Zoot Money obituary | Blues

Zoot Money obituary | Blues

When Georgie Fame called his old friend Zoot Money up on stage to sing at Ronnie Scott’s Club one autumn night in London in 2022 – “Come on Zoot, I can’t do this without you” – they tore the house down.

It was a moving moment for both performers, as they joined forces with the Guy Barker Big Band to sing Papa’s Got a Brand New Bag, that brought back memories of the days when Zoot Money’s Big Roll Band vied for popularity with Georgie Fame and the Blue Flames at the height of the British R&B boom.

Money, who has died aged 82, was a charismatic personality, a soulful singer and an excellent Hammond organist. He was much loved by the mods who flocked to his band’s shows at London clubs such as the Flamingo in the swinging 60s. Members of the Beatles, Rolling Stones and the Animals were also among his greatest fans.

Poster for Dantalians Chariot with Zoot Money, 1967. Photograph: Martin Sharp/Osiris/Victoria and Albert Museum, London

The son of Italian parents, Mary (nee Repitti) and Oscar Money, George was born in Bournemouth,

where his father worked as a waiter. At Portchester school he learned to play the piano and french horn and sang in the choir. However, it was not long before he discovered rock’n’roll, Jerry Lee Lewis and Ray Charles, and began singing and playing in local clubs. His stage name was inspired by the American jazz saxophonist Zoot Sims.

On leaving school Money trained to be an optician but lost his job when he kept turning up late for work after nights gigging with his Big Roll Band, formed in 1961. By 1963 the Big Rollers featured Andy Summers on guitar, Nick Newall on saxophone and Colin Allen on drums. Money also switched from piano to the funkier sounding Hammond organ.

When spotted by Alexis Korner’s manager, Money was invited to play with Alexis in Blues Incorporated and moved to London. The Big Rollers rejoined him and began to play regularly at the Flamingo, where they replaced Georgie Fame and the Blue Flames as the resident band in 1964. Summers recalled: “Fraught with unemployment and hunger, we were living on borrowed time and the dole queue. But when we replaced Georgie Fame at the Flamingo we were ecstatic.”

The Rollers, with a new member, the singer and bassist Paul Williams, began touring extensively and released a debut single, The Uncle Willie (1964), followed by an album, It Should’ve Been Me (1965). On stage, they would play a popular James Brown medley. Money recalled the Flamingo as “a really groovy place … We loved playing to black American servicemen that came to the club and were familiar with the soul and R&B music we were trying to play. For them, it was like being at home. We also backed visiting American blues men like John Lee Hooker and Sonny Boy Williamson. They were surprised we were so good.”

Another former US serviceman and musician, the young Jimi Hendrix, arrived at Money’s house in Fulham, west London, in September 1966 escorted by his British manager, Chas Chandler, formerly of the Animals. Money had an Italian-made acoustic guitar lying around which Jimi instantly picked up and played.

The Big Rollers packed out clubs such as Klooks Kleek in West Hampstead, where they recorded their live album Zoot! in May 1966. Money loved to entertain the crowds with his extrovert showmanship, pulling fans’ shoes off while singing Barefootin’ and dropping his trousers on stage; but it was difficult to crack the all important singles charts and his only hit was Big Time Operator, which got to No 25 in 1966.

Nevertheless Money was always in the music press gossip columns. One night at the Olympia in Paris, the Big Rollers performed their James Brown medley. It caused a sensation with young French fans, but did not go down well with the star of the show – James Brown.

The Big Roll Band on Thank Your Lucky Stars. Photograph: Fremantle Media/Shutterstock

A year later R&B was on the wane, fashions had changed and the Big Roll Band broke up to be replaced by Dantalian’s Chariot, a band more in tune with the Summer of Love. A Melody Maker headline in August 1967 proclaimed “Zoot drops the trouser dropping – for psychedelia”. Although tracks like Madman Running Through the Fields proved impressive when played live at the Speakeasy Club with a psychedelic light show, the new direction was difficult to maintain and the band broke up in April 1968.

