Grammy Awards: All They Wanna Do Is Comment : Motown Head Raps Writer

I read with dismay the analysis by Dennis Hunt, “Boyz II Men: Safe, but Sure Winners” (Calendar, March 2).

I couldn’t help but wonder what emotion propelled Hunt as he wrote this. He has long since removed himself from the in-the-trenches fray of the press area backstage, where emotion runs high, so how did he stir up enough passion to accuse one of the best-selling groups in modern history of being “passionless”?

Hunt calls to question the future of R&B;, hoping that this quartet of “colorless, conservative, preppy-ish guys” is not that future. He also attacks R&B; icons Gladys Knight and Aretha Franklin, denying their right to be nominated since they are, by his description, “over the hill.”

He claims that Me’Shell NedgeOcello’s “If That’s Your Boyfriend (He Wasn’t Last Night)” was the real R&B; song of the year. Ask any real expert--you’ll soon find out that the brilliant NedgeOcello does not make R&B; records.

Hunt regrets that Boyz II Men are on Motown, “the company that gave us great groups like the Temptations and the Four Tops, a company that was built on passionate, gutsy R&B; singing.” The fact is that Boyz II Men are the heirs apparent to the great groups of Motown, who were classified as “pop singers” in those early days, because to be pop meant to be popular.

The artists at Motown, whether now or 40 years ago, make music meant to move people. The simple truth is, no artist sets out to make a record that will win a Grammy. In their passion, whatever their genre of music, they make records they feel strongly about, music that will stir the public and move them out into the night to get their own copy of what they’ve heard. So, Boyz II Men were successful in that quest. Ten million people felt passionate enough about the way Boyz II Men sing that they did just that.

In the future, I hope Mr. Hunt is moved by real passion, if not by the music, by his own sense of annoyance, to focus his attacks in the right direction, not at the artists he so vitriolicly attacked.

JHERYL BUSBY

President and Chief Executive Officer

Motown Record Co., Los Angeles

Can’