This video by Pierre Chauffor of climbers walking the highline over the river Verdon in France gives the new meaning to the word balance. The entire experience looks exhilarating. Watch the whirlwind of emotion around the 2:10 mark. Please follow Business Insider on Twitter and Facebook . Join the conversation about this story » Broadcasting platform : Vimeo Source : The Business Insider Discovery Date : 03/05/2012 05:15 Number of articles : 2
Find out who took home Grammys at the biggest night in music. Adele accepts the award for Best Pop Solo Performance at the Grammys on Sunday Photo: John Shearer/ WireImage Who took home the most awards on the biggest night in music? Adele, Foo Fighters and Kanye West led the charge in a night that saw plenty of excitement around dance music, compelling country performances and tributes to the late Whitney Houston. Check out the selected list of major Grammy winners below, and see the complete list at Grammy.com . Watch highlights from the Grammy Awards and Red Carpet. Record Of The Year WINNER: “Rolling In The Deep” – Adele “Holocene” – Bon Iver “Grenade” – Bruno Mars “The Cave” – Mumford & Sons “Firework” – Katy Perry Album Of The Year WINNER: 21 – Adele Wasting Light – Foo Fighters Born This Way – Lady Gaga Doo-Wops & Hooligans – Bruno Mars Loud – Rihanna Song Of The Year WINNER: “Rolling In The Deep” – Adele “All Of The Lights” – Kanye West “The Cave” – Mumford & Sons “Grenade” – Bruno Mars “Holocene” – Bon Iver Best New Artist WINNER: Bon Iver The Band Perry J. Cole Nicki Minaj Skrillex Best Pop Solo Performance WINNER: “Someone Like You” – Adele “Yo
Critics say the found-footage TV series, while scary, suffers from poor writing and one really annoying character. By Eric Ditzian Eloise Mumford and Joe Anderson in “The River” Photo: American Broadcasting Companies, Inc. “The River” carries a sense of pop culture inevitably in its shaky, grainy found-footage escapades. After “Paranormal Activity” resuscitated the horror subgenre with its wide release in 2009 — grossing $193 million worldwide and spawning two sequels and a slew of variously successful imitators — it was only a matter of time until found-footage scares arrived on network TV. Thankfully, that arrival comes courtesy of “Paranormal” mastermind Oren Peli . “The River,” premiering on ABC on Tuesday at 9 p.m. ET, borrows liberally from Peli’s hit film franchise (as well as from past network hits like “Lost”) in a midseason replacement that sees a crew venture into the Amazon to locate a missing explorer named Emmet Cole. The question, of course, is whether “The River” can replicate the successes of its wildly popular forbearers (or, perhaps, the been-there-found-that disappointments of other genre copycats). Critics, at this point, are split. Some have found the series satisfyingly scary. Others have faulted the show’s weak character development. For those critiques and more, read on for a deep dive into reviews of “The River.” The Storyline “[‘The River’] is a nifty supernatural adventure tale set in mysterious river-riven regions of the uncharted Amazon. Topographically speaking, it is ‘Lost’ inside-out. The story is this: Emmet Cole (Bruce Greenwood), a world-beloved, globe-trotting ‘Crocodile Hunter’ sort, has gone missing. Six months after his disappearance, an emergency beacon begins suddenly transmitting and his former crew and co-stars, including his wife and son and the daughter of his also-missing cameraman, head into the jungle to find him, with TV cameras rolling. Emmet’s television catch phrase, ‘There’s magic out there,’ will prove to be presciently literal.” — Robert Lloyd, Los Angeles Times The Comparisons “There are so many moments in ABC’s ‘The River’ when you want to congratulate its creators for trying a little more blatantly to be ‘Lost’ than others will admit, and there are other times when you think, ‘Wow, ‘Paranormal Activity’ on a weekly basis, with a touch of ‘Heart of Darkness,’ might be interesting, too.’ Quick camera cuts, people in peril, freaky and scary happenings — what’s not to like? Put them together, and you have a series that cobbles together a pretty strong rooting interest. We all need a show like this on the small screen again. But is there really a weekly series here?” — Tom Goodman, The Hollywood Reporter The Writing “[W]hen the characters start to talk to each other? ‘The River’ just feels like one poorly written TV show. ‘The River’ is swimming in bad dialogue and clich
