Historical Newspapers of South Carolina

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Nominees announced for the 46th<annual Grammy Awards Nominations in top categories: RECORD OF THE YEAR: “Crazy in Love,” Beyonce featuring Jay-Z; “Where Is the Love?” Black Eyed Peas and Justin Timberlake; “Clocks,” Coldplay; “Lose Yourself,” Eminem; “Hey Ya,” OutKast. ALBUM OF THE YEAR: “Under Construction,” Missy Elliott; “Fallen,” Evanescence; “Speakerboxxx/The Love Below,” OutKast; “Justified,” Justin Timberlake; “Elephant,” The White Stripes. SONG OF THE YEAR: “Beautiful,” Linda Perry (Christina Aguilera); “Dance With My Father,” Richard Marx and Luther Vandross (Luther Vandross); “I’m With You,” Avril Lavigne and The Matrix (Avril Lavigne); “Keep Me in Your Heart,” Jorge Calderon and Warren Zevon (Warren Zevon); “Lose Yourself,” J. Bass, M. Mathers and L. Resto (Eminem). NEW ARTIST: Evanescence; 50 Cent; Fountains of Wayne; Heather Headley; Sean Paul. POP VOCAL ALBUM: “Stripped,” Christina Aguilera; “Brainwashed,” George Harrison; “Bare,” Annie Lennox; “Motown,” Michael McDonald; “Justified,” Justin Timberlake. ROCK ALBUM: “Audioslave,” Audioslave; “Fallen,” Evanescence; “One by One,” Foo Fighters; “More Than You Think You Are,” Matchbox Twenty; “The Long Road,” Nickelback. RAP ALBUM: “Under Construction,” Missy Elliott; “Get Rich or Die Tryin’,” 50 Cent; “The Blueprint 2: The Gift & the Curse,” Jay-Z; “Speakerboxxx/The Love Below,” OutKast; “Phrenology,” The Roots. COUNTRY ALBUM: “Cry,” Faith Hill; “My Baby Don’t Tolerate,” Lyle Lovett; “Run That by Me One More Time,” Willie Nelson and Ray Price; “Live and Kickin’,” Willie Nelson; “Up!,” Shania Twain; ■ “Livin’, Lovin’, Losin’: Songs of the Louvin Brothers,” Various Artists. Trio’s documentary explores 565 yearly awards ceremonies BY FRAZIER MOORE THE ASSOCIATED PRESS NEW YORK (AP) - “The Award Show Awards Show,” which isn’t an awards show but a documen tary, wants you to know there are 565 show-biz awards competitions each year, of which 100 are tele vised. That’s more than one broad cast every four days. Consider: On the heels of “The First Annual Spike TV Video Game Awards,” which aired Thursday, the coming week brings “The 14th Annual Billboard Music Awards” on Fox, “The Third Annual DVD Exclusive Awards” (whatever that is) on FX, and the inaugural Commie awards on Comedy Central going head-to-head with “The Award Show Awards Show,” which Trio is airing 9 p.m. EST Sunday. Wide-ranging and snarky, the documentary expands on Andy Warhol’s prediction: Not only are you destined to be famous for 15 minutes; at this rate you’re also practically a shoo-in for a televised award. But as Tatum O’Neal, the film’s award-winning narrator, points out, “Conflicts are endless when awards shows outnumber the works of art they are trying to honor.” Witness the juxtaposed clips of a program that wins both a Prism (for accurately portraying the dangers of drug abuse) and a Stony (for promoting the pot smoking culture). “The Award Show Awards Show” explores many facets of the media-celebrity complex. It examines the monetary bless ings realized from a top-drawer award like the Oscar or Grammy, and the fierce campaigning mounted by would-be nominees. It exposes the driving force be hind the awards-show pandemic, which mainly reflects outstanding achievement by the industry in ginning up evermore shows for viewers to watch — and thus ev ermore outlets for promoting en tertainment product to the public. It proposes ways to insure your self a prize. (If you’re Susan Lucci, just keep showing up.) “Awards shows,” says Alan Alda in a long-ago interview, . “mainly publicize the people giv ing the awards.” Not to be outdone, “The Award t Show Awards Show” institutes its own mock prizes in such cate gories as Most Meaningless Awards Shows (a leading con tender is the award show for in fomercials) and Most Inexplicable Snubs: There was never an Emmy for Jackie Gleason, never so much as a Grammy nomination for The Who. O’Neal, of course, brings spe cial authority to the documentary. In 1974 she walked the red carpet as a 10-year-old Oscar nominee for best supporting actress in her first film, “Paper Moon.” “The more awards shows, with their red carpets and glitz, the more chances for ordinary people to get out of themselves,” she said. “It’s a sort of celebrity royalty that we love and hate. We can feel hap py when they win, and when they lose we can put them down and feel better being average people. “We love to see them