Grammy Awards 2012: in pictures

Adele thanks "doctors who brought my voice back" as she takes home six Grammys.

Record of the year: Adele, "Rolling In The Deep"

Album of the year: Adele, 21

Song of the year: Adele Adkins and Paul Epworth (song writer award), "Rolling In The Deep"

Best new artist: Bon Iver

Best pop solo performance: Adele, "Someone Like You"

Best rock album: Foo Fighters, Wasting Light

Best pop duo: Tony Bennett and Amy Winehouse, "Body and Soul"

Best pop vocal album: Adele, 21

Best rap album: Kanye West, My Beautiful Dark Twisted Fantasy

Best pop instrumental album: Booker T. Jones, The Road From Memphis

Best dance record: Skrillex, Scary Monsters and Nice Sprites

Best dance/electronica album: Skrillex, Scary Monsters and Nice Sprites

Best traditional pop vocal album: - Tony Bennett & Various Artists, Duets II

Best rock performance: Foo Fighters, "Walk"

Best hard rock/metal performance: Foo Fighters, "White Limo"

Best rock song: Foo Fighters (songwriters), "Walk"

Best alternative music album: Bon Iver, Bon Iver

Best R&N performance: Corinne Bailey Rae, "Is This Love"

Best traditional R&B performance: Cee Lo Green & Melanie Fiona, "Fool for You"

Best R&B song: Cee Lo Green, Melanie Hallim, Jack Splash (songwriters), "Fool for You"

Best R&B album: Chris Brown, F.A.M.E

Best rap performance: Jay-Z & Kanye West, "Otis"

Best rap/sung collaboration: Kanye West, Rihanna, Kid Cudi & Fergie, "All of the Lights"

Best rap song: Jeff Bhasker, Stacy Ferguson, Malik Jones, Warren Trotter & Kanye West (songwriters), "All of the Lights"

Best country solo performance: Taylor Swift, "Mean"

Best country duo/group performance: The Civil Wars, "Barton Hollow"

Best country song: Taylor Swift (songwriter), "Mean"

Best country album: Lady Antebellum, Own The Night

Best new age album: Pat Metheny, What's It All About

Best improvised jazz solo: Chick Corea, "500 Miles High"

Best jazz vocal album: Terri Lyne Carrington & Various Artists, The Mosaic Project

Best jazz instrumental album: Corea, Clarke & White, Forever

Best large jazz ensemble album: Christian McBride Big Band, The Good Feeling

Best gospel/contemporary Christian music performance: Le'Andria Johnson "Jesus"

Best gospel song: Kirk Franklin (songwriter), "Hello Fear"

Best contemporary Christian music song: Laura Story (songwriter), "Blessings"

Best gospel album: Kirk Franklin, Hello Fear

Best contemporary Christian music album: Chris Tomlin, And If Our God Is for Us...

Best Latin pop, rock or urban album: Mana, Drama y Luz

Best regional Mexican or Tejano album: Pepe Aguilar, Bicentenario

Best Banda or Norteno album: Los Tigres Del Norte, Los Tigres Del Norte and Friends

Best tropical Latin album: Cachao, The Last Mambo

Best Americana album: Levon Helm, Ramble at the Ryman

Best bluegrass album: Alison Krauss & Union Station, Paper Airplane

Best blues album: Tedeschi Trucks Band, Revelator

Best folk album: The Civil Wars, Barton Hollow

Best regional roots music album: Rebirth Brass Band, Rebirth of New Orleans

Best reggae album: Stephen Marley, Revelation Pt. 1: The Root of Life

Best world music album: Tinariwen, Tassili

Best children's album: Various Artists, All About Bullies ... Big and Small

Best spoken word album: Betty White, If You Ask Me (And Of Course You Won't)

Best comedy album: Louis C.K., Hilarious

Best musical theatre album: The Book of Mormon

Best short form music video: Adele, "Rolling in the Deep"

Best long form music video: Foo Fighters, "Foo Fighters: Back and Forth"

All photos: Getty Images

Alice Gribbin is a Teaching-Writing Fellow at the Iowa Writers' Workshop. She was formerly the editorial assistant at the New Statesman.

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It's easy to see where Berlin is being rebuilt – just hit the streets

My week, from walking the streets of Berlin to class snobbery and the right kind of gentrification.

Brick by brick, block by block, the people are rebuilding the city once called Faust’s Metropolis. To see it clearly, put your boots on. One of the most bracing walks starts by the Gethsemane Church, which served as a haven for dissenters in the last days of the GDR and takes you down ­towards the Hackescher Markt.