The great Fifth Generation filmmaker Zhang Yimou has gone from having films like Ju Dou and Raise the Red Lantern banned in his homeland of China to directing the lavish opening and closing ceremonies of the Beijing Olympics, his more recent work taking place in the safer territory of the grandiose historical melodrama of Curse of the Golden Flower and the Nicholas Sparks-worthy sentimentality of Under the Hawthorn Tree . Zhang has insisted that he’s not interested in politics, a tack that certainly seems to have its benefits: With an estimated budget of around $90 million, The Flowers of War is one of the most, if not the most, expensive Chinese production to date, it stars Christian Bale and it’s China’s Oscar submission. But that doesn’t mean that Zhang’s latest output should be dismissed offhand as nationalist propaganda. That the accusation’s been tossed at The Flowers of War , a big, button-pushing, brutally effective World War II-era drama, may be due to unfamiliarity with the atrocity during which it’s set — the Nanjing Massacre, during which hundreds of thousands of civilians were killed and tens of thousands raped by Japanese soldiers after the capturing of the city in December of 1937. It’s a horrific incident that remains relatively unexplored in popular culture, though Iris Chang’s bestselling book The Rape of Nanking , Bill Guttentag and Dan Sturman’s 2007 documentary Nanking , and Lu Chuan’s excellent City of Life and Death , which played in a few U.S. theaters last year, have brought it recent attention. Given that the massacre remains a painful point in China-Japan relations, and that certain far-right Japanese ultranationalists (like Tokyo governor Shintaro Ishihara) like to claim the massacre never took place and was invented to tarnish the image of Japan, it’s surprising that the Japanese soldiers don’t come off even less one-dimensional in Zhang’s film. The Flowers of War starts off with less context than I’ve given above, offering up a title card about “an especially dark chapter in human history” before dropping right into a destroyed Nanjing through which a scattering of schoolgirls runs, looking for shelter. Also scurrying through the wreckage and the piles of bodies is John Miller (Bale), an American mortician hired to bury the head of the local Catholic cathedral. While the ragged remains of the Chinese forces, led by Major Li (Tong Dawei), exchange fire with the Japanese troops, John discovers to his dismay that only students remain at the church — a group of adolescent convent girls and George (Huang Tianyuan), the orphan boy trying to serve as their caretaker. Finding no money for his fee, John settles into the late Father Engleman’s quarters to get trashed on Communion wine when a group of prostitutes arrives at the gates, having been promised sanctuary by the church’s cook, long since fled. Bale’s presence in the film is a kind of misdirect, a calculated element intended to better its international commercial prospects — his character makes a clumsily predictable journey from cynical drunken expat to hero willing to sacrifice a chance to escape the country in order to care for the children who’ve ended up in his charge. It’s the relationship between the famous “women of the Qinhuai River” and the frightened, sheltered girls that’s the stealthy heart of the film, the prostitutes sauntering in like brightly plumed birds and taking over the basement despite the protests of the cathedral’s scandalized remaining inhabitants, settling in to gamble and gossip. Yu Mo (Zhang discovery Ni Ni), the “top girl,” sets out to seduce John, knowing that as a Westerner he’ll be spared by the invading troops and might be able to help them escape. Meanwhile, the girls’ experience is filtered through Shujuan (Zhang Xinyi), who refused to leave the city without her schoolmates, and whose father (Cao Kefan) is now working for the Japanese in order to stay nearby. Despite the church’s supposedly being protected, Japanese soldiers break down the door (“We’re got virgins!” one yells), and it’s only due to the intervention of Major Li, hiding nearby, that the girls are spared gang rape and that only two are left dead. The Flowers of War never errs on the side of the overly nuanced — a soaring chorus accompanies moments of grace, and beyond a setup based on the looming threat of sexual violence to 12-year-old girls, the film features multiple characters sacrificing themselves to protect the youngsters, from Major Li, who fends off a platoon singlehandedly in an over-the-top but masterfully shot action sequence, to John, in his trek toward redemption, to the prostitutes, who end up offering themselves in the place of the children. A particularly harsh digression in which two of the latter travel back to their brothel to retrieve precious items they left there seems included only to reinforce the terrible fate awaiting any women who fall into the hands of the Japanese soldiers. Colonel Hasegawa (Atsuro Watabe), is the lone Japanese officer who’s not portrayed as a complete savage, though he’s still bound to follow orders, no matter how distasteful. But while it’s as blunt as any typical big-budget war epic would be, the film finds plenty of moments in which Zhang’s skill as a filmmaker and his deft handling and interest in female characters shines, from the way Shujuan serves as a far-too-young witness to these horrors, the camera often closing in on her gaze through a fracture in the cathedral’s rose window, to a sequence in which John cuts the prostitutes’ hair as they sleep (he knows how to work on people only when they’re lying down), so that they rise fresh-faced, with schoolgirl bobs. The enchantment with which the film views the Qinhuai ladies goes beyond any simple hookers-with-hearts-of-gold conceit — an imagined moment in which they sing while strolling through the church finds in them a magic that circumvents the victimization of their circumstances, a vision of lost decadence amidst the devastation. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .
As everyone looks back on the year that was, I’ve found myself returning to a few moments in the movies that resonated especially well thanks to a phenomenon that achieves soul-stirring status so rarely, though not for lack of frequency: Song choice. I’m not talking about dropping the latest Kelly Clarkson/Natasha Bedingfield ditty into a crap rom-com. I mean the special, skin-tingling magic that occurs when a song is married so perfectly to a character, story, or feeling that the music and the moment swell within us with new, layered meaning. Join me and let’s hash it out: Which movie(s) used music the best in 2011? This is certainly a subjective topic, but consider the lost art of meshing music (songs, not score; pre-existing or original recordings) to film. “Mrs. Robinson” in The Graduate . “Over the Rainbow” in The Wizard of Oz ! Where were our iconic movie-music moments in 2011? For me it comes down to two films: Jonathan Levine’s 50/50 and Nicholas Winding Refn ‘s Drive , two very different offerings with wildly divergent sounds that nevertheless have stuck in my mind and my senses, indelibly tied to the musical choices within. 50/50 : “Yellow Ledbetter” Despite being shot in Vancouver, Jonathan Levine’s 50/50 was about a 27-year-old Seattle man facing cancer, so maybe that bit of intent factored into Levine’s use of Pearl Jam in his end credits; in any case, using the “Jeremy” B-side “Yellow Ledbetter” to close the film was an inspired choice. As Adam ( Joseph Gordon-Levitt ), having survived cancer, tentatively embarks on his first date with Katie (Anna Kendrick) — the start of new possibilities, a new hope — the strains of “Yellow Ledbetter” tentatively begin. And while nobody really knows the actual words that are coming out of Eddie Vedder’s mouth, there’s an optimistic melancholy to the song that just works. Legend has it Vedder wrote the song after walking with a friend who’d just learned his brother had died in the Gulf War, watching as patriotic neighbors shunned the grieving friend; easy to see how thematically this works with Adam’s movie ending, having been in close proximity to death while everyone else — except that one special someone — doesn’t quite understand. Honorable mention: 50/50 ‘s use of Radiohead’s “High & Dry” as Adam learns he has cancer. Drive : “Tick of the Clock”/”Oh My Love” But let’s be honest — the entire Drive soundtrack has been in heavy rotation for me and many others all year, and I’ve raved about it here so much already. But a closer examination of how Refn uses his song selections is worth a look, Cliff Martinez’s throbbing score notwithstanding. Two scenes in particular conjure that magical musical feeling for me. One is the early getaway scene in which the pulsating beat of Chromatics’ “Tick of the Clock” sneaks in as Ryan Gosling ‘s Driver is introduced during his latest getaway job. His clients have taken too much of their five-minute window, the cops are wising up, and the clock is literally ticking; Johnny Jewel’s beat kicks in as the real action starts, accelerating and swelling as this simple job turns into a chase. It’s pure aural adrenaline we hear, approximating the same daredevil juices that flow through Gosling’s calm, coiled being. Like the track itself, Gosling is just so motherfucking cool . It’s a brilliant way to jump into Driver’s life in a snapshot that instantly informs us of who he is, what he does, and that he’s cruising on the razor edge of danger. The better song in Drive , however, is also the most underappreciated track in the bunch, possibly of the year: Riz Ortolani’s original recording of “Oh My Love,” sung by Katyna Ranieri decades ago. Recall the film’s turning