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Music Exec. Pens Open Letter to Protest Beiber, Eminem Grammy Snub

*Ad man, brand manager and occasional consigliere to many of hip-hop’s most powerful stars, marketing mogul Steve Stoute took out a full page ad in Sunday’s New York Times Style Section blasting the Grammy Awards, its parent organizational, The National Academy of Recording Arts and Sciences (NARAS), and its president, Neil Portnow, for what he feels is both increasing irrelevance and possible malfeasance. “Over the course of my 20-year history as an executive in the music business and as the owner of a firm that specializes in in-culture advertising, I have come to the conclusion that the Grammy Awards have clearly lost touch with contemporary popular culture,” he wrote in the ad, which took the form of an open letter. “The awards show has become a series of hypocrisies and contradictions, leaving me to question why any contemporary popular artist would even participate.” In particular, Stoute (pictured) focused on the relatively recent snubs of Eminem, Kayne West, and Justin Bieber, all musicians he believes have been unfairly beaten for awards by inferior artistic and commercial acts. “We must acknowledge the massive cultural impact of Eminem and Kanye West and how their music is shaping, influencing and defining the voice of a generation,” Stoute wrote of the two hip-hop superstars, adding of Bieber, “How is it that Justin Bieber, an artist that defines what it means to be a modern artist, did not win Best New Artist?” Read MORE of this story at MTV News .

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Music Exec. Pens Open Letter to Protest Beiber, Eminem Grammy Snub

Justin Bieber, Eminem Grammy Snubs Prompt Open Letter From Hip-Hop Brand Manager

“The awards show has become a series of hypocrisies and contradictions,” writes Steve Stoute in full page ad. By Shawn Adler Steve Stoute Photo: Theo Wargo/WireImage Ad man, brand manager and occasional consigliere to many of hip-hop’s most powerful stars, marketing mogul Steve Stoute took out a full page ad in Sunday’s New York Times Style Section blasting the Grammy Awards, its parent organizational, The National Academy of Recording Arts and Sciences (NARAS), and its president, Neil Portnow, for what he feels is both increasing irrelevance and possible malfeasance. “Over the course of my 20-year history as an executive in the music business and as the owner of a firm that specializes in in-culture advertising, I have come to the conclusion that the Grammy Awards have clearly lost touch with contemporary popular culture,” he wrote in the ad, which took the form of an open letter. “The awards show has become a series of hypocrisies and contradictions, leaving me to question why any contemporary popular artist would even participate.” In particular, Stoute focused on the relatively recent snubs of Eminem, Kayne West , and Justin Bieber , all musicians he believes have been unfairly beaten for awards by inferior artistic and commercial acts. “We must acknowledge the massive cultural impact of Eminem and Kanye West and how their music is shaping, influencing and defining the voice of a generation,” Stoute wrote of the two hip-hop superstars, adding of Bieber, “How is it that Justin Bieber, an artist that defines what it means to be a modern artist, did not win Best New Artist?” While acknowledging in his letter that the most popular acts aren’t always deserving of awards simply on the basis of their commercial success, of particular focus for Stoute is the seeming dichotomy between musicians the award ceremony chooses to honor and musicians the ceremony asks to perform. “While these very artists that the public acknowledges as being worthy of their money and fandom are snubbed year after year at the Grammys, the awards show has absolutely no qualms in inviting these same artists to perform,” he wrote. “Interesting that the Grammys understands cultural relevance when it comes to using Eminem’s, Kayne West’s or Justin Bieber’s name in the billing [but not when handing out trophies].” Not content to simply attribute these gaps to the general irrelevance or ignorance of the NARAS voters, Stoute goes on to suggest that performances are scheduled much more cynically and crassly, citing this year’s Best Album winner Arcade Fire as an example of an act too serendipitous to be coincidental. “What truly inspired the writing of this letter was that this most recent show fed my suspicions. As the show was coming to a close and just prior to presenting the award for Album of the Year, Arcade Fire performed ‘Month of May’ only to, surprise, win the category and, in a moment of sheer coincidence, happened to be prepared to perform ‘Ready to Start’,” he wrote. “Does the Grammys intentionally use artists for their celebrity, popularity and cultural appeal when they already know the winners and then program a show against this expectation?” According to the official website of the Grammys , it would be impossible for anyone to know the winners of the various awards before the show, as they are delivered in sealed envelopes to the presenters by Deloitte Accounting. The winners themselves are determined by several rounds of submission and voting, starting with a screening process where 150 “experts” ensure “that each entry is placed in its proper category.” From there, nomination ballots are sent out. Voters are encouraged to vote only in their area of expertise in addition to the four general categories, incidentally the same categories Stoute has the most problems with: Record Of The Year, Album Of The Year, Song Of The Year and Best New Artist. The top five vote getters from this process are listed as the official nominees. Finally, ballots are sent out with the new, limited choices to determine a winner. Not good enough, Stoute says, believing this system is possibly ripe for being corrupted. “The National Academy of Recording Arts and Sciences hides behind the ‘peer’ voting system to escape culpability for not even rethinking this approach,” he writes. “You are being called to task at this very moment, NARAS.” Representatives from NARAS have not responded to MTV’s request for comment by press time. Related Photos The 2011 Grammy Awards Show Related Artists Justin Bieber Eminem

