The other music awards

TIME was when the American Music Awards were a kind of alterna-Grammys: a younger, hipper award-show-as-event, big on performances and short on acceptance speech gush-fests. Thirty-three years in -- and two years after a stroke partially paralyzed the awards’ creator, Dick Clark -- the AMAs are a somewhat shaky franchise: Their ratings have been eroded by reality TV, their cultural cachet has been diminished by MTV’s Video Music Awards.

But Tuesday night’s American Music Awards, held at the Shrine Auditorium in Los Angeles, proved the show still delivers the genre-hopping sensory overload that has made it a music-industry institution.

Judging by explicit instructions the audience heard during a pre-show pep talk, AMA organizers intended for the show at least to seem like a giant fiesta.

“Make it sound like a big party,” a director urged. “What we’re here to do tonight is be part of the celebration of music. So make some noise for the 160 countries that will be watching. At parties you don’t sit!”

Taken together, the AMAs’ presenters and performers served as a kind of pop culture crazy quilt. Rascal Flatts’ upbeat rendition of “Life Is a Highway” segued clumsily into a gospel-tinged performance by Jamie Foxx. Multiplatinum-selling rock radio mainstays Nickelback, Pearl Jam and the Red Hot Chili Peppers vied for favorite artist in the “alternative” category. Us Weekly’s usual suspects -- Ashlee Simpson, Nicole Richie and Paris Hilton -- all turned up as presenters. Fire-spewing prop volcanoes a la “This Is Spinal Tap” were hauled out for a number by the comedy rock duo Tenacious D. And the rappers wearing hoodies in the audience far outnumbered men in tuxedos.

Although the show was broadcast live on ABC, many of the evening’s most telling interactions took place off camera. To wit: Unannounced presenter Britney Spears reportedly became “incredibly upset” backstage about a comedic sketch preceding her appearance on the show. It featured a look-alike of her future ex, Kevin Federline, being sealed in a wooden crate and dumped off San Pedro.

Dozens of USC students who were enlisted as seat-fillers for the event screamed and trilled at the sight of Carrie Underwood, R&B; phenom Chris Brown and Beyonce making their way to their seats. But the crowd went berserk during separate entrances by Hilton and Richie -- the cheering grew so loud it was impossible to make out what they were saying onstage.

Host Jimmy Kimmel, meanwhile, received a different kind of fan appreciation.

“We love you, Jimmy,” one frat boy bellowed.

“Um, thanks, boys,” Kimmel responded, sounding weirded out.

While the Shrine was packed with celebs, two of the evening’s biggest winners -- the Red Hot Chili Peppers and the Black Eyed Peas -- had to dial in their acceptances via video. The Peppers collected their two awards in a taped feed from London. And the Peas, who won three statues, were patched in from Costa Rica, name-checking their website several times in each speech and promoting group member Fergie’s recent solo album, “The Dutchess,” between thank-yous.

“And thank you, Dick Clark,” Fergie said, providing his only mention that evening.

At 7:58 p.m., during a final commercial break for a show slated to end at 8, six awards were yet to be handed out.

Many audience members began to file out of the auditorium -- never mind that the show wasn’t over.

After the commercial, a list of the final six winners -- in big categories including favorite female pop/rock artist (Kelly Clarkson) and favorite male country artist (Toby Keith) -- flashed on video monitors and the host made brief closing remarks: “I’ve got another show to do. Good night,” Kimmel said.

At 8 on the dot, the show was over.

“Thank you, everybody,” a director could be heard saying to the departing masses. “That was right on time. Right on time.”

chris.lee@latimes.com