point, as the soaring operatic tune plays while Driver finds Shannon (Bryan Cranston) dead, then stalks and confronts Ron Perlman’s Nino — the most imposing of his enemies, even if Albert Brooks’ Bernie Rose emerges as the one to be feared the most — culminating in a moonlit beach attack. Now, in a soundtrack filled with contemporary electro tracks (including College’s “A Real Hero,” the theme song of Drive ) and fleshed out by Martinez’s complimentary score, “Oh My Love” seems an oddity — but it’s the most inspired, and the most brilliant choice of them all. Originally recorded circa 1971 for the infamous Italian exploitation flick Addio Zio Tom ( Goodbye Uncle Tom ), a mondo faux-documentary about American slavery reviled for its terribly misguided content, the song is a beautifully evocative, lyrical ode to the inherent darkness in our nature — but also to the redemptive potential in man. Take a closer look at the lyrics, and watch the sequence in which it appears: Oh my love, look and see The sun rising from the river Nature’s miracle once more will light the world But this light is not for those men Still lost in an old black shadow Won’t you help me to believe that they will see A day, a brighter day When all the shadows will fade away That day I’ll cry that I believe That I believe Oh my love High above us The sun now embraces nature And from nature we should learn that all can start again As the stars must fade away To give a bright new day It’s a sequence featuring a swirl of emotion and action — sadness, hope, revenge, bloodlust — marking the moment when Driver, pushed to the brink, throws any chance for a peaceful happy ending away and instead embraces the darkness within. This is the defining moment for Driver, and for Drive , the instant in which our hero truly becomes an anti-hero, choosing to avenge Shannon and preemptively protect Irene over the possibility of running away with her and Benicio — a future in which they would have run, together, but would’ve always lived in fear of retribution. Ortolani and Ranieri’s song perfectly illuminates Driver’s place in this world of hard, dangerous men, but it also, importantly, gives us hope for his future. So, gauntlet thrown: Do you have a better pick for best song use in the movies this year? Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
‘Doctor Who’ and ‘Community’ stars also make MTV News’ top 50. By MTV News staff Joseph Morgan as Klaus on “The Vampire Diaries” Photo: Bob Mahoney/ CW What do Mandy Patinkin, Anthony Bourdain and Aaron Paul all have in common? They’re all on MTV News’ list of the Top 50 TV Characters of 2011, for one thing — and for very different reasons too! Whether it’s Patinkin busting terrorists as the Jewish Jack Bauer on “Homeland,” Bourdain traveling the globe for his two Travel Channel shows or Paul up to no good again on “Breaking Bad,” each one of these actors — and more, mind you — are easily among the best television characters of the year. See who else ranked up there with Mandy, Tony and Aaron as our countdown of 2011’s Top 50 TV Characters continues! 30. Adam Demamp (“Workaholics”) “Workaholics” is the best new show on television, and Adam is the best character. I can’t actually verbalize why he’s so amazing, so here’s a list of memories: 1. When he entered a bodybuilding contest; 2. When he couldn’t party at Hedonism II because his penis fell off; 3. When he explained that Fred Durst is “a dry guy.” Honestly, you kind of had to be there. But rest assured, it’s worth going! -Rya Backer 29. Tammy One (“Parks and Recreation”) As you read this, Tammy 1 might be out there in the world plotting some terrible ways to make Ron Swanson’s life a