Showrunner and executive producer also discusses Deborah Dugan’s allegations, that wild “Old Town Road” performance and his 40-year stewardship of the Grammy Awards
— but we agreed to meet. Tyler and I got in his car and started driving around. It was great. He told me about his life, I told him about mine; there’s about a 45-year difference but the commonality was music. We went for donuts, and I just liked the guy. We came up with this kind of blend for the two songs, a blend between a ballad and Tyler deconstructing the world.Oh, after donuts.
“I don’t believe the show needs to be cohesive. The world we live in is deconstructed in a lot of ways.”because of you. So did you guys patch things up?to perform this year, so we had a great time. It was very collaborative. When she first came in with it, she was on a lift going up in the air with the orchestra below and actually said, “Ken, what do you think?” I said, “You got this great orchestra there, and I think you should be singing in front of that.
I do have an obligation to the Academy to present a show that shows what the Academy stands for. The mission; the goal. But the Academy is called the Recording Academy. The show should be called the Performing Academy. The show has had contentious relationships with the Academy in the past — in 1988, when Mike Greene was the head, my relationship was rough with him — but when Neil Portnow came in in 2001, things actually got better because he let us have a freer attitude toward the show.
That is totally untrue. I haven’t said this to anybody, but if that were true, then Ed Sheeran would’ve been nominated this year and every year because I love Ed Sheeran. Beyoncé certainly would’ve had more nominations than I could deal with. Taylor would’ve been in those big categories. I have nothing to do with the nominations. Nothing. No one calls me. I don’t talk to anybody. Once the nominations are decided, I am given a list. I have the list. Okay. Then I make the show.
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