A recent poll suggests that 80 percent of television viewers will not be tuning in to the 2007 Grammy Awards on Sunday. And this makes us…sad. Love them. Hate them. But you musn’t ignore the Grammys. Sure, the award show proves time and again that it’s out of touch with music on a number of levels (see below). Sure they drag on for hours, leaving you practically catatonic and drooling into your Cheetos during Bob Smith’s twelve-minute acceptance speech for Best Pan Flute Album Performed by a Left-Handed North-Umbrian award. Yes, the jokes are lame, the applause is forced and everyone in the audience seems to be counting down the minutes before he or she can start getting wasted/smoke a cigarette/gouge his or her eyes out with a fork. But really, this is not a new phenomenon. Have the Grammys ever been fun to watch? Save a few stellar performances in recent years (Prince with Beyonce, the White Stripes), it’s almost always been a race to the finish-line, a means to an end. And that end is the water cooler, around which we rally to praise or disparage the winners and losers, rehash the evening’s poignant or ridiculous moments and, of course, analyze the year’s latest fashion victims. In the age of Tivo, it’s easy to blow the less exciting portions of the show (that’d be about 80 percent of it), but for the full experience, one must soldier through the whole mind-numbing shebang.
A slew of music award shows have grown up and stolen some of the Grammys’ thunder — just as the Golden Globes have become the hip, liquor-soaked answer to the grandiose and rather stuffy Oscars. These newcomers include ceremonies like the AMAs and the MTV Video Music Awards, which thumbed their noses at the old Grammy war horse. This is not to say the Grammys haven’t noticed. Consider the “American Idol”-style contest they sponsored this year, in which people competed for a chance to perform onstage with Justin Timberlake. Like most Johnny-come-lately bids to revamp the old guard, this gesture seemed symbolic at best. Ineffectual? Probably. But sweet. It’s like your Grandpa bragging to you that he likes a song by “that Kenny West fella.” You can’t help but appreciate the effort.
It’s no secret that the Grammys long ago lost their status as arbiters of contemporary music. Even the authority and distinction that once accompanied the “Grammy Award winner” title has begun to lose some of its luster. No one would turn down a chance to win, but winning doesn’t hold the same weight it once did.
Like a lot of pop culture behemoths, the Grammys have become a parody of themselves, and the journey, so to speak, has become much more relevant than the destination. It doesn’t matter who wins or loses. It’s how the game is played.
But we don’t care. We embrace all of this gratuitous, self-important Grammys posturing. We welcome it with open arms. We love to hate it, and hate to love it. When everything else in life is unsure, one thing remains certain: you and everyone you know (yes, even Osama, wherever he is) will be parked in front of the tube this Sunday to witness the Award Show That Would Not Die — bored, rapt, listless, peaceful. Pass the Cheetos.
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Here, a historical tour of the more egregious Grammy gaffs throughout the years, which will illustrate (as if the point needs illustrating) the truly clueless decision-making at work:
Bobby Russell’s “Little Green Apples,” Song of the Year, 1968 Totally. Loads better than the other nominees in the category that year: Otis Redding’s “Sittin’ on the Dock of the Bay,” the Rolling Stones’ “Sympathy for the Devil,” and the Beatles’ “Helter Skelter.”
Starland Vocal Band, Best New Artist, 1976 We give the nominating panel mad props for including the Ramones and the Sex Pistols in this category, but we don’t quite understand the logic on this one. Are they really trying to tell us that the folks who brought us “Afternoon Delight” contributed more significantly to music than two of punk rock’s pioneer groups? Um, ok.
Toto, Toto IV 1982’s Album of the Year, 1982 This beat out Prince’s 1999 and Bruce Springsteen’s Nebraska
DJ Jazzy Jeff and the Fresh Prince, “Parents Just Don’t Understand,” Best Rap Performance, 1988 Definitely a kitschy rap classic, but it doesn’t hold a candle to Eric. B. and Rakim and Public Enemy, which were also nominated for the category that year.
Milli Vanilli, Best New Artist of 1990 Need we say more?
Marc Cohen won Best New Artist in 1992 Say what you want about Boyz to Men, C+C Music Factory, Color Me Badd and Seal, all of whom shared nominations in the category for 1992. But answer us this: Do you know who the fuck Marc Cohen is? Thought so.
Lauryn Hill won Best New Artist in 1999 Never mind that Ms. Hill’s critically acclaimed album came out in 1998. Or for that matter, that at that point she was already a ginormous star, having released the multi-platinum album The Score with her group the Fugees in 1996.
The Best New Artists category has been notoriously misguided throughout Grammy history, and this year’s no exception. The category doesn’t include Gnarls Barkley, arguably the most critically acclaimed new act of the year. But it DOES include, ahem, Imogen Heap, who has not only been releasing albums since 1997, but achieved a mainstream hit with her song “Let Go,” (performed and released with her band Frou Frou) in 2000 and again in 2004 when the song was included on the hugely successful Garden State soundtrack.

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- Portions of Album Content Provided by All Music Guide © 2009 All Media Guide, LLC.