living nightmare. Cold, calculated and a complete sociopath, Patricia Clarkson’s interpretation of the most feared person to ever walk through Pawnee, Indiana, is nothing less than brilliant. Plus, any woman who can convince Ron that voluntarily shaving off his signature mustache is good for him gets a free pass to be on this list. -Jocelyn Vena 28. Saul Berenson (“Homeland”) To the young patriots out there who are thinking about a career with the CIA, please first consider the life of Saul Berenson, Mandy Patinkin’s character on “Homeland.” It’s a life filled with high-pressure days and lonely nights that often include eating in a dark, empty office, spreading peanut butter with a ruler found in a desk drawer. Yet even while carrying the weight — and fate — of the world on his shoulders, Berenson manages to do it with a wicked sense of humor. And mellow, even-keeled Berenson is a great foil for his moody, impulsive prot
Six-minute sequence will run on select IMAX screens before ‘Mission: Impossible – Ghost Protocol’ showings. By Kevin P. Sullivan Christian Bale and Tom Hardy on the set of “Dark Knight Rises” Photo: Getty Images Well, it took long enough. Warner Bros. has finally pulled back the curtain on the hotly anticipated six-minute opening sequence from “The Dark Knight Rises.” /Film originally broke the story in October, reporting that a short prologue would run on select IMAX screens before showings of “Mission: Impossible – Ghost Protocol.” For over a month, the studio had remained silent on the topic, and when the AMC theater chain released a statement confirming the report , the post was removed soon afterward. When the MPAA handed down a PG-13 rating for the prologue alone, the event was all but confirmed. Now, an official statement from Warner Bros. is reiterating most everything previously said about the preview. It will last six minutes and consist of the film’s first sequence. The clip was shot on the IMAX 15 perf 65mm/70mm film that director Christopher Nolan used for several key action sequences during “The Dark Knight.” There has been much speculation about the content of the preview. This month’s issue of Empire confirmed that the prologue would introduce Tom Hardy ‘s Bane. Unfortunately for some Batman fans, as previously stated, the “Dark Knight Rises” prologue will only play before “Ghost Protocol” on screens using true 70mm IMAX projection, so theaters with the more common digital projection will not get the preview. All told, only 42 screens in the U.S. and Canada will show it. Here is a list of the theaters where you can catch the “Dark Knight Rises” prologue starting December 16: Austin, TX – IMAX Theater Austin Boston, MA – Jordan’s IMAX – Natick Boston, MA – IMAX 3D Theatre in Reading Calgary, AB – Scotiabank Theatre Chinook 16 Chantilly, VA – Udvar-Hazy Center IMAX Chicago, IL – Navy Pier IMAX Theatre Des Moines, IA – SCI IMAX Dome Theater Detroit, MI – Henry Ford IMAX – Dearborn Edmonton, AB – Scotiabank Theatre Edmonton Harrisburg, PA – Whitaker Center for Science & the Arts Houston, TX – Houston Marq*e Stadium 22 + IMAX Indianapolis – White River IMAX Los Angeles, CA – Irvine Spectrum 21 + IMAX – Irvine Los Angeles, CA – RAVE 18 + IMAX Los Angeles, CA – Ontario Palace Stadium 22 + IMAX – Ontario Los Angeles, CA – CityWalk Stadium 19 with IMAX – Universal City Madison, WI – Star Fitchburg 18 with IMAX – Fitchburg Miami, FL – AutoNation IMAX – Fort Lauderdale Minneapolis, MN – Great Clips IMAX – Apple Valley Montreal, QC – Cinema Banque Scotia Montreal Nashville,TN – Opry Mills Stadium 20 + IMAX New York, NY – Lincoln Square 13 with IMAX New York, NY – Palisades IMAX – West Nyack Omaha, NE – Star Cinema 