Thereafter Zoot divided his time between various groups and artists, notably Eric Burdon’s New Animals, GRIMMS, Kevin Coyne and Kevin Ayers. He also turned to acting and had screen roles in a host of TV shows, and films including Breaking Glass (1980), Absolute Beginners (1986) and Mona Lisa (1986), and developed a career as a record producer and songwriter.

He released his final solo album, The Book of Life … I’ve Read It, in 2016, and the following year Repertoire Records released Big Time Operator, a celebratory four-CD box set of live Big Roll Band recordings.

Money married Ronni (Veronica) McCann in 1967. She died from dementia in 2017 and in recent years he had suffered from ill-health himself.

He is survived by a daughter and two sons.

Zoot (George Bruno) Money, musician, born 17 July 1942; died 8 September 2024


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Con artist Anna Sorokin appears at New York fashion show with bejewelled ankle tag | Ents & Arts News

Con artist Anna Sorokin appears at New York fashion show with bejewelled ankle tag | Ents & Arts News

Anna Sorokin, a Russian con artist who posed as a German heiress while scamming New York’s elite out of hundreds of thousands of dollars, has appeared at a fashion show with a bejewelled ankle tag. 

Sorokin, 33, falsely built a reputation as a wealthy German heiress named Anna Delvey over a number of years while conning hotels, banks and friends into bankrolling her lavish lifestyle.

She was arrested in 2017 and found guilty of eight charges including grand larceny in April 2019 and sentenced for four to 12 years.

Sorokin, whose family moved from Russia to Germany in 2007, has worn the ankle tag since October 2022 when she started her house arrest amid a deportation case.

Attending the Untitled&Co runway show during New York Fashion Week on Wednesday, Sorokin posed for photographs with the black bejewelled tag on her right leg.

She also wore a miniskirt and a tiara at the event.

Anna Delvey attends the Untitled&Co fashion show during New York Fashion Week at The Altman Building on September 11, 2024 in New York City. (Photo by Dominik Bindl/Getty Images)
Image:
Sorokin at the fashion show at The Altman Building. Pic: Dominik Bindl/Getty Images

On Wednesday, it was announced she would be a contestant in the next season of Dancing With The Stars, which premiers on 17 September on ABC and Disney+.

The show appears to be leaning into the ankle bracelet, with an image released of Sorokin in a glittering dress clearly showing the tag on her leg.

While Sorokin was released from prison in February 2021, immigration authorities claim she overstayed her visa and must be returned to her native Germany.

She was in Immigration and Customs Enforcement (ICE) custody for more than a year before a judge cleared the way for her to switch to home confinement in October 2022 while she fights the deportation case.

Sorokin’s scheme to pose as a wealthy German heiress became the focus of the 2022 Netflix hit show Inventing Anna, starring Julia Garner as the con artist.

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Sorokin’s spokesperson Juda Engelmayer confirmed on Tuesday that she could travel within 70 miles (112km) of her home base and anywhere in the five boroughs of New York City under previous house arrest conditions, but could not comment on any changes to those rules.

While under house arrest, Sorokin had to abide by the immigration judge’s condition that she does not use social media, but she started a podcast The Anna Delvey Show that featured guests such as comedian Whitney Cummings and technology journalist Taylor Lorenz who travelled to her apartment in New York to record.

“So many people became famous for bad things and were able to kind of segue it into something different,” she said in a June 2023 interview with the Associated Press.


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Rap star, 31, announces birth with very personal images showing labour

Rap star, 31, announces birth with very personal images showing labour

Cardi B revealed she has given birth with a selection of very candid images (Picture: Cardi B/ INSTAGRAM)

Cardi B has announced the birth of her third child with a selection of very personal images from her hospital bed.