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Justin Bieber, Eminem Grammy Snubs Prompt Open Letter From Hip-Hop Brand Manager

Arcade Fire’s Album Of The Year Grammy Stuns Publicist

Merge Records’ Christina Rentz recalls her awards-show experience. By James Montgomery Arcade Fire at the 2011 Grammy Awards Photo: Getty Images As the week draws to a close, many still can’t believe Arcade Fire managed to trump Eminem and Lady Gaga to win Album of the Year at Sunday’s Grammy Awards . And if you’re one of those who are still coming to grips with the upset, well, you’re not alone. Turns out, even the band’s publicist can’t believe it. In fact, on Grammy night, she had made peace with the fact that Arcade Fire seemed destined to go home empty-handed. In a new Billboard.biz story, Merge Records’ publicist Christina Rentz writes that, after watching her band go 0-for-2 during the Grammy’s pre-telecast awards (they lost both Best Alternative Album and Best Rock Performance by a Duo or Group With Vocals to the Black Keys), she was resigned to the belief that the band would lose Album of the Year, too. In fact, she thought Eminem had it sewn up. “The production value was amazing, and it was incredibly exciting to be in the room. When Eminem came onstage and blew the roof off the place, I thought we were sunk for sure,” Rentz wrote. “But Jamie [Beck, Merge’s retail director] had been saying all weekend that we were going to win. She gave me very good reasons why, but I still didn’t think it was possible. As the night wore on, she persisted in her certainty, but it wasn’t until Eminem won Best Rap Album that I felt the familiar sweaty palms again.” When Album of the Year was announced, her feelings of nervousness quickly changed to jubilation — much to the consternation of those seated around her. “Barbra [Streisand] announced the Album of the Year: ‘And the Grammy goes to … The S-S-S-S-Suburbs ? We began screaming and jumping as our section emptied out with people muttering under their breath, ‘Who is Arcade Fire?’ ” she wrote. “The band accepted the award then immediately set up for their second song, with Win [Butler, the band’s lead vocalist and songwriter] putting his Grammy on top of an amp so he could pick up his guitar … my favorite moment of the evening! “They could not stop smiling and neither could we. Together, we had accomplished something pretty incredible and hopefully inspired musicians everywhere not to compromise when it is important.” And afterwards, having bested Eminem for the night’s biggest award, Rentz and Beck did what any newly minted Grammy winner would do: They partied hard. In their own way, of course. “We then phoned our label manager Stacy ‘Spott’ Philpott and said, ‘Holy crap, what do we do now?’ ” she wrote. “I still don’t fully know the answer, but at the time, it seemed like the best thing we could do was to get in our red Mustang, throw the top down, drive to the after-party to hug our friends in Arcade Fire, high-five their manager Scott Rodger and then get back to work on Tuesday, the release date for two new albums from Telekinesis and East River Pipe.” Were you surprised by Arcade Fire’s win? Tell us in the comments! Related Photos The 2011 Grammy Awards Show Related Artists Arcade Fire