16 with IMAX – Council Bluffs Orlando, FL – Regal Pointe Orlando Stadium 20 + IMAX Ottawa, ON – SilverCity Gloucester + IMAX – Gloucester Palm Springs, CA – Desert IMAX Theatre – Cathedral City Philadelphia, PA – IMAX at the Tropicana – Atlantic City Philadelphia, PA – Tuttleman IMAX – Franklin Institute Phoenix, AZ – Arizona Mills 25 with IMAX – Tempe Providence, RI – Providence Place 16 with IMAX Quebec City, QC – IMAX Le Theatre At Quebec Sacramento, CA – Esquire IMAX San Antonio, TX – IMAX at RiverCenter San Francisco, CA – Metreon 16 with IMAX & ETX Seattle, WA – Boeing IMAX – Pacific Science Center Tampa, FL – Museum of Science and Industry Toronto, ON – Coliseum 12 Mississauga + IMAX Toronto, ON – Scotiabank Theatre Toronto + IMAX Toronto, ON – Colossus 18 Woodbridge + IMAX – Woodbridge-Vaughan Vancouver, BC – Colossus Langley + IMAX – Langley Vancouver, BC – SilverCity Riverport + IMAX – Richmond Check out everything we’ve got on “The Dark Knight Rises.” For breaking news and previews of the latest comic book movies — updated around the clock — visit SplashPage.MTV.com . Related Videos Experts Analyze The ‘Dark Knight Rises’ Teaser Trailer Related Photos On The Set Of ‘The Dark Knight Rises’
The 2012 Grammy nominations are in! Kanye West leads the pack with 7 nominations, but the ladies are doing well also, with Rihanna following quickly behind with 6 nods. Adele is up for 5 awards, and Nicki Minaj has the chance at winning 3 statues. Momma-to-be Beyonce is only up for 1 this year, but we’re sure next winter will be different! Music’s biggest night will air live from L.A.’s Staples Center on Sunday, Feb. 12, at 8 p.m. on CBS. TOP AWARDS Album Of The Year Loud , Rihanna 21 , Adele Born This Way , Lady Gaga Doo-Wops & Hooligans , Bruno Mars Wasting Light , Foo Fighters Record Of The Year (Given to artist & producers) Rolling In the Deep , Adele Firework, Katy Perry Grenade, Bruno Mars Holocene , Bon Iver The Cave , Mumford & Sons Song Of The Year (Given to writer) All of the Lights (performed by Kanye West, Rihanna, Kid Cudi and Fergie) Rolling In the Deep (performed by Adele) Grenade (performed by Bruno Mars) The Cave (performed by Mumford & Sons) Holocene (performed by Bon Iver) Best New Artist Nicki Minaj J. Cole The Band Perry Bon Iver Skrillex R&B R&B Album F.A.M.E. , Chris Brown Love Letter , R. Kelly Pieces of Me , Ledisi Kelly , Kelly Price Second Chance , El DeBarge R&B Song (Given to writer) Far Away (performed by Marsha Ambrosius) Fool For You (performed by Cee Lo Green and Melanie Fiona) Not My Daddy (performed by Kelly Price and Stokley) Pieces of Me (performed by Ledisi) You Are (performed by Charlie Wilson) R&B Performance Far Away , Marsha Ambrosius Pieces of Me , Ledisi Not My Daddy , Kelly Price and Stokley Is This Love , Corinne Bailey Rae You Are , Charlie Wilson Traditional R&B Performance Fool for You , Cee Lo Green and Melanie Fiona Radio Message , R. Kelly Sometimes I Cry , Eric Benét Good Man , Raphael Saadiq Surrender , Betty Wright and The Roots POP Pop Vocal Album Loud , Rihanna 21 , Adele The Lady Killer , Cee Lo Green Born This Way , Lady Gaga Doo-Wops & Hooligans , Bruno Mars Pop Solo Performance Someone Like You , Adele Yoü And I , Lady Gaga Grenade , Bruno Mars Firework , Katy Perry F***in’ Perfect , Pink Pop Duo/Group Performance Paradise , Coldplay Moves Like Jagger , Maroon 5 and Christina Aguilera Body and Soul , Tony Bennett and Amy Winehouse Dearest , The Black Keys Pumped Up Kicks , Foster the People Traditional Pop Vocal Album Duets II , Tony Bennett and various artists The Gift , Susan Boyle In Concert on Broadway , Harry Connick Jr. Music Is Better Than Words , Seth MacFarlane What Matters