The WAP rapper, whose real name is Belcalis Marlenis Almánzar, announced her pregnancy with her third child in August shortly after filing for divorce from her husband Offset.

The 31-year-old, who is also mum to daughter Kulture and son Wave, has now revealed that she has given birth and wasn’t afraid to share some revealing images.

Cardi captioned the carousel of images on Instagram: ‘The prettiest lil thing 🌸🌸 9/7/24 💖💖💖’

She then shared candid shots from the delivery room including a snap that appeared to show the rapper in active labour as her face was contorted in pain and her legs were held out to the side.

She also shared sweet images of herself breastfeeding the newborn and gazing lovingly at the baby.

Cardi didn’t hold back in sharing images of herself in active labour with her fans (Picture: Cardi B/ INSTAGRAM)
The artist shared sweet moments with her newborn on social media (Picture: Cardi B/ INSTAGRAM)
The rap artist looked stunning with her newborn daughter (Picture: Cardi B/ INSTAGRAM)

One video also showed Offset cradling the newborn and giving skin-to-skin contact as voices could be heard saying that the baby was trying to nurse on her father’s nipple.

Cardi and Offset first started dating in 2017, and married in September of that year.

Reports have suggested that Cardi has now acquired a lawyer and is seeking a divorce from the father of her children.

This isn’t the first time the couple has split and it was reported in 2020 that Cardi submitted documents to end their marriage – but the matter was later dropped.

The couple has yet to confirm their current relationship status.

The couple has been together for years (Picture: Francis Specker/CBS via Getty Images)
She shared images of her children meeting their new sibling (Picture: Cardi B/Instagram)

The rap artist previously revealed that during her third pregnancy she was left ‘literally paralysed’ in a freak accident that almost caused a miscarriage.

In a message in an X spaces chat, the musician revealed: ‘I had a f*****g freak accident. That’s what I have to explain I don’t know how something – well, it wasn’t little, it actually hurt.

‘It doesn’t really happen often, but it became so big to the point I was literally paralysed.

‘And that little thing almost cost me my little one to come. But it didn’t.’

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Jeremy Kyle says ‘conscience is clear’ as he breaks silence on Steve Dymond | Celebrity News | Showbiz & TV

Jeremy Kyle says ‘conscience is clear’ as he breaks silence on Steve Dymond | Celebrity News | Showbiz & TV

Jeremy Kyle has broken his silence after an inquest found no “clear link” between the presenter and the death of guest Steve Dymond.

In 2019, Steve took his own life after appearing on The Jeremy Kyle Show to prove he wasn’t unfaithful to his partner Jane Callaghan.

However, after failing a lie detector test on the show, the construction worker was found dead in his Portsmouth flat.

His death prompted a swift cancellation of the ITV programme after its 14-year run and triggered a parliamentary inquest into Jeremy’s treatment of his guests.

On Tuesday, a coroner said: “There is an absence of reliable evidence that demonstrates that Steve Dymond’s appearance on The Jeremy Kyle Show probably caused or contributed to his death.

“Steve Dymond’s participation in the show is one of a number of factors, and whilst it is possible that the manner of his experience added to his distress, it is not probable.”

In an interview with The Sun, Jeremy said: “Let’s not forget first and foremost somebody took their life because they were in a position where they saw no way out.

“I haven’t spoken for five and a half years out of respect because there was a legal process that dragged on and on for many reasons.

“It should never have been about me; it’s about Steve, and his family. That was my first thought when I found out.”

Jeremy continued: “And then my next thought was about the hundred people that worked for the show who lost their jobs overnight – some of them even had their mortgages cancelled.

“I remember at the time just being in this bubble of not even understanding what had happened, but I get it. I get the criticism. I think everybody would probably question [themselves] when something like that happens.

“You look at yourself in the mirror, of course you do. You would be inhuman not to, wouldn’t you?

“Listen, I know that I did that show to the best of my ability. I’m sure I didn’t get it right the whole time.”