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Arcade Fire’s Album Of The Year Grammy Stuns Publicist

For The Stans: Bump What You Heard, Mr. and Mrs. Camel Are Still Happy After All These Years

Yesterday, there was talk of a Knowles-Carter split over Beyonce’s refusal to turn her ovaries over to Hova. We almost bought it too, considering the fact that we couldn’t find a single picture of these two coupled up in L.A. during Grammy weekend. But that doesn’t mean it didn’t happen. Malaysian billionaire Jho Low, who recently invested in posh Beverly Hills hotel L’Ermitage, threw a spectacular Grammys party there for Interscope founder Jimmy Iovine with guests including Lady Gaga, Jay-Z and Beyoncé. The real-estate mogul — who along with friends once famously spent $160,000 in one night at Avenue — put on the bash Sunday in an Arabian-style tent hoisted onto the hotel roof by a huge crane. Gaga, Snoop Dogg and Dr. Dre all performed, and Low was spotted hanging out with Taiwanese superstar singer Elva Hsiao. Other guests included Leonardo DiCaprio — smoking a cigar and wearing an Irish gangster cap — and his model girlfriend Bar Refaeli, Megan Fox, Jamie Foxx, Kim Kardashian, Paris Hilton, Busta Rhymes, Eminem, the Black Eyed Peas’ Will.i.am, Apl.de.Ap and Taboo, Gwyneth Paltrow, Nicole Scherzinger, Jerry Bruckheimer and “Entourage” star Kevin Connolly. Sources said that despite reports of problems between Jay-Z and Beyoncé, which they strongly deny, the couple attended the bash and “looked happy to be together.” Jay missed the Grammys, leaving Beyoncé to attend alone, and watched the show with Iovine at his viewing party, also at L’Ermitage. But a source said, “The rumor was he didn’t attend the Grammys because he was p – – – ed he wasn’t nominated for Album of the Year.” Jay’s rep didn’t get back to us. Doesn’t the air taste a little sweeter now that you know Hovi and B.K. are as unbreakable as Khloe and Lamar? Source

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For The Stans: Bump What You Heard, Mr. and Mrs. Camel Are Still Happy After All These Years

