The Grammys encourage impressive collaborative performances, eccentric fashion and plenty of think-piece discourse about the music industry’s direction.
In 2014, I encouraged readers to “ignore all the awards” and instead focus on credible artistry. It’s easy to critique the ceremony — the idea of ranking and awarding art is inherently moronic. The larger truth, though, is that the Grammy Awards are entertaining and indicative of our culture’s musical tastes.
I will continue my long tradition of ignoring the rock categories, especially considering the Recording Academy’s recognition of U2’s Songs of Innocence (aka 2014’s most widespread computer virus) for “Best Rock Album.” The categories, arbitrary at best, contradict themselves.
Coldplay, a previous winner in the rock and alternative categories, has been nominated for “Best Pop Vocal Album” along with Katy Perry and Ariana Grande. Though the band’s 2014 album, Ghost Stories, is pop-influenced, it’s in no way sonically congruent to its contenders. The electronic or alternative categories seem much better suited.
The categories don’t delineate “alternative” (which can include alt rock, alt country, alt electronica and a myriad of other disparate genres) or “urban contemporary.” The designations seem sloppy and unnecessary in a musical climate where genres are less and less distinguishable.
Despite my qualms with its system, the Recording Academy has the potential to bring immense attention to largely unknown artists. Within 10 days of its “Album of the Year” win in 2011, Arcade Fire’s album sales increased 238 percent.
Four of the five “Record of the Year”nominees are songs performed by women (Iggy Azalea’s “Fancy,” Sia’s “Chandelier,” Taylor Swift’s “Shake it Off” and Meghan Trainor’s “All About That Bass.”)
The question of whether I like these songs or artists is generally irrelevant; their success is not dependent upon my opinion. The real subject of import is these artists’ presence as arguably dominant women in positions of cultural influence.