The 59-year-old added: “But my conscience is clear. The coroner was right in that there was nothing I did or could have done to stop this tragedy.

“I was presenting a show. Steve had been cleared to appear by both ITV’s aftercare ream and his own GP.”


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Florida school district must restore books with LGBTQ+ content under settlement

Florida school district must restore books with LGBTQ+ content under settlement

FERNANDINA BEACH, Fla. — A school district in northeast Florida must put back in libraries three dozen books as part of a settlement reached Thursday with students and parents who sued over what they said was an unlawful decision to limit access to dozens of titles containing LGBTQ+ content.

Under the agreement the School Board of Nassau County must restore access to three dozen titles including “And Tango Makes Three,” a children’s picture book based on a true story about two male penguins that raised a chick together at New York’s Central Park Zoo. Authors Peter Parnell and Justin Richardson were plaintiffs in the lawsuit against the district, which is about 35 miles (about 60 kilometers) northeast of Jacksonville along the Georgia border.

The suit was one of several challenges to book bans since state lawmakers last year passed, and Republican Gov. Ron DeSantis signed into law, legislation making it easier to challenge educational materials that opponents consider pornographic and obscene. Last month six major publishers and several well-known authors filed a federal lawsuit in Orlando arguing that some provisions of the law violate the First Amendment rights of publishers, authors and students.

“Fighting unconstitutional legislation in Florida and across the country is an urgent priority,” Penguin Random House, Hachette Book Group, HarperCollins Publishers, Macmillan Publishers, Simon & Schuster and Sourcebooks said in a statement.

Among the books removed in Nassau County were titles by Toni Morrison, Khaled Hosseini, Jonathan Safran Foer, Jodi Picoult and Alice Sebold.

Under the settlement the school district agreed that “And Tango Makes Three” is not obscene, is appropriate for students of all ages and has value related to teaching.

“Students will once again have access to books from well-known and highly-lauded authors representing a broad range of viewpoints and ideas,” Lauren Zimmerman, one of the plaintiffs’ attorneys, said in a statement.

Brett Steger, an attorney for the school district, did not immediately respond to an email seeking comment.


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Sylvester Stallone on his role in “Tulsa King” and working with his daughter

Sylvester Stallone on his role in “Tulsa King” and working with his daughter

Sylvester Stallone on his role in “Tulsa King” and working with his daughter – CBS News


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Roger Goodell Says He’s A Kendrick Lamar Fan After Halftime Show Announcement

Roger Goodell Says He’s A Kendrick Lamar Fan After Halftime Show Announcement



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2024 VMAs Pure Moments

2024 VMAs Pure Moments

2024 VMAs Pure Moments

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“Winner” Takes Political Comedy Seriously

“Winner” Takes Political Comedy Seriously

The sweetness of historical vindication pervades “Winner,” Susanna Fogel’s bio-pic about Reality Winner, who, in 2018, pleaded guilty to retaining and transmitting national-defense information to the media, while employed by a military contractor working for the N.S.A. Fogel, working with a script by the journalist Kerry Howley, follows Winner from the age of nine to the aftermath of her plea, and organizes the movie around voice-over reminiscences by Reality (the character is played by Emilia Jones). The protagonist’s tone is surprisingly breezy, even when narrating events, maintaining an air of self-deprecating and self-aware distance as she tells her story, even at its grimmest. But there is irony in Reality’s casual, conversational address to the audience, because the movie as a whole conveys a passionate and detailed sense of her view of American political rot. “I just thought you should know that your government was lying to you, so I tried to tell you,” she says at the beginning of the film, explaining the deed that got her into trouble, over slow-motion footage of her arrest. “Yeah, they don’t like when you do that.”