dress up — but what we really want is to see them (screw) up.” And as she observes in “The Award Show Awards Show,” the hucksterism underlying every awards show is just the viewer’s price of admission. A sleeker ‘Battlestar Galactica’ returns despite fan opposition BY JANICE RHOSHALLE LITTLEJOHN THE ASSOCIATED PRESS LOS ANGELES (AP) - “Battlestar Galactica” is return ing as a four-hour miniseries, backed by hype befitting a sci ence fiction classic in the same galaxy as “Star Wars” or “Star Trek.” Never mind that this classic was a campy space opera that last ed just one season. When it premiered on ABC in 1978, the special-effects dazzler was the most highly publicized new series of that season. Lome Greene starred as Adama, the commander of a ragtag band of refugees in search of a lost planet called Earth after a band of robot ic Cylons wiped out much of hu I-1 mankind. In the new version, airing Monday and Tuesday on the Sci Fi Channel (9 p.m. EST), Edward James Olmos takes over as Adama; Jamie Bamber is his son, Apollo (originally played by Richard Hatch); and the hothead ed pilot, Starbuck, is now a wom an, played by Katee Sackhoff (Dirk Benedict was the original). While the original series’ the matic core remains — the human struggle for survival — a lot has changed. Gone is the space fantasy with the dashing caped warriors of old. Now they’re handsome heroes in uniforms akin to Air Force fighter pilots. The alu minum Cylon enemies look more like humans, complete with feel ings, including one with rabid sexual desires. And the quest is not for a myth ical Earth — it no longer exists. “It’s a fine line in deciding what you want to retain and what you want to change from the original,” says the miniseries’ writer, Ron Moore. “But it all started with the name.” What he ended up with is a saga for a post-Sept. 11 world: an array of conflicted characters forced to coexist under the threat of more deadly adversaries living among them. “What science fiction should be,” says Moore, “is a look at our selves, an examination of hu manity. But where we are with science fiction in television and movies, you’ve sort of fallen into two categories: There’s this quasi-cyberpunk stuff, which is everything from ‘Matrix’ to ‘Blade Runner.’ Then there’s the sort of ‘Star Wars,’ ‘Star Trek’ lush orchestral visions of the fu ture.” Olmos, who’s eschewed science fiction since appearing in the 1982 film “Blade Runner,” says Moore’s script “was different than any thing I’d ever read before. There’s a lot of reality in this that yo'u might find in say a ‘NYPD Blue’ or ‘Hill Street Blues.’” Devotees of the original will be hard to convince, however. , Hatch understands the fan sen timent. “I had a lot of anger and frus tration because I saw a studio not on any level being receptive to what the vast majority of fans wanted,” the actor says in his small apartment littered with “Battlestar” paraphernalia, in cluding a lunchbox, posters and videos. Hatch, who has written six spin-off novels, tried his own se quel: “Battlestar Galactica: The ^ Second Coming.” A four-minute, self-financed trailer has been a hit among conventioneers, but studio executives have been unim pressed. “Every time they bring back a classic, they always fail because they’ve thrown the baby out with the bath water,” says the 58-year old Hatch. “They throw away the very elements the fans loved most.” A few years ago, ians tnougnt they’d get the continuation saga they’d clamored for when Bryan Singer and Tom DeSanto, the di rector-writer team behind “X Men,” hooked up with original “Galactica” creator Glen Larson to develop a project at 20th Century Fox. When that deal fell through, . Universal TV chief David Kissinger brought in executive producer David Eick and Moore to rework the franchise for Sci Fi. “We want the fans to embrace what we are doing,” says Sci Fi President Bonnie Hammer, “but if you produced now what was produced then, it would feel like old TV. We wanted to make it more relatable, even in terms of the stereotypes of characters.” “I understand they’re trying to do a modern version,” says Larson. “But change for the sake of change — it’s taking the title and exploiting it.”__ tl bwritv Quick, Healthy and Fresh! Burritos, Tacts, Salads, and Soups! Affordable, so saddle up... 934 Harden Street / Five Points 765-2188 -4 LfJ [ Vote for Cocky .P^; [www.capitalonebowl.com StudentUniverse.com stud«itA*r»*™sEv«nrwh»r» | Tired of Dorm Life... 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