Most , Barbra Streisand RAP Rap Album Watch the Throne , Jay-Z and Kanye West Pink Friday , Nicki Minaj My Beautiful Dark Twisted Fantasy , Kanye West Tha Carter IV , Lil Wayne Lasers , Lupe Fiasco Rap Song (Given to writer) Look At Me Now (performed by Chris Brown, Lil Wayne and Busta Rhymes) Otis (performed by Jay-Z and Kanye West) All of the Lights (performed by Kanye West, Rihanna, Kid Cudi and Fergie) Black and Yellow (performed by Wiz Khalifa) I Need A Doctor (performed by Dr. Dre, Eminem and Skylar Grey) The Show Goes On (performed by Lupe Fiasco) Rap Performance Look At Me Now , Chris Brown, Lil Wayne and Busta Rhymes Otis , Jay-Z and Kanye West Moment 4 Life , Nicki Minaj and Drake Black and Yellow , Wiz Khalifa The Show Goes On , Lupe Fiasco Rap/Sung Collaboration Party , Beyoncé and André 3000 I’m on One , DJ Khaled, Drake, and Lil Wayne I Need A Doctor , Dr. Dre, Eminem and Skylar Grey What’s My Name? , Rihanna and Drake Motivation , Kelly Rowland and Lil Wayne All of the Lights , Kanye West, Rihanna, Kid Cudi and Fergie DANCE Dance Recording Raise Your Weapon , Deadmau5 and Greta Svabo Bech Barbra Streisand , Duck Sauce Sunshine , David Guetta and Avicii Call Your Girlfriend , Robyn Scary Monsters and Nice Sprites , Skrillex Save the World , Swedish House Mafia Dance/Electronica album Nothing But the Beat , David Guetta Body Talk, Pt. 3 , Robyn Zonoscope , Cut/Copy 4×4=12 , Deadmau5 Scary Monsters and Nice Sprites , Skrillex ROCK Rock Album Rock ‘N’ Roll Party Honoring Les Paul , Jeff Beck Wasting Light , Foo Fighters Come Around Sundown , Kings of Leon I’m With You , Red Hot Chili Peppers The Whole Love , Wilco Rock Song (Given to writer) The Cave (performed by Mumford & Sons) Down By the Water (performed by The Decemberists) Every Teardrop Is A Waterfall (performed by Coldplay) Lotus Flower (performed by Radiohead) Walk (performed by Foo Fighters) Rock Performance Every Teardrop Is A Waterfall , Coldplay Down By the Water , The Decemberists Walk , Foo Fighters The Cave , Mumford & Sons Lotus Flower , Radiohead Hard Rock/Metal Performance On the Backs of Angels , Dream Theater White Limo , Foo Fighters Curl of the Burl , Mastodon Public Enemy No. 1 , Megadeth Blood In My Eyes , Sum 41 Alternative Album Bon Iver , Bon Iver Codes and Keys , Death Cab for Cutie Torches , Foster the People Circuital , My Morning Jacket The King of Limbs , Radiohead COUNTRY Country Album Speak Now , Taylor Swift My Kinda Party , Jason Aldean Chief , Eric Church Own the Night , Lady Antebellum Red River Blue , Blake Shelton Here for A Good Time , George Strait Country Song (Given to writer) Are You Gonna Kiss Me or Not (performed by Thompson Square) God Gave Me You (performed by Blake Shelton) Just Fishin’ (performed by Trace Adkins) Mean (performed by Taylor Swift) Threaten Me With Heaven (performed by Vince Gill) You and Tequila (performed by Kenny Chesney featuring Grace Potter) Country Solo Performance Dirt Road Anthem , Jason Aldean I’m Gonna Love You Through It , Martina McBride Honey Bee , Blake Shelton Mean , Taylor Swift Mama’s Song , Carrie Underwood Country Duo/Group Performance Don’t You Wanna Stay , Jason Aldean with Kelly Clarkson You and Tequila , Kenny Chesney featuring Grace Potter Barton Hollow , The Civil Wars Are You Gonna Kiss Me or Not , Thompson Square OTHER Producer (non-classical) The Smeezingtons Ryan Tedder Danger Mouse Paul Epworth Butch Vig Read more about the 2012 Grammy Award nominees by clicking here. RELATED: 2011 Grammys Red Carpet [PHOTOS] 53rd Grammy Awards Performances [VIDEO] Aretha Franklin Releases Statement On Fantasia Boycotting The Grammy’s Steve Stoute Says Grammys Are Out Of Touch With Popular Culture