Arcade Fire, Radiohead Signal That Rock Is (Finally) Rising

Clearly, something is happening, and just in time for the 20th anniversary of Nirvana’s Nevermind, in Bigger Than the Sound. By James Montgomery Arcade Fire’s Win Butler Photo: Kevin Winter/ Getty Images In January, fresh off a year in which albums by mainstays like Linkin Park and My Chemical Romance stiffed, and efforts by up-and-comers like MGMT mystified, we published an article that wondered, rather matter-of-factly, “Is Rock Dead?” At the time, it seemed a perfectly reasonable thing to ask. After all, for all intents and purposes, rock music was dead in 2010: Nickelback’s Dark Horse was the year’s best-selling rock album (even though it was released in November 2008), lumbering bands like Alter Bridge, Disturbed and Shinedown continued to dominate radio, and even the chart-topping successes of indie acts like Vampire Weekend and Arcade Fire were dismissed as little more than flukes: They only reached #1, the argument went, because there were no hip-hop or pop albums released that same week. And with absolutely zero big-ticket rock releases on the horizon, things were looking equally bleak for 2011. But in the six weeks since we originally published that article, something pretty amazing happened: Rock proved that, much like Jason Voorhees, it can be drowned, stabbed, dragged to hell and cryogenically frozen, but it cannot be killed. At the end of January, the Decemberists’ The King Is Dead inexplicably debuted at #1 on the Billboard albums chart. Last Sunday, at the 53rd Grammys, the Arcade Fire shocked pretty much everybody ( except, it should be noted, me ) by besting Eminem, Lady Gaga and Katy Perry to win Album of the Year . On Monday, we learned there would be a brand-new Radiohead album arriving in our inboxes in less than a week. Couple all that with a fantastic new album from Bright Eyes ( The People’s Key, go buy it), the Foo Fighters’ hotly anticipated Wasting Light (which reteams former Nirvana mates Dave Grohl and Krist Novoselic with producer Butch Vig ) and new albums from the Strokes, Death Cab for Cutie, Coldplay and Blink-182 looming on the horizon — not to mention genuinely great releases from new bands like Warpaint, Smith Westerns and Yuck — and, all of a sudden, rock music doesn’t appear to be dead at all. This isn’t meant to be some “Rock Is Back!” piece (I think we reached critical mass on those sometime around 2002), but it probably could be. Rather, I’m hoping it comes across as nothing more than the blissed-out rejoicings of a long-suffering rock fan. Because, to be perfectly honest, that’s the only angle I’m taking this week. I have worked at MTV News for nearly seven years now, and in that time, I’ve watched as rock and roll lost its grip on popular culture. Bands came and went, nostalgia acts did their victory laps, and nobody — outside of me and a few others — took notice. Rock had been lapped by the likes of Eminem and Lady Gaga, and it didn’t look like it was ever going to overtake them. Maybe it never will. And I don’t care, because, for the first time in a long time, I can unequivocally say: Damn, it feels good to be excited about rock music once again. And given the circular nature of things, I’d be remiss if I didn’t point out that 2011 marks the 20th anniversary of rock’s last great uprising: the release of Nirvana’s Nevermind, which quickly thrust the genre back into the spotlight and kept it there for most (OK, like, seven years) of the decade. I’m not suggesting that the Arcade Fire winning Album of the Year is a watershed moment on par with Nevermind overtaking Michael Jackson’s Dangerous atop the Billboard chart (as it did in January 1992), but, shoot, it could very well end up that way. Nor am I expecting that, by year’s end, I’ll be writing laudatory pieces about the return of rock. But again, I very well might be. That uncertainty is key, because it contains within it a shred of hope. You never know. And for the first time in a very long time, I can almost trick myself into believing that. Clearly, something is happening, that much is certain. Maybe it’s just natural evolution, or the stars aligning, or just my blind optimism, but in 2011, rock music appears to finally be pulling itself out of its watery grave, machete in hand, ready to cut down innocent campers. And, man, does it feel good to write something like that. It’s been a long time coming, after all. Do you think rock is on its way back? Let us know in the comments!

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Arcade Fire, Radiohead Signal That Rock Is (Finally) Rising

Rihanna And Drake Flirt, Fire Up Grammy Stage

Sassy singer and Toronto MC perform hit single ‘What’s My Name?’ as pyrotechnics light up the stage. By Jayson Rodriguez Rihanna and Drake perform during the 53rd Annual Grammy Awards Photo: The Recording Academy/CBS Luckily for Rihanna, she didn’t take the Grammy stage until after 11 p.m. on Sunday (February 13) because the Loud star’s gyrating hips and seductive dancing might have been too steamy for primetime. Rihanna was joined by Drake and the two delivered a flirtatious rendition of their “What’s My Name?” The Toronto lyricist — dressed in a black leather jacket, boots, sweater and cargo pants — dropped his sexually charged opening rhyme then positioned himself behind Rih Rih for a quick two-step as pyrotechnics fired off in the background. “Not everybody knows how to work my body,” Rihanna sang. “Knows how to make me want it/ Boy you stay up on it/ You got that something / That keeps me so off balance/ Baby you’re a challenge, lets explore your talent.” Rihanna traded in the extravagant gown she wore for her performance with Eminem for “Love the Way You Lie” in favor of short red number that was as fiery as her hair. The backdrop could have passed for an erotic scene in Pacino’s “The Devil’s Advocate.” It was by far the sexiest performance of the night. During a short Calypso-style breakdown, Rihanna shook and shimmied with a sneaky grin. “Ooh na na, what’s my name?” she sang on the chorus. “What’s my name, what’s my name?” “Baby you got me, ain’t nowhere that I’d be,” Rih continued on with her verse. “Then with your arms around me, back and forth you rock me/ So I surrender, to every word you whisper/ Every door you enter, I will let you in.” What did you think of Rihanna and Drake’s Grammy performance? Tell us in the comments! For Grammy Awards winners list, analysis, interviews, fashion and more, stick with MTV News during the big show and beyond. Related Videos 53rd Annual Grammy Awards Performances Related Photos The 2011 Grammy Awards Show Related Artists Rihanna Drake

