He supervises the editorial staff along with PolicyMic’s very own social psychologist, who helps come up with headlines that click.
Because of the leniency of [the National Academy of Recording Arts and Sciences membership] requirement, accusations of voting abuse are legion. One record-company employee who did not want to be identified said that on the packaging of many of the reissues he once produced, he would find names of members of the record company’s business-affairs department credited as art directors so they could receive credit, join the academy and vote for the company’s records. Three former employees of record companies who were interviewed for this article recounted episodes of labels filling out ballots for employees or, in one case, requiring all ballots by staff members to be approved.
For all the attractions that the Grammys offer—where else can you see Eminem performing with Elton?—it remains the Cinderella of the winter awards shows, forever sweeping the cinders of pop culture around the electronic hearth, while its brassy stepsisters, the Golden Globes and the Oscars, drink vodka martinis on comfy leather banquettes and flit around Graydon Carter’s post-Oscars party.
John Seabrook on why the Grammys deserve respect: http://nyr.kr/1hnWVBb (via newyorker)
Barring anything from David Denby or Richard Brody, this is one of the worst things I have ever read on The New Yorker's website. I mean, Seabrook fails to formulate any argument for his thesis that is more substantive than “Gee whiz, look at all the musical people doing music!”
Though I guess the fogeyish romanticism of this piece is preferable to Slate’s inevitable trollbait about why the Grammys are the only awards show of merit.