This was in 2017, and she believed that the public was being misled about the role of Russian interference in the 2016 Presidential election. In her eventual plea, Winner admitted to having mailed the Intercept a classified document that detailed how the Russian military, days before the election, had conducted online attacks in an attempt to penetrate U.S. voting systems—and, in at least one case, succeeded. The movie delivers a critical and analytical unfolding of the circumstances of Reality’s life, starting with her childhood in Texas, in order to reveal her sense of deceptions and injustices that pass largely unchallenged in everyday American life. Her mentor in seeing the story beneath the surface of things is her scholarly father, Ron (Zach Galifianakis), whose enforced idleness in the wake of a car accident and subsequent abuse of painkillers seem to have fostered an outsider’s skepticism about the ways and means of business as usual. He tells the nine-year-old Reality (played by Annelise Pollmann) about the cruelty of so-called puppy mills, and he smiles with satisfaction when she takes direct action against them at a local pet store. (Eventually, Ron’s life affords other bitter lessons, which Reality takes to heart: she considers his decline and his scant access to medical care, resulting from lack of insurance, alongside the rewards reaped by the C.E.O. of an unnamed pharmaceutical company that makes the kinds of painkillers on which Ron is dependent.)

Reality’s mother, Billie (Connie Britton), a social worker, is likewise committed to the betterment of society, but, as the household’s provider and organizer, she is also committed to getting herself and her children through their days efficiently and effectively. Skilled at compartmentalizing and compromising, she is less given to free-floating denunciation and repudiation than her husband. Reality has traits from both of them—her father’s principled and confrontational candor, her mother’s practicality and precision. Curious about the parts of the world that the United States demonized and waged war on in the years after 9/11, she learns Pashto. The decisive event in her life, as constructed in “Winner,” occurs in 2008, when she’s a high-school senior. An Air Force recruiter (Gino Anania) visits her school and delivers a spiel about anti-terrorist successes in Iraq; she contradicts him with the plain facts of the 2001 attacks. After she demonstrates her linguistic aptitude, he hopes to recruit her as a translator and passes word to a senior official, who gives her the hard sell, appealing to her humanitarian values. She is led to believe that, as a translator on the ground in Afghanistan, she’ll be able to help the U.S. Army help the Afghan people.

Reality signs up, expecting both to do good in the world and to escape from “a hick town full of racists.” Instead, she remains stateside, first getting two years of study in Dari and Farsi, and then translating intelligence materials to provide guidance for drone strikes. She gets to witness these strikes and, as her fellow-recruits cheer, she looks with helpless horror at the deaths (including of children) that her work has helped bring about. The effort to exonerate herself in her own mind leads her to rituals of exertion and self-punishment. She leaves the Air Force, hoping to do humanitarian work in Pakistan for an N.G.O., but that would require a college degree, which she doesn’t have. So she ends up taking a lucrative position with a private defense contractor for the N.S.A., monitoring classified material involving Iranian aviation. (One of her motives is the prospect of helping her father financially.)

The movie hits its dramatic crux an hour in, when Reality, at work at the contractor’s facility in Georgia, discovers what she deems a tragic scandal. Compelled to watch Fox News there (the channel that plays in the workspace, despite her protests), she’s made constantly aware of then President Donald Trump’s denials of Russian efforts to hack into the 2016 election systems, denials that are then amplified by right-wing pundits. Yet there’s a Russia-related folder on her computer desktop, which Reality has (illicitly) read. “The government one hundred per cent knew the Russians hacked our voting systems days before the election, yet they’re telling everyone they have no proof,” she says. “The proof is on my computer. It’s on all these people’s computers, and everyone around here is just going along with that. What the fuck?” She translates her knowledge into action: “I took an oath that said I have to protect and defend the Constitution and obey the orders of the President of the United States. But what if the information is about the President and how he got elected?”

