52nd Grammy awards

As somewhat of a running joke, show-opening moderator and humorist Stephen Colbert over and over asked his little girl, sitting in the GRAMMY group of onlookers, in the event that he was cool. The reliable answer: not really. 

At the point when Colbert won the Best Comedy Album GRAMMY later in the appear, he posed the question again amid his acknowledgment discourse. This time he got a gesture of the head from his now-pleased little girl. Ok, the force of a GRAMMY. 

There were a considerable measure of cool happenings at the 52nd GRAMMY Awards on Jan. 31, 2010. It was surely a cool night for Beyoncé. The R&B artist got six GRAMMYs, a record for a female craftsman at the time, winning six of 10 assignments — Song Of The Year, Best Female Pop Vocal Performance, Best Female R&B Vocal Performance, Best Traditional R&B Vocal Performance, Best R&B Song, and Best Contemporary R&B Album. 

It was practically a similarly cool night for nation sensation Taylor Swift, the night's runner-up with a noteworthy four GRAMMY wins, including Album Of The Year for Fearless. More amazing, at 20 years old Swift turned into the most youthful craftsman to get Album Of The Year respects. 

Yet there was still more cool to go around. The Black Eyed Peas and Kings Of Leon won three GRAMMYs each, the last grabbing the desired Record Of The Year for "Use Somebody." Picking up two GRAMMYs each were Eminem, banjo maestro Béla Fleck, author Michael Giacchino, Lady Gaga, Maxwell, Jason Mraz, and conductor Michael Tilson Thomas. 

Be that as it may, maybe the majority of the cool lay in a show of sensational exhibitions. The broadcast commenced in excellent manner with Lady Gaga opening the celebrations solo, rising in a green-sequined bodysuit with heavenly attendant wings, quickening from a murmur to a capable thunder for her No. 1 "Poker Face," encompassed by an armada of male artists. At that point, she confronted a rhinestoned Sir Elton John from inverse closures of a couple of conjoined pianos for a couple of melodies: her "Astounded" and his "Your Song." The blending denoted a sort of family tree of sparkle pop stars. 

Jennifer Lopez then presented the cast of "American Idiot," a Broadway show in view of the hit Green Day collection. The cast sent huge Broadway voices for an interpretation of "21 Guns" before Green Day themselves thundered into the spotlight, helping the world to remember the improbable yet developing hybrid in the middle of Broadway and rock. 

Beyoncé took all out order of the stage to open her execution. In the wake of parading down the path with a SWAT group of artists, she propelled wildly into "In the event that I Were A Boy," at one point dropping to one knee before a horde of clench hand pumping fans before segueing into an adaptation of Alanis Morissette's "You Oughta Know," demonstrating she can likewise shake. 

Pink walked onto the stage solo to sing the tender "Sparkle In The Air." Despite a peaceful begin, her trademark guts and elegance were on full show as she slipped out of a white robe and into a swing that lifted her high over the stage, a gymnastic move that saw her suspended upside down and washed in dribbling water, adding dramatization to a challenging execution. 

It was bound to be a decent night for the Black Eyed Peas, selected for six GRAMMYs. An in vogue Fergie, will.i.am, apl.de.ap, and Taboo lit into "Imma Be," skipping and hip-shaking before ricocheting in time nearby a group of moving robots to their inescapable crush "I Gotta Feeling." 

Woman Gaga wasn't the main Lady sensation in participation at the 52nd GRAMMY Awards. Woman Antebellum, who got a GRAMMY for Best Country Performance By A Duo Or Group With Vocals, sang the sincere "Need You Now," the title track from their 2010 collection, with consonant beauty and nation attractiveness. 

The multitalented Jamie Foxx tossed the group of onlookers a curveball, acting like a shrouded musical show vocalist, however in short request got the group feeling free nearby partner T-Pain — who was camouflaged quickly as a bewigged conductor — with the infectious hit "Point the finger at It." By execution end, Foxx was strutting, T-Pain's fears were shaking, and Slash joined the fun, including some wailing guitar fireworks. 

Best New Artist victors the Zac Brown Band struck a devoted harmony by opening a nation bound mixture with "America The Beautiful." Leon Russell, brilliant at the piano with his long white facial hair, then joined in for "Dixie Lullaby." Brown, the band's colossal voiced vocalist, shut the variety with a vibe decent acoustic impact of their No. 1 nation hit "Southern style." He topped the execution with a blazing solo on his nylon-string guitar, adding fuel to the band's choice as best newcomers. 

