My Grammys: Weird Al, David Sedaris and More Remember the Big Night

Margaret Cho, Nate Ruess, Mastodon and Giorgio Moroder share stories from backstage

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Basement Jaxx's Felix Buxton
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Frank Micelotta/Getty4/8

Basement Jaxx's Felix Buxton

One Win: Best Electronic/Dance Album (2005)

I thought, "If we're getting a Grammy, we definitely want to be there." We were trying to find out before if we were going to get it, but they didn't let us know. So we had to go there and wait for hours while they gave Best Polka award, best whatever and whatever. But for us, it was great. You see all the cartoon characters, and Beyoncé and Snoop Dogg all rubbing shoulders with each other. It's quite entertaining, and to see what a business it is, particularly the big American acts, to see how much their PR agents were involved.

It's a circus, and it's great to kind of witness it. I remember afterwards Usher had some party, an afterparty that everyone wanted to go to, which it took me absolutely ages to plug into. There were hundreds of people outside all going, really stressed and wanting to get in there. Then I eventually managed to get us in, and it was just everyone pointing their phones, videoing Usher and Tarantino, and it was a rubbish party. [Laughs.] I thought, "How ridiculous?" It was really amazing to see the whole hype machine and the big bullshit factor — the people waiting outside and then getting in there to see that this is all there is. I feel like that was the same thing as the Grammys. You're seeing the whole red carpet thing and people beating themselves up and working out that it's a real industry. We came from a point of doing our music where it was like a scene. It was not to do with this big, corporate pop industry. For us, it was one of the first times seeing that.

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