Here, in what is still the eastern half of a divided city that wears its division more lightly, is a Berlin experience both old and new. In three decades of frequent visits, it has been fascinating to note how much this part of town has changed. Even a decade ago these streets were rundown. With crumbling buildings showing bulletholes, it wasn’t hard to imagine what the place looked like in 1945. Now there are lilacs, blues, and yellows. Cafés, bars and restaurants abound, serving the young professionals attracted to the city by cheap rents and a renewed sense of community.

 

Breaking the fourth wall

Looking north along Schliemannstraße, you’ll find a delightful vista of well-tended balconies. It’s a pleasant place to live, notwithstanding the gaggle of grotesques who gather round the corner in the square. On Kastanienallee, which forms the second leg of the walk, an old city feels young. It’s a kind of gentrification but the right kind. There’s more to eat, to drink, to buy, for all.

Berlin, where Bertolt Brecht staged his unwatchable plays, was supposed to have been transformed by a proletarian revolution. Instead, it has been restored to health by a very middle-class one. Germany has always had a well-educated middle class, and the nation’s restoration would have impossible without such people. The irony is delicious – not that irony buttered many parsnips for “dirty Bertie”.

 

The new snobbery

The British Museum’s survey of German history “Memories of a Nation” is being presented at the Martin-Gropius-Bau as “The British View”. Germans, natürlich, are curious to see how we observe them. But how do they see us?

A German friend recently in England  said that the images that struck him most forcibly were the tins of food and cheap booze people piled up in supermarkets, and the number of teenage girls pushing prams. Perhaps Neil MacGregor, the former director of the British Museum who will shortly take up a similar role here at the new Humboldt Forum, may turn his attention to a “German View” of the United Kingdom.

There’s no shortage of material. In Schlawinchen, a bar that typifies Kreuzberg’s hobohemia, a college-educated English girl was trying to explain northern England to an American she had just met. Speaking in an ugly modern Mancunian voice that can only be acquired through years of practice (sugar pronounced as “sug-oar”), she refer­red to Durham and York as “middle class, you know, posh”, because those cities had magnificent cathedrals.

When it comes to inverted snobbery, no nation can match us. To be middle class in Germany is an indication of civic value. In modern England, it can mark you as a leper.

 

Culture vultures

The Humboldt Forum, taking shape by the banks of the Spree, reconsecrates the former site of the GDR’s Palace of the Republic. When it opens in 2018 it will be a “living exhibition”, dedicated to all the cultures of the world. Alexander von Humboldt, the naturalist and explorer, was the brother of Wilhelm, the diplomat and philosopher, whose name lives on in the nearby university.

In Potsdamerplatz there are plans to build a modern art museum, crammed in between the Neue Nationalgalerie and the Philharmonie, home to the Berlin Philharmonic. Meanwhile, the overhaul of the Deutsche Staatsoper, where Daniel Barenboim is music director for life, is likely to be completed, fingers crossed, next autumn.

Culture everywhere! Or perhaps that should be Kultur, which has a slightly different meaning in Germany. They take these things more seriously, and there is no hint of bogus populism. In London, plans for a new concert hall have been shelved. Sir Peter Hall’s words remain true: “England is a philistine country that loves the arts.”

 

European neighbours

When Germans speak of freedom, wrote A J P Taylor, a historian who seems to have fallen from favour, they mean the freedom to be German. No longer. When modern Germans speak of freedom, they observe it through the filter of the European Union.

But nation states are shaped by different forces. “We are educated to be obedient,” a Berlin friend who spent a year at an English school once told me. “You are educated to be independent.” To turn around Taylor’s dictum: when the English speak of freedom,
they mean the freedom to be English.

No matter what you may have heard, the Germans have always admired our independence of spirit. We shall, however, always see “Europe” in different ways. Europe, good: we can all agree on that. The European Union, not so good. It doesn’t mean we have to fall out, and the Germans are good friends to have.

 

Hook, line and sinker

There are fine walks to be had in the west, too. In Charlottenburg, the Kensington of Berlin, the mood is gentler, yet you can still feel the city humming. Here, there are some classic places to eat and drink – the Literaturhauscafé for breakfast and, for dinner, Marjellchen, a treasure trove of east Prussian forest delights. Anything that can be shot and put in a pot!

For a real Berlin experience, though, head at nightfall for Zwiebelfisch, the great tavern on Savignyplatz, and watch the trains glide by on the other side of Kantstraße. Hartmut Volmerhaus, a most amusing host, has been the guvnor here for more than 30 years and there are no signs that his race is run. The “Fisch” at twilight: there’s nowhere better to feel the pulse of this remarkable city. 

This article first appeared in the 01 December 2016 issue of the New Statesman, Age of outrage