If I ever needed any confirmation that I’m living in my own private Idaho, it would come in the form of watching the Grammy Awards. When I was younger, I felt out of the loop because everybody who won was old. Now that I’m older, I don’t necessarily feel out of the loop because everybody who wins is younger, but because they are still representative the Grammy’s hardcore adherence to the deadening mainstream. Still, watching the 2012 Grammy Awards did teach me things.
Taylor Swift is Really, Really, Really Young
The Appalachian dress would have been more complete had Taylor Swift sung her 21st century version of “You Oughta Know” with no shoes on. With that banjo and that peasant dress she looked all the world as if she were auditioning for the part of Mary Ellen in a big screen version of “The Waltons” which, actually, would not be the worst idea in the world.
What was most refreshing, especially in light of what will you read shortly, is the authentic-seeming response of shock and awe at the audience reception by Swift. In these days of pathetically overrated artists like Kanye West actually buying into the fabrication that they have some sort of really special talent and then acting like demigods in response, it was beyond invigorating to see young Swift actually appearing amazed that her possession of actual talent was recognized and appreciated.
Katy Perry’s Song are Indistinguishable From Each Other
Out here in my private Idaho, Katy Perry is just that chick who married Russell Brand that comes across as a major airhead in those acne commercials. To date, I have heard three Katy Perry songs. Her ridiculous performance in that unflattering spacegirl suit confirmed what I have long suspected: she’s building a career on singing one song with different titles. Okay, so I have only heard a few songs from her catalogue…but if my life depended on it, I could not tell them apart.
The Winners May be Younger, but the Mainstream Still Rules
Thirty years after handing over the keys to the kingdom to Christopher Cross instead of Pink Floyd, the Grammy Awards still haven’t learned that what makes an award show worth watching to new viewers is the occasional shock and surprise. The winners may be younger, but Grammy is still unwilling or incapable of looking beyond the top of the charts.
When a song that is so clearly the song most capable of encapsulating not just the year in which it was released but the entire decade it was released like “Suspicious Eyes” by the Rakes is overlooked entirely by the Grammy voters, you know you are dealing with a bunch of unimaginative old fogeys even if they are choosing hip mainstream artists like Adele instead of unhip mainstream artists like Christopher Cross. Flash forward a few years and Grammy voters still haven’t caught up to the Rakes and now that they’ve broken up, it’s too late.
At least the Decemberists were nominated. That’s something. I guess.
Join Timothy Sexton in his private Idaho by reading these:
Why “Suspicious Eyes” is the Defining Song of the Age of Bush
Top Ten Songs by New Order
Top Ten Songs by Gang of Four