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Rihanna And Drake Flirt, Fire Up Grammy Stage

Arcade Fire Take Home Album Of The Year Grammy

Indie-rock band bests heavyweights like Lady Gaga and Eminem in the show’s final category. By Ryan J. Downey Arcade Fire win Album of the Year at 2011 Grammy Awards Photo: Getty Images Who says the Grammys reward nothing but pop music? Critical darlings Arcade Fire nabbed the top prize for Album of the Year at the 53rd annual Grammy Awards on Sunday night. The Canadian indie rock group’s The Suburbs bested major label albums from megastars Eminem, Katy Perry and Lady Gaga, whose media campaigns were as relentless as their radio hits were ubiquitous. The category was rounded out by Lady Antebellum , huge stars in the world of country and multiple Grammy nominees in their own right. Check out photos of Arcade Fire’s performance and more! Arcade Fire’s Album of the Year win was something of an upset, although MTV News’ own James Montgomery did sort of call it for them. The band’s Grammy heat was part of a wave that showed how much traction indie releases have gained with Grammy voters in recent years. The Suburbs was released by Merge Records, the independent label based in Durham, North Carolina, that has been home to underground acts like Lou Barlow, The Clientele, Superchunk and Neutral Milk Hotel. In addition to performing, Arcade Fire were up for three Grammys this year. On Sunday night in Los Angeles, groups like Mumford & Sons, Florence and the Machine, Black Keys, Vampire Weekend, Band of Horses and Broken Bells all joined Arcade Fire in battle with more mainstream nominees like Justin Bieber and Eminem. The Suburbs has sold roughly 400,000 copies, making it a smash for an indie label, particularly in the age of downloading. Arcade Fire’s Funeral (2005) and Neon Bible (2008) were both nominated for Best Alternative Music Album. The Montreal, Canada-based multi-instrumental band is led by husband-and-wife team Win Butler and R

Bonnaroo 2011 Headlined By Eminem, Lil Wayne, Arcade Fire

Wiz Khalifa, the Strokes, Mumford & Sons and the Black Keys also set to appear at Bonnaroo. By James Montgomery Eminem Photo: Kevin Mazur/ WireImage On Tuesday (February 15), organizers announced the lineup for the 2011 Bonnaroo Music and Arts Festival, set for June 9-12 in Manchester, Tennessee. And, boy, it’s going to be interesting to hear the purists’ take on this year’s bill. Browse photos of the 2011 Bonnaroo performers . Unlike earlier, decidedly crunchy editions of the fest, the 2011 lineup is topped by two of the hugest hip-hop acts in the business — Eminem and Lil Wayne — along with newly crowned Grammy champs Arcade Fire and the Black Keys. Other acts on the bill include Mumford & Sons, the Strokes, the Decemberists, Florence and the Machine, Big Boi, Wiz Khalifa and Robyn. Of course, there are still some nods to Bonnaroo’s roots: Fest vets Widespread Panic return once again, as do My Morning Jacket and the String Cheese Incident. Also doing their part for the traditionalists out there are reunited legends Buffalo Springfield (in their only festival performance), Robert Plant and the Band of Joy, and Dr. John and the Original Meters, who will perform their 1974 album Desitively Bonnaroo, from which the festival took its name. As in previous years, there will be an epic super-jam, this one organized by Dan Auerbach of the Black Keys and Dr. John. Other artists set to appear at the 10th annual Bonnaroo include Ray LaMontagne, Iron and Wine, Girl Talk, Primus, Explosions in the Sky, Deerhunter, the Walkmen, Sleigh Bells and Smith Westerns. All in all, some 150 bands will perform at this year’s fest. Tickets for Bonnaroo 2011 go on sale Saturday, February 19 at 12 p.m. ET through the festival’s official website . The confirmed list of performers so far: Eminem Arcade Fire Widespread Panic The Black Keys Buffalo Springfield featuring Richie Furay, Stephen Stills, Neil Young, Rick Rosas, Joe Vitale My Morning Jacket Lil Wayne String Cheese Incident Robert Plant & the Band of Joy Mumford & Sons The Strokes The Decemberists Ray LaMontagne Bassnectar Iron & Wine Girl Talk Primus Dr. John and the Original Meters performing Desitively Bonnaroo Alison Krauss & Union Station Pretty Lights Florence and the Machine Superjam with Dan Auerbach and Dr. John Explosions in the Sky STS9 Gogol Bordello Beirut Big Boi Scissor Sisters Gregg Allman Ratatat Global Gypsy Punk Revue curated by Eugene H