In “Winner,” Fogel dramatizes, onscreen, Reality’s mens rea, showing the elaborate details of her plan to print, purloin, and disclose the relevant pages of the Russia file—and the combination of forethought and improvisation on which the plan’s success depends. With Reality’s voice-overs doing the bulk of the dramatic work, the movie depends heavily on editing to keep the action moving visually, and “Winner” may well prove to be one of the best-edited movies this year. (It was edited by Joseph Krings.) When Reality sends the documents to the Intercept, the action advances with a rapidity that’s all the more potent for its look behind the scenes at events that are at least superficially well-known, regarding the real-life Winner’s actions and the consequences that she faced for them.

The F.B.I.’s interrogation of Reality, soon after the publication of the documents, is shown only briefly, even as something of an anticlimax. This is in striking contrast to another movie based on the case: “Reality,” a 2023 drama directed by Tina Satter and adapted from her play, “Is This a Room?” The earlier film portrays Winner’s interrogation in detail, and its dialogue is based entirely on verbatim excerpts from the audio record of these interactions. Satter’s “Reality” has a dramatic vigor that’s missing from the corresponding scenes in Fogel’s “Winner,” but the tamped-down tone in “Winner” is actually closer to the actual tone of those interrogations, as heard firsthand in yet another film—Sonia Kennebeck’s 2021 documentary, “Reality Winner.”

Satter’s film, with its dramatization of the investigators’ formalized gamesmanship and Winner’s strategic maneuvering, is fascinating but narrow, both regarding the protagonist and the law at large. Fogel’s “Winner,” with its emphasis on what came before and after the interrogation, is the far more illuminating—and analytical—film. It presents a broad spectrum of Reality’s experiences as they influenced her actions, and then the way that the criminal-justice system proceeded to flatten her motives and the idealism that underpinned them, manipulating the picture of her that emerges in court. The movie also depicts, even more forcefully, how the calculated cruelties and the institutional brutality of the carceral system are used to break down her resistance. The soul-crushing void of solitary confinement and the constant threat of inmate-on-inmate violence appear not as aberrations but as tools on which the system tacitly relies.

Amid it all, Reality utters a brief sentence that encapsulates the movie’s outraged essence, its fundamental indignation at the disconnect between American institutions and American lives: “How is that legal?” Under the guise of a conventional bio-pic, with all of the dilution and sweetening that the commercial format entails, Fogel offers a wide-ranging and deep-rooted critique of American officialdom, of the political underpinnings of American society. In its hearty directness, “Winner” suggests that being mad as hell at a system that’s out of whack is as American as Hollywood itself. ♦


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MTV VMAs 2024 Winners: The Complete List

MTV VMAs 2024 Winners: The Complete List

Several eras ago.
Photo: Jeff Kravitz/FilmMagic

Before the 2024 MTV Video Music Awards air on September 11, the losers were already decided: French fans of Chappell Roan who didn’t get to see her perform because she was in rehearsals. The real winners? The rest of us. Hosted by Houston hottie Megan Thee Stallion, Taylor Swift enters the night with the most nominations — ten for her “Fortnite” video — dragging Post Malone along by association with nine since he’s a featured player on the track. Below, the 2024 MTV VMA winners, updated live throughout the night.

VIDEO OF THE YEAR
Ariana Grande — “we can’t be friends (wait for your love)”
Billie Eilish — “Lunch”
Doja Cat — “Paint the Town Red”
Eminem — “Houdini”
SZA — “Snooze”
Taylor Swift ft. Post Malone — “Fortnight”

ARTIST OF THE YEAR
Ariana Grande
Bad Bunny
Eminem
Sabrina Carpenter
SZA
Taylor Swift

SONG OF THE YEAR
Beyoncé — “TEXAS HOLD ’EM”
Jack Harlow — “Lovin on Me”
Kendrick Lamar — “Not Like Us”
Sabrina Carpenter — “Espresso”
Taylor Swift ft. Post Malone — “Fortnight”
Teddy Swims — “Lose Control”