Quick and the widely adored singing tramp, Stevie Nicks, would at first look appear to have little in like manner. Quick sings as though perusing from her own particular journal, as she did on "Today Was A Fairytale," and Nicks — with streaming sleeves and suggestive verses — made her name on riddle. Be that as it may, when Nicks joined Swift for Fleetwood Mac's work of art "Rhiannon," the two voices mixed to uncover something without a moment's delay sweet yet knowing. Scratches adhered around to assist on Swift's "You Belong With Me," including vocal profundity and shaking her mark tambourine. 

Lionel Richie presented the night's Michael Jackson tribute. Celine Dion drove a top pick, 3-D version of "Earth Song," fitting with Usher before Carrie Underwood, Jennifer Hudson and Smokey Robinson joined in. As the tune worked to its emotional crescendo, every hotshot alternated soliciting, on benefit from Mother Earth, the melody's stirring gospel hold back, "Shouldn't something be said about us?" while cameras panned to an entranced gathering of people in red-and-blue glasses. 

Straightforwardly after the execution, Jackson's kids Prince and Paris made that big appearance to acknowledge their dad's Lifetime Achievement Award. Eyes around the crowd loaded with tears as the kids conveyed touching talks to pay tribute to their dad. 

While Bon Jovi would make that big appearance to perform two foreordained melodies, the gathering of people — which had put votes up until the band's execution at CBS.com — picked the gathering's No. 1 great "Livin' On A Prayer" as the third part of the mixture. (Then again, as Ke$ha said of the voting before at night: "It's your opportunity to supervisor around a major rock band.") The imperishable Jon Bon Jovi drove his Jersey-reproduced bandmates on the gathering's song of praise of trust, "We Weren't Born To Follow." Sugarland's Jennifer Nettles joined Bon Jovi for their GRAMMY-winning two part harmony "Who Says You Can't Go Home," and Nettles stayed in front of an audience for "… Prayer," offering the band some assistance with closing out the variety with trademark high vitality. 

Wyclef Jean, a local of Haiti, expressed gratitude toward the United States for its liberality in the wake of the staggering seismic tremor that struck the island. He presented Mary J. Blige and Andrea Bocelli, who teamed for a smooth two part harmony of Simon And Garfunkel's work of art "Extension Over Troubled Water" — which is commending the 40th commemoration of its GRAMMY win for Record Of The Year. The execution was made accessible at iTunes.com/Target to raise stores for tremor help. 

Entertainer Adam Sandler saluted the Dave Matthews Band on their twentieth commemoration before the gathering dispatched into "You And Me" from the Album Of The Year-named Big Whiskey And The GrooGrux King. A string area and individuals from the GRAMMY Jazz Ensembles supported the peppy execution that fortified the explanations behind the band's life span: a feeling of musical experience, boundless creative ability and, conceivably, freewheeling moving that owes more to in-the-minute feeling than great preparing. 

Maxwell, who was selected for six GRAMMYs, might have vanished from music for a couple of years, yet he — like Roberta Flack, with whom he shared a delicate two part harmony on the work of art "Where Is The Love" — was not effortlessly overlooked. Flack's rich vocals fit like a glove around Maxwell's hot neo-soul vocal tone. What's more, however Flack's voice can't resist the urge to conjure '70s wistfulness, Maxwell's present day touches saturated the melody with retro-hip gorgeousness. The easy appeal of his opener "Pretty Wings," from his GRAMMY-winning collection Blacksummers' Night, in a split second got to the heart of why Maxwell was woefully missed amid his long break. 

Les Paul, the unique artist and guitar trend-setter who kicked the bucket in 2009, was regarded with a cheerful and plainly genuine execution by GRAMMY-winning guitar legend Jeff Beck — who fittingly displayed a Gibson Les Paul — and vocalist Imelda May on the chestnut "How High The Moon." 

Consolidate rappers Drake, Eminem and Lil Wayne and what you get is a mess of swagger and identity in one GRAMMY execution. On the "Drop The World"/"Everlastingly" variety, Lil Wayne slinked the stage and Eminem spat forcefully before Drake fell into present confirmation of his mic ability. The hip-jump genius trio meant one of the night's most pumped-up exhibitions, giving an interspersing finale to the night's musical lineup. 

The night's last statue was exhibited to Swift for Album Of The Year, which the youthful artist/musician acknowledged with energetic extravagance and a shocking long haul perspective: 

"This is the story," Swift said, topping the night, "when we are 80 years of age, and we are telling the same stories again and again to our grandkids, and they are so irritated with us, this is the story we will be advising … in 2010 we got the chance to win Album Of The Year at the GRAMMYs!" 

Presently, that is simply cool.