Grammys Give Lady Gaga, Justin Bieber Immediate iTunes Bump

Cee Lo, Esperanza Spalding, Lady Antebellum and more also see post-show sales increases. By Gil Kaufman Lady Gaga performs at the Grammys on Sunday Photo: Kevin Winter/ Getty Images It didn’t take long for the big winners at Sunday night’s Grammy Awards to get an iTunes bump. Less than 24 hours after the show, the iTunes singles and albums charts were flooded with songs that were either performed on the show or which won awards during the program. At press time on Tuesday morning (February 15), the iTunes singles tally was topped, not surprisingly, by Lady Gaga’s “Born This Way,” which got its televised debut during the show, followed by Dr. Dre’s “I Need a Doctor,” which Eminem and Dre (making his first televised performance in nearly a decade) also performed on the show. Justin Bieber’s “Never Say Never” was at #3, followed by Cee Lo Green’s “F— You,” which was one of the most colorful and bizarre live spots in the three-and-a-half-hour show thanks to his outer-space Henson Puppet band and a cameo from a sultry Gwyneth Paltrow . Mumford & Sons also got some iTunes love after playing on the show with folk legend Bob Dylan, which helped their song “The Cave” hit #5, followed by the night’s big Grammy victors, Lady Antebellum , and their Song and Record of the Year winner, “Need You Now.” Although she didn’t perform “Firework” on the Grammys, Katy Perry’s anthem hung in at #7, ahead of Rihanna, who had two shots onstage at the Grammys. Her “S&M,” whose video is the subject of legal action, came in at #8, with Bruno Mars ‘ “Grenade” and non-Grammy performer Avril Lavigne’s “What the Hell” rounding out the top 10. Just outside the top 10, there were plenty more Grammy bumps to be found: Cee Lo’s censored “Forget You” (#11), Mumford & Sons’ “Little Lion Man” (#12), Muse’s “Uprising” (#20), Rihanna and Drake’s “What’s My Name?” (#21), Eminem’s “Love the Way You Lie” (#24) and Florence and the Machine’s “Dog Days Are Over” (#29). The iTunes album chart told a similar story, with Mumford’s Sigh No More holding on to the #1 slot, followed by Bieber’s Never Say Never remixes disc, Album of the Year winner the Arcade Fire’s The Suburbs was back in play at #3, proceeded by Grammy performers the Avett Brothers’ I and Love and You at #4, with Best New Artist Esperanza Spalding’s Chamber Music Society climbing to #6. Other Grammy album action included: Lady Antebellum’s Need You Now (#7), Bieber’s My World 2.0 (#8), Eminem’s Recovery (#9), Rihanna’s Loud (#10), Florence and the Machine’s Lungs (#11), Bieber’s My Worlds Acoustic (#12), the 2011 Grammy Nominees compilation (#14), as well as albums by the Black Keys (#17), Muse (#19), Bruno Mars (#21) and Spalding’s 2009 Esperanza release (#28). Did you do any post-Grammy downloading? Tell us what you’re listening to in the comments! For more Grammy Awards analysis, interviews, fashion and more, stick with MTV News! Related Videos 53rd Annual Grammy Awards Performances Related Photos The 2011 Grammy Awards Show Related Artists Lady Gaga Justin Bieber

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Grammys Give Lady Gaga, Justin Bieber Immediate iTunes Bump

Does Bonnaroo Lineup Stray Too Far From Roots With Eminem, Lil Wayne?

