer who was set to perform at the award show and her boyfriend, singer Chris Brown. TMZ reported that the young R&B singer turned himself in to police before the show wrapped. I am sure the truth about what really happened to them will materialize bit by bit. I will say however, if this is a case of domestic violence than this kid’s squeaky clean image should be over.
Anyway, back to the show itself. Whitney Houston certainly made a splashy comeback when she gave out the first award of the night. She looked amazing. But I was a little scared by her slightly slurred words. She didn’t look high but something was clearly going on with her. (Perhaps a little nip for the nerves? Or just plain nerves). And the fact that she got to hand the award to Jennifer Hudson was just a lovely moment in sisterhood—which of course prompted tears from yours truly. Of course, I balled again when Jennifer performed and it was obvious she was trying to K.I.T. (keep it together).

I loved Estelle’s performance with Kanye—who was clearly channeling the 1980s. Her look was very Lt. Uhuru from Star Trek but I think it worked. And then there was MIA who looked she was about to give birth while performing in the most bizarre outfit of the night. But bizarre would also describe some of the pairings like the legendary Stevie Wonder with the pop sensations The Jonas Brothers.

Because the show is so heavily focused on performances, it is easy to forget who was nominated. Take Jazmine Sullivan, for example, who got a total of five nods, but she didn’t win anything. The Jennifer Hudson/Fantasia duet lost out to the Al Green/John Legend collaboration. Keyisha Cole went home empty handed too.

The sisters that did win, all did so before the actual televised show aired. Alicia Keys, Mary J. Blige, Natalie Cole, CeCe Winans, Chrisette Michelle, Estelle, Cassandra Wilson and Mary Mary all won. That’s nice but I wish some of these awards could be shown during prime time. (The telecast is over 3 hours long and if you ask me they could trim some things to make room for more actual awards). Look I wouldn’t have minded seeing The Blind Boys of Alabama collect their award either.

I know that this show is about all music (look the classical and polka musicians don’t get any love either during prime time). But I still can’t help hoping that one day they’ll mix it up a bit more. And future evenings can be more about joy than pain.

But here’s Maze featuring Frankie Beverly singing their classic song:

As I write this, I have just turned to the incomparable Ms. Cicely Tyson in the less than spectacular remake of “A Christmas Carol” called “Ms. Scrooge” on The Hallmark Channel. This movie was made a little over a decade ago to give us our own spin on Christmas (how else can you explain the character’s name Ebonita). Sure it’s a made for television movie, but it is doesn’t reach that “It’s A Wonderful Life” status any more than “A Diva’s Christmas Carol,” which starred singer/actress Vanessa Williams just three years later. Any of course, her name was Ebony.

Anyway, it made we wonder where the heartwarming film featuring an African American cast is that we can turn to year after year like that Jimmy Stewart classic. I am talking about the kind of movie you watch every time it airs even though you probably know every line. And although it may be corny you find the ending immensely satisfying. Well unfortunately, I can’t think of an old film that qualifies. Maybe because back in the day audiences of color went to see “Christmas in Conneticut” (where Bing Crosby sings “White Christmas”) with the rest of the viewing public.

So that means we have to look at more modern fare to find a film that will speak to us. Sadly, I can only think of two films that meet the criteria: “This Christmas” the satisfying ensemble flick from last year and “The Preacher’s Wife”, the Denzel/Whitney powerful pairing that was both a romantic and spiritual dramedy from can you believe it…1996. 

Okay, I know that “This Christmas” isn’t in the same league as “The Preacher’s Wife” but I have included it here because it so sooo much better than last year’s other offering “Perfect Holiday.” (But I went on and on about that before in my post about Gabrielle Union). What makes it worth a yearly rotation is the stellar cast led by Loretta Devine and Delroy Lindo with strong showings by our sister-friend Regina King and the easy-on-the-eyes Idris Elba. And of course there’s Chris Brown, a draw for the teen/tween set. The story is a bit soap opera-ish and it is more about the family dynamics than it is specifically about Christmas. But it is a throughly entertaining experience.

But “The Preacher’s Wife,” which is a remake of the Oscar-winning “The Bishop’s Wife” and starred Cary Grant, David Niven and Loretta Young, is more fully focused on the spiritual meaning of the season (with a hint of romance thrown in). Watching Whitney Houston banter with Denzel Washington and belt out most of the soundtrack is sure to make you hope and pray she can make a comeback. But the story has all the smarmy elements that make “It’s A Wonderful Life,” so attractive: a loving couple who is challenged, a business (in this case, a church) in dire straights, a villian with his own agenda (Gregory Hines), and an angel who plays a significant role in the story (Denzel’s Dudley instead of the wingless Clarence). Plus, as I said earlier it is vintage Whitney on the soundtrack. Priceless.

Until someone else decides to make a real holiday film for us, these two will do just nicely. If you want to get yourself in the holiday mood check them out soon.

Meanwhile, check out Whitney singing a couple of the songs from the soundtrack live on this video:

I don’t think that any of us judge how successful a singer is by her place on the Billboard chart. In fact, most of us don’t know how hot someone is until they go platinum (or we’ve heard their single a million times and its repeats in our head over and over). But I was surprised when I took a look at Billboard’s list of the top 100 songs of the last 50 years and found only six sisters listed among all those slots. Sadder still, not one of our girls were among the top 20 album list by the magazine for the same time frame.

So who made the list? No icons Billie Holiday, or Dinah Washington or even Diana Ross & The Supremes, Martha Reeves and the Vandellas. In fact, Mariah Carey was the first to grace the list and that wasn’t until 1990 when her first single “Vision of Love” permeated the airwaves. Two years later, Whitney Houston’s mega-hit “I Will Always Love You,” earned her a spot. And the only girl group to garner a place was TLC because of their 1995 hit “Waterfalls”. Lauryn Hill (oh how we miss her) got her well-deserved place with “Doo Wop (That Thing)” a few years later. And in this decade Janet Jackson and Beyonce round out the list with “All For You”, in 2001, and “Irreplaceable,” last year. 

Clearly this list was based totally on sales, not the impact the song has had over the years. But perusing the list got me to thinking that it seems much harder for black women in the music industry to have sustained success. Sure we have musical forces like Tina Turner (who’s coming out of retirement), Patti LaBelle (who is reuniting with Nona and Sara with a new album and tour) and Gladys Knight. But there are so many more sisters like Cheryl “Pepsi” Riley, Alyson Williams, Me’lissa Morgan, Evelyn “Champagne” King, Stacy Lattisaw, and Mikki Howard who come and go like that depending on the decade. Seriously, do we think that Rihanna (as cute as she is) will be entertaining audiences 30 years from now?

But the brothers can put together their “old school”  concert and go out on tour. Whether its New Edition, Boys II Men, Keith Sweat or even Dougie Fresh (who are the new jack answers to the originalt touring groups The Temptation Review and Harold Melvin’s Blue Notes) and we’ll fill the stadium. Why couldn’t SWV and En Vogue have ridden the wave of excitement from their BET Award appearance earlier this year and teamed up with some other girl groups and gotten their own tour? 

Here’s some throwback evidence of the girls who we don’t see anymore…