BEST NEW ARTIST
Benson Boone
Chappell Roan
Gracie Abrams
Shaboozey
Teddy Swims
Tyla

MTV PUSH PERFORMANCE OF THE YEAR
August 2023: Kaliii — “Area Codes”
September 2023: GloRilla — “Lick or Sum”
October 2023: Benson Boone — “In the Stars”
November 2023: Coco Jones — “ICU”
December 2023: Victoria Monét — “On My Mama”
January 2024: Jessie Murph — “Wild Ones”
February 2024: Teddy Swims — “Lose Control”
March 2024: Chappell Roan — “Red Wine Supernova”
April 2024: Flyana Boss — “yeaaa”
May 2024: Laufey — “Goddess”
June 2024: LE SSERAFIM — “EASY”
July 2024: The Warning — “Automatic Sun”

BEST COLLABORATION
Drake ft. Sexyy Red & SZA — “Rich Baby Daddy”
GloRilla, Megan Thee Stallion — “Wanna Be”
Jessie Murph ft. Jelly Roll — “Wild Ones”
Jung Kook ft. Latto — “Seven”
Post Malone ft. Morgan Wallen — “I Had Some Help”
Taylor Swift ft. Post Malone — “Fortnight”

BEST POP
Camila Cabello
Dua Lipa
Olivia Rodrigo
Sabrina Carpenter
Tate McRae
Taylor Swift

BEST HIP-HOP
Drake ft. Sexyy Red & SZA — “Rich Baby Daddy”
Eminem — “Houdini”
GloRilla — “Yeah Glo!”
Gunna — “fukumean”
Megan Thee Stallion — “BOA”
Travis Scott ft. Playboi Carti — “FE!N”

BEST R&B
Alicia Keys — “Lifeline”
Muni Long — “Made for Me”
SZA — “Snooze”
Tyla — “Water”
Usher, Summer Walker, 21 Savage — “Good Good”
Victoria Monét — “On My Mama”

BEST ALTERNATIVE ⭐️
Benson Boone — “Beautiful Things”
Bleachers — “Tiny Moves”
Hozier — “Too Sweet”
Imagine Dragons — “Eyes Closed”
Linkin Park — “Friendly Fire”
Teddy Swims — “Lose Control (Live)”

BEST ROCK ⭐️
Bon Jovi — “Legendary”
Coldplay — “feelslikeimfallinginlove”
Green Day — “Dilemma”
Kings of Leon — “Mustang”
Lenny Kravitz — “Human”
U2 — “Atomic City”

BEST LATIN
Anitta — “Mil Veces”
Bad Bunny — “MONACO”
KAROL G — “MI EX TENÍA RAZÓN”
Myke Towers — “LALA”
Peso Pluma & Anitta — “BELLAKEO”
Rauw Alejandro — “Touching the Sky”
Shakira & Cardi B — “Puntería”

BEST AFROBEATS
Ayra Starr ft. Giveon — “Last Heartbreak Song”
Burna Boy — “City Boys”
Chris Brown ft. Davido & Lojay — “Sensational”
Tems — “Love Me JeJe”
Tyla — “Water”
Usher, Pheelz — “Ruin”

BEST K-POP
Jung Kook ft. Latto — “Seven”
LISA — “Rockstar”
NCT Dream — “Smoothie”
NewJeans — “Super Shy”
Stray Kids — “LALALALA”
TOMORROW X TOGETHER — “Deja Vu”

VIDEO FOR GOOD
Alexander Stewart — “if only you knew”
Billie Eilish — “What Was I Made For (From the Motion Picture Barbie)”
Coldplay — “feelslikeimfallinginlove”
Joyner Lucas & Jelly Roll — “Best for Me”
RAYE — “Genesis.”
Tyler Childers — “In Your Love”

BEST DIRECTION
Ariana Grande — “we can’t be friends (wait for your love)” — Directed by Christian Breslauer
Bleachers — “Tiny Moves” — Directed by Alex Lockett & Margaret Qualley
Eminem — “Houdini” — Directed by Rich Lee
Megan Thee Stallion — “BOA” — Directed by Daniel Iglesias Jr.
Sabrina Carpenter — “Please Please Please” — Directed by Bardia Zeinali
Taylor Swift ft. Post Malone — “Fortnight” — Directed by Taylor Swift

BEST CINEMATOGRAPHY
Ariana Grande — “we can’t be friends (wait for your love)” — Cinematography by Anatol Trofimov
Charli XCX — “Von dutch” — Cinematography by Jeff Bierman
Dua Lipa — “Illusion” — Cinematography by Nikita Kuzmenko
Olivia Rodrigo — “obsessed” — Cinematography by Marz Miller
Rauw Alejandro — “Touching the Sky” — Cinematography by Camilo Monsalve
Taylor Swift ft. Post Malone — “Fortnight” — Cinematography by Rodrigo Prieto

BEST EDITING
Anitta — “Mil Veces” — Editing by Nick Yumul
Ariana Grande — “we can’t be friends (wait for your love)” — Editing by Luis Caraza Peimbert
Eminem — “Houdini” — Editing by David Checel
LISA — “Rockstar” — Editing by Nik Kohler
Sabrina Carpenter — “Espresso” — Editing by Jai Shukla
Taylor Swift ft. Post Malone — “Fortnight” — Editing by Chancler Haynes

BEST CHOREOGRAPHY
Bleachers — “Tiny Moves” — Choreography by Margaret Qualley
Dua Lipa — “Houdini” — Choreography by Charm La’Donna
LISA — “Rockstar” — Choreography by Sean Bankhead
Rauw Alejandro —“Touching the Sky” — Choreography by Felix “Fefe” Burgos
Tate McRae — “Greedy” — Choreography by Sean Bankhead
Troye Sivan — “Rush” — Choreography by Sergio Reis, Mauro van de Kerkhof

BEST VISUAL EFFECTS
Ariana Grande — “the boy is mine” — Visual Effects by Digital Axis
Eminem — “Houdini” — Visual Effects by Synapse Virtual Production, Louise Lee, Rich Lee, Metaphysic, Flawless Post
Justin Timberlake — “Selfish” — Visual Effects by Candice Dragonas
Megan Thee Stallion — “BOA” — Visual Effects by Mathematic
Olivia Rodrigo — “get him back!” — Visual Effects by Cooper Vacheron, Preston Mohr, Karen Arakelian, Justin Johnson
Taylor Swift ft. Post Malone — “Fortnight” — Visual Effects by Parliament

BEST ART DIRECTION
Charli XCX — “360” — Art Direction by Grace Surnow
LISA — “Rockstar” — Art Direction by Pongsan Thawatwichian
Megan Thee Stallion — “BOA” — Art Direction by Brittany Porter
Olivia Rodrigo — “bad idea right?” — Art Direction by Nicholas des Jardins
Sabrina Carpenter — “Please Please Please” — Art Direction by Nicholas des Jardins
Taylor Swift ft. Post Malone — “Fortnight” — Art Direction by Ethan Tobman

VMAS MOST ICONIC PERFORMANCE ⭐️
Beyoncé – “Love on Top” (2011)
Britney Spears, Christina Aguilera, Madonna, Missy Elliott – “Like a Virgin” & “Hollywood” (2003)
Eminem – “The Real Slim Shady” & “The Way I Am” (2000)
Katy Perry – “Roar” (2013)

BEST TRENDING VIDEO ⭐️
Beyoncé – “Texas Hold ‘Em”
Camila Cabello feat. Playboi Carti – “I Luv It”
Chappell Roan – “Hot to Go!”
Charli XCX – “Apple”
Megan Thee Stallion feat. Yuki Chiba – “Mamushi”

Tinashe – “Nasty” – Nice Life Recording Company


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