Festival splits the difference between new acts and old, in a nod to its future and past. By James Montgomery Eminem Photo: Kevin Mazur/EM/WireImage On Tuesday (February 15), organizers announced the lineup for the 2011 Bonnaroo festival , a bill featuring plenty of nods to the fest’s past (mainstays Widespread Panic, My Morning Jacket and the String Cheese Incident, to name a few), but also — most notably — two of the biggest hip-hop acts on the planet, Eminem and Lil Wayne. Browse photos of the 2011 Bonnaroo performers . And, sure, mainstream hip-hop headliners aren’t exactly new for the ‘Roo — Kanye West topped the bill in 2008, and Jay-Z did it last year — but the tandem of Em and Wayne marks a definite departure for the 10-year-old fest, one that members of its die-hard fanbase may have a hard time digesting, if only for the fact that it’s such a departure from the days of old. When West took the stage at 4:30 a.m. in ’08 (a scheduling snafu he blamed, in part, on Pearl Jam running late with their set), those die-hards howled that Bonnaroo had moved too far from its roots. That deafening din was only amplified by the fact that the festival also featured Metallica as a headliner . And while we don’t expect the same kind of outrage this year, we have to wonder if, by tapping the likes of Eminem and Wayne, Bonnaroo had forever alienated the fans who made the festival what it is today. The answer, it seems, is no. “I first went in 2004, and even then the ‘traditional’ fans were already saying it’s too commercial, it’s BS, and that was when the jam-band scene was huge,” Caine O’Rear, editor of American Songwriter magazine, said. “I think you’ll have some purists who will complain, but overall, people will be psyched about the lineup. … Jay-Z was one the most well-received acts last year, which I think was a surprise to most people. [Widespread] Panic is a flagship Bonnaroo band, plus String Cheese Incident, My Morning Jacket … it appeals to this core demo. [Organizers] definitely consider the festival’s roots.” “I think, as a fan, I’m excited by this year’s lineup,” Josh Baron, editor of Relix magazine, added. “Once again, they’ve delivered a pretty unique lineup of programming. You’re not going to find these same acts together at any other festival in this country, if not the world, and that’s something [Bonnaroo organizers] always strive to do. And in this 10th year, they’re hyper-conscious of honoring their roots with a band like Widespread Panic, but also pushing the envelope with acts like Eminem and Wayne. … I don’t think this lineup is going to lose any more fans than they have past years; this isn’t the year that Bonnaroo jumped the shark. People who had that problem probably left the festival years ago.” And perhaps that’s always going to be the catch-22 as far as Bonnaroo is concerned: It is such a beloved institution — one that started in 2002 as a way of showcasing so-called jam bands and the flourishing community that surrounded them — that die-hards are always going to complain about the lineup. It’s sort of an annual tradition. And as organizers push the festival into its second decade, they’re always going to have to weigh the will of their original fans with the ever-evolving tastes of new audiences. “There’s no question [organizers] consider the festival’s history when they put together the lineups. You’re always going to see those core types of bands — Phish, Dave Matthews, Panic, the Dead. … They unequivocally know those are the fans that made the festival. They travel considerable distances to make the Bonnaroo experience what it is,” Baron said. “But part of what makes a festival is that it allows people to see music they normally wouldn’t. I wouldn’t buy a Lil Wayne ticket, but I’m excited to see him in concert, and Eminem is an undeniable performer. And as much as there’s a backlash to a band like Metallica, if you were there, it certainly wasn’t as if it was empty. There were tens of thousands of people watching Metallica.” “Clearly they’re hitting the big demos this year — hip hop, big indie, a lot of the big Americana acts — because I think a lot of people who go to these festivals have eclectic tastes,” O’Rear said. “And I think Bonnaroo is better for it.” What do you think of this year’s Bonnaroo lineup? Let us know in the comments! Related Photos Bonnaroo 2011 Lineup Related Artists Lil Wayne Eminem

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Does Bonnaroo Lineup Stray Too Far From Roots With Eminem, Lil Wayne?