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Recording Academy Clarifies Voting Rules in Light of Allegations of Malfeasance

Roger Friedman
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Recording Academy Clarifies Voting Rules in Light of Allegations of Malfeasance

NARAS interim leader Harvey Mason, Jr. has sent out a memo to the members of the Recording Academy regarding possible voting improprieties.

Here it is:

“I’m sure you’ve all seen the misleading reports bringing our voting process into question. The accusations are deeply unsettling and are just not right. It’s not fair to all the amazing artists who have won GRAMMY awards in the past and the ones who will win them on Sunday. It’s also not fair to the artists and other people in our music community who volunteer countless hours on committees reviewing nominations. Don’t let anyone cheapen or take away from what you have achieved—and what you give to the industry in your service.  Here are some actual facts about the process in case you are asked about it in the days ahead:

  • The rules for nominations and awards were not created by music industry executives.  There were created by you—the music makers.
  • We have always been transparent about the process—it is posted on our website for anyone to see and review.
  • The leadership of the Recording Academy is diverse.  It’s officers are 50% female, the Executive Committee is 50% female, and the Board is 36% female.
  • The Nomination Review Committees are made up of a diverse group of current and relevant music creators with a high level of expertise in their respective genres.
  • As you know, there are strict rules in place to address any conflict of interest and no exceptions.
  • Should a committee member qualify for a GRAMMY, they are required to leave the room and are NOT allowed to be present for listening sessions, subsequent conversation or the vote to determine the nominees.  
  • Committee members do not know the ranking of any entry and the voting is by secret ballot.
  • The committees are not confidential, but the committee members’ names are for the obvious reason of preventing lobbying from outside parties, therefore further protecting the integrity of the voting process. 

Thank you for your continued support and service to our music community, and for helping people understand this process.  We look forward to seeing you this weekend and celebrating our deserving winners on Music’s Biggest Night.

Harvey Mason Jr.”

Exclusive: Madonna’s Shows in London, Paris Now in Jeopardy As She Cancels Second Lisbon Show Citing Ongoing Pain and Injury

Roger Friedman
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Exclusive: Madonna’s Shows in London, Paris Now in Jeopardy As She Cancels Second Lisbon Show Citing Ongoing Pain and Injury

Madonna’s Madame X tour may not make it through her remaining dates in London and Paris.

Last night– Wednesday– she cancelled her second show in Lisbon in five days. She cited ongoing pain and injury.

A source close to her tour told me on Tuesday night that Madonna was playing her shows “basically in pain and injured every night.” The source added: “She may just call it quits.”

The 61 year old is posting social media videos that show her using a cane for a blown out knee. Last night’s cancellation was her 9th since the tour began in September in Brooklyn.

The Lisbon cancellations are particularly hard because Madonna’s using local musicians from Portugal in her show. She appropriated them during her stay when adopted son David Banda wanted to play soccer in that country. There must be a lot of disappointment now that her appearances in Lisbon were cancelled.

As I write this, it’s 8:30 pm in Lisbon. Everyone’s holding their breath to see if the final show there will go on. Madonna doesn’t start a show before 10:30pm. An  announcement should be coming momentarily.

Sorry Fans: Insider Says No New Music from Adele on the Horizon Anytime Soon

Roger Friedman
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Sorry Fans: Insider Says No New Music from Adele on the Horizon Anytime Soon

Well, it’s not good news for fans of Adele.

The popular chanteuse hasn’t released a new album since her “25” album hit the streets in November 2015.

There was hope for and talk of new music this past fall, especially when she did a cover story for People (not Rolling Stone). That seemed like a signal she was ready to resume her career.

But an Adele insider who knows what’s going on tells me actually nothing is going on. There’s no activity and no sense of any new music on the horizon any time soon.

I did mention the recent flurry of news caused by Adele’s manager saying we’d “see something in 2020.” But my source says if that’s true, it’s out of focus with reality. There’s nothing in the pipeline.

Adele became very rich because of “25.” She’s literally Rolling in the Green. She doesn’t have to work again. She’s gone through a divorce, as well, which isn’t easy. You’d think giving the ex husband a chunk of money would be incentive to get back to work, but apparently not.

Maybe she’ll surprise us. Who knows? But you can’t always get what you want. Instead, we get a new Justin Bieber album. Life is not fair.

Taylor Swift Will Not Appear on the Grammys After Album of the Year Snub for Bestselling “Lover”

Roger Friedman
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Taylor Swift Will Not Appear on the Grammys After Album of the Year Snub for Bestselling “Lover”

Taylor Swift will not appear on the Grammy Awards this Sunday, not as a presenter or nominee.

I actually told you this in November when she was snubbed for Album of the Year for “Lover,” the best selling ‘record’ of 2019. “Lover” was also well reviewed and should have been among the finalists. But mysteriously it was not.

This was similar to Justin Timberlake’s snub several years ago for his “20/20” album. The best selling record of the year, with lots of good reviews and hit singles, “20/20” should have been a nominee. But it was ignored by the secret committee, whatever that is. Timberlake also passed on attending that year’s show.

The Swift situation is especially heightened right now because of accusations of voting irregularities by ousted Grammy CEO Deborah Dugan. Dugan has made some wild and weird allegations in her EEOC filing and in television interviews. But the voting problems are not so off base.

The lack of transparency in Grammy voting has long been a point of contention. But Dugan’s conspiracy theories don’t completely add up. Take the Timberlake episode. The former NSync star’s lawyer is Joel Katz, also the attorney for the Recording Academy. So he certainly didn’t influence the voting against Timberlake. The question is, who did? Where and how are these voting decisions made?

For Swift, her rebuke from the Grammys almost certainly involved her public outrage over losing the rights to her master recordings to Scooter Braun and Scott Borchetta. She raged against the machine, and the machine punished her. Swift’s absence from the Grammys will be felt enormously. We’ll see what impact it has on the ratings on Monday morning.

Exclusive: The Truth About When James Corden Drives or Doesn’t on “Carpool Karaoke,” And Didn’t with Barbra Streisand

Roger Friedman
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Exclusive: The Truth About When James Corden Drives or Doesn’t on “Carpool Karaoke,” And Didn’t with Barbra Streisand

Late night talk show host James Corden got himself into a ruckus this week when it was discovered he doesn’t always drive the SUV in his “Carpool Karaoke” segments.

Indeed, Corden was caught being towed so his hands were free in the taping of a segment with Justin Bieber. Suddenly word went out that Corden never drives, and that it’s all staged.

But I’ve spoken with a Corden insider who knows the real story and wanted me to set the record straight.

“James does drive most of the time,” I was told. Really, I wondered, where? “Around CBS, nothing fancy, but that’s him behind the wheel. Almost always.”

So when does he need the towing?

“When he needs a Teleprompter. When the artists, like Justin Bieber, have new songs or obscure ones. But when he knows the songs, as with most of the artists, it’s him.” My source pointed out that many of today’s contemporary artists have songs that are difficult to sing without a Teleprompter.

My source told me that one time when towing was needed was with Barbra Streisand. But it had nothing to do with Corden knowing Streisand’s unforgettable songs. “She said she had to be seen on the right side, which meant she had to sit in the driver’s seat. And she doesn’t drive. So a tow was used.”

When Streisand has appeared with Jimmy Fallon or on other talk shows, she’s wound up sitting in the host’s chair rather than the couch. Years ago, at her AFI dinner, I remember she designed the stage so she’d be seen on the right, facing left. So the Corden rearrangement wasn’t so surprising.

But for the bulk of the artists who come on “Carpool Karaoke,” Corden is behind the wheel. He even drove Paul McCartney in what became their classic, award winning segment and special. McCartney just said, “Drive my car” and Corden did.

“Please set the record straight,” my source beseeched. And so I have.

Exclusive: Friars Club Shuts Down, Citing Huge Flood in Historic HQ, But Insolvency and Lawsuits Could Be Reasons

Roger Friedman
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Exclusive: Friars Club Shuts Down, Citing Huge Flood in Historic HQ, But Insolvency and Lawsuits Could Be Reasons

I didn’t think I’d have another Friars Club story so soon, but the end– for now — has come.

The Friars Club has suspended all operations because of a flood that has literally turned the East 55th St. clubhouse into the Titanic. The news came in an email from club president Michael Gyure, who himself has so far escaped jail time for tax fraud.

“The dining room is a wreck,” says a source. “The kitchen is under water.”

From what I can tell, the flood was caused by a pipe on the roof of the building bursting. Water cascaded downward until the once grand establishment looked like a scene from “The Poseidon Adventure.”

But members and employees are suspicious. Lately they say there have been “maybe three or four people” eating in the dining room at any one time.

The Friars have been up to their ears in legal bills and legal action recently, including a union lawsuit that could have shut them down anyway.  They also settled a sexual harassment lawsuit brought by their former long time receptionist against the club and celebrity wrangler Bruce Charet. (He used to call her up and say lascivious — er sexually inappropriate — things to her.)  Insurance took care of that. It’s unclear if it will pay for the flood damage.

 

Friars Club Gets First Mention Ever in Gangland News for Becoming Midtown Mob Clubhouse

Roger Friedman
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Friars Club Gets First Mention Ever in Gangland News for Becoming Midtown Mob Clubhouse

The Friars Club used to have the distinction of being an exclusive, fun place for famous comedians and actors like Frank Sinatra, Joan Rivers, Alan King, Freddie Roman, and Jerry Lewis.

In recent years, it’s become known for teetering on the brink of bankruptcy, a current president who was convicted for recent tax fraud, overall financial mismanagement, and the departure of just about any A, B, or C List celebrity.

But now the Friars has a new association: Mob hangout. Remember last year they honored a guy named Rinaldo Nistico, who goes by the name “Ronnie Shoes” or “Ronnie Copa.” Nistico was indicted and settled a case in 2004 for assault. The NY Post  reported then that Nistico had two prior arrests and convictions on weapons charges in 1990 and 1996.

Well, today Jerry Capeci’s website, Gangland News, has a neat headline:

“If It’s Thursday At The Friars Club, It Must Be Wiseguy Night”

Jerry writes:

The Ravenite and Triangle Social Clubs, like John Gotti and Vincent (Chin) Gigante, the infamous Mafia bosses who held court there during their heyday at the top of the mob heap are long gone.

But a select group of Gambino and Genovese crime family wiseguys — as well as a sprinkling of members and associates of other bourghatas — have found a new Manhattan gathering place, Gang Land has learned.

And it’s right smack in the middle of midtown Manhattan at one of the city’s most legendary watering holes.

Good work, Michael Gyure. You got out of going to jail, for this. Judge Naomi Buchwald must be so proud of her decision.

PS I was on East 55th St. the other day. The Friars Club building– a mock Tudor castle–  is just hanging on in a land of steel and glass skyscrapers. It would be a shame if this place were lost to insolvency and bulldozers. But at this rate, the clock is ticking.

Sting’s Big Night in Hollywood: “The Last Ship” Sets Sail in Triumphant Return, Rebuilt and Seaworthy

Roger Friedman
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Sting’s Big Night in Hollywood: “The Last Ship” Sets Sail in Triumphant Return, Rebuilt and Seaworthy

There was always a problem with Sting’s Broadway musical, “The Last Ship.” Even though the music was par excellence, the songs beyond deliciously hummable, the story was always muddled. I’m thrilled to report that has changed, very much for the better. “The Last Ship” has been rebuilt and is eminently seaworthy. Last night’s premiere in Los Angeles at the Ahmanson Theater was a triumph on so many levels but the biggest was that we finally feel like the people of Wallsend, Newcastle, UK who build ships are getting their due.

A lot of big names turned out for the Ahmanson premiere including Sting— who’s on stage, his wife Trudie Styler, friends like Dustin and Lisa Hoffman, Pierce Brosnan and Keely Shaye Smith, Juliet Mills and Maxwell Caulfield, Live Nation’s eminent producer Arthur Fogel, producers Karl Sydow and Kathy Schenker, orchestrator Rob Mathes, and Courteney Cox, Melanie Griffith, and of course, Shaggy, Sting’s partner in all things reggae. Also singing the praises of the show: very famed songwriter Mike Stoller (Lieber & Stoller) and his singer-writer political activist wife Corky Hale, the great British writer Ian La Frenais, and Oscar winning (“Schindler’s List”) and nominated “Irishman” screenwriter Steve Zaillian. (Hmmm. Could there be a “Last Ship” movie?)

(Two unexpected guests who I was happy to see: Sting’s former Police mate Stewart Copeland and his lovely wife, Fiona. He loved the show. And told me he’s got three operas in the works. Stewart, like Sting, doesn’t seem to age!)

There were also Sting’s fans, fans who know the music from two albums’ worth of recordings, and those who saw “The Last Ship” on Broadway two years ago. Even the latter were surprised how much the show has changed and grown. It reminded me of what happened to “The Color Purple,” which was not a hit its first time around but returned to Broadway reimagined and disarmed everyone with its charms. This could happen to “The Last Ship,” which just feels so new now and very exciting.

What’s changed? Some cast, although that was never a problem. The music is the same, if not better than ever. The title song is still magnificent and moving. A great number from the middle of the show, “Show Some Respect,” now comes toward the end and has taken on new meaning. But I love the ballads and the mid tempo numbers written by Sting in a manner Richard Rodgers would appreciate, of lush melodies and clever lyrics. The  standouts are “When the Pugilist Learned How to Dance” and “Dead Man’s Boots,” each of which is now staged and delivered to maximum effect. I’m also still enamored of a wonderfully catchy “What  Say You Meg?” sung by our hero Gideon to his former flame when he realizes– and we do, too– that he actually loves and wants to be with her.

Sting, of course, grew up in Newcastle under the shadow of the ships being built. He saw the decline of the industry, and how the people depended on it as it faded. The story he created was about a young sailor with wanderlust (Gideon) who unwittingly leaves a pregnant girlfriend to find himself. He returns 17 years later to find the shipyard being sold off, the business crumbling, that he has a teenage daughter. There’s also the parallel story of the foreman who’s held up the values and kept the business going now facing his own immortality.

Sting himself plays Jackie White now, whose character has been fleshed out. It’s funny to think of the former cheeky, sexy leader of the Police, now 68 years old, as the stalwart of a shipyard but there we are. Sting’s Jackie centers the story, gives it gravitas and history. It doesn’t hurt that he’s a magnetic force on stage, and his voice has only aged with richness and texture.

Jackie Morrison, a Scottish singer, is now playing Peggy White, Jackie’s wife, and she’s a perfect counterpart to Sting. Her voice isn’t really heard until the second act, and it’s a thrill when we meet her. The main characters, our disjointed lovers, Gideon and Meg, are the very sure and sexy Oliver Savile and Frances McNamee. The two actors always had potential for chemistry but never seemed in sync. Now, thanks to the terrific work of co-author Lorne Campbell, we get it, they get it. The central romantic story is adult and meaningful. As their punk daughter (played with Irish spunk by Sophie Reid) says, “Aren’t we beautiful?”

Yes, you are.

Quentin Tarantino on the Magic of Screenwriting: “I do believe screenplays are meant to be read. Maybe in my case to a fault”

Leah Sydney
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Quentin Tarantino on the Magic of Screenwriting: “I do believe screenplays are meant to be read. Maybe in my case to a fault”

Once Upon A Time …at Tuesday  night’s “Final Draft” Awards on the Paramount lot, Quentin Tarantino reigned supreme. He was presented with the Final Draft Hall of Fame Award, which was given to him by one of his biggest screenwriting inspirations, the legendary filmmaker Walter Hill. The two titans were in good company as they were surrounded by the literary elite, all there to honor Hollywood’s written word.

Final Draft is the industry’s gold standard screen writing software. Steven Canals, co-creator of “Pose” was given the New Voice Award for TV. Funny brothers Randy and Jason Sklar were the evening’s emcees, along with Final Draft President Scott McMenamin.

“Parasite” director Bong Joon Ho was there to give the New Voice award to “The Farewell’s” Lulu Wang. He told me that Tarantino’s film was “absolutely charismatic.” Quentin had this to say to the crowd: “I do believe screenplays are meant to be read. Maybe in my case to a fault. It’s all about the emotional experience that you have reading the script, and that you get caught up in it and you see the movie.”

Quentin went on to describe one of his first screenwriting attempts. “I tried to write my version of “Paradise Alley” about these three Italian brothers in the 30’s in New York and it was called “Brooklyn BR.” Like “Reservoir Dogs” ‘BR’ doesn’t stand for shit, it just sounded good! I think I got to page 35 on that one.” He then spoke to screenwriters specifically and told them what some studio executives he had just met with conveyed to him. “They told me something that I didn’t quite know. It’s kind of one of those golden secrets on the studio side of the gates that I think you writers should know…That writers now want to get into the writers room of a TV show. That’s the big thing to do. But these executives are looking for those spec scripts and people aren’t writing them. People are trying to get jobs. But before we got jobs we poured our hearts and souls into these cockamamie masterpieces.”

Tarantino expounded on his subject.  “I’m just telling you, if you were to go into your bedroom and lock the door and three months later come out with a screenplay, I’ve heard from big people they are waiting to read them. They want to read that diamond bullet script from that person they never heard of before that they can say is their own…I think that’s what they call an opportunity in the marketplace and I want to pass it on to ya’l!”

That was met with rapturous applause from the appreciative crowd. Showing support for Quentin were “Once Upon A Time” Producer David Heyman, actress /stunt performer and Quentin muse Zoe Bell, “Pulp Fiction” co-writer Roger Avary, Oscar nominated screenwriter Josh Olsen, Director Maria Gabriela Cardenas, actors John Savage, Jamal Trulove and Blanca Blanco, noted Producer David Permut and longtime Quentin pal , the talented filmmaker Adam Rifkin, whose film “The Last Movie Star” which boasted Burt Reynold’s final performance and that Quentin is a huge fan of, chatted about their mutual love of the late actor. Kudos to Madelyn Hammond and her team for putting together such a creative, lively atypical award event.

The Empire Strikes Back: Grammy Female Execs, Grammy Former CEO All Take on Ousted Deborah Dugan Before She Takes Her War to “GMA”

Roger Friedman
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The Empire Strikes Back: Grammy Female Execs, Grammy Former CEO All Take on Ousted Deborah Dugan Before She Takes Her War to “GMA”

This has really gotten out of hand. Deborah Dugan, ousted head of the Recording Academy, is appearing on “Good Morning America” Thursday morning in an effort to keep her war going against her almost former employer. Why? Does she really hate the Grammy Awards this much?

Today, the Empire Struck Back. The women of the Grammy executive committee issued their own declaration of solidarity against her and in favor of their organization. Also, and just as important, former CEO Neil Portnow out his denial regarding Dugan’s assertion that he, Portnow, allegedly raped a recording artist and that it was covered up.

Portnow says, and I do believe him: “The allegations of rape are ludicrous, and untrue. The suggestion that there was is disseminating a lie. The baseless complaint about my conduct referenced in the EEOC filing was immediately brought to the attention of the Board of Director’s Executive Committee. An in-depth independent investigation by experienced and highly regarded lawyers was conducted and I was completely exonerated. There was no basis for the allegations and once again I deny them unequivocally.”

I am told a woman did make an accusation against Portnow, and that it came to nothing. What happened next may have been a game of Telephone or just idiotic gossip. It should have ended there. But in this #MeToo environment, spurious allegations can lead to reputations being ruined. Ditto for NARAS lawyer Joel Katz, whom Dugan claims tried to kiss her in a public restaurant, and offered her discounts at Neiman Marcus on dresses so she’d look good at NARAS  events. In her EEOC complaint, Dugan says Katz offered to show her his vacation home. Have things gotten out of control? Knowing Joel for 25 years, he invites everyone to his house in the Bahamas. That’s who he is. It”s just called being nice. It’s unlikely he would even be there. (I’ve never been there, don’t get excited.)

Here is the statement from the very fine female board members of NARAS. None of these women would make such a statement if they didn’t believe it. They know something wacky is going on, and Dugan is counting on everyone falling for it in this environment.

“As women, voting members, creative artists and entrepreneurs who serve on the Board of Trustees of the Recording Academy, we are deeply committed to this organization and its affiliates and the good work that is done beyond the GRAMMY Awards – advocating for artists’ rights, providing critical assistance for music people in times of need and educating, mentoring and inspiring the next generation of music makers.

Along with our male colleagues, we have made great strides in increasing our diversity throughout the organization, both in leadership at the national level, within our twelve chapters around the country, and in the nominations. Diversity has always been a priority – although admittedly, not always easy to accomplish. The partnership with the Diversity and Inclusion Task Force, led by Tina Tchen and established in May 2018, amplified those efforts, created a clear path to follow and opened the door to building even more bridges to the music community at large. We pledge to continue those efforts.

It is deeply disturbing to us – and quite frankly, heartbreaking – to witness the firestorm against our organization that has been unleashed. The Academy is keenly sensitive to any and all allegations of harassment or abuse, and we support the independent investigations that have been launched. Thank you for your patience as these continue.

We have collectively volunteered many years of service guiding and supporting this organization. We would not have taken precious time away from our families and careers if we felt that it was a “boys’ club.” We are leaders of this organization and fully committed to transformational change both within the Academy and within our industry at large.  

We stand ready to address all concerns, allegations and accusations with facts in hand. In the meantime we continue to pursue our mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture.”

signed–

Tammy Hurt, Vice-Chair
Christine Albert, Chair Emeritus
Leslie Ann Jones, Trustee, Executive Committee Member
Terry Jones, Trustee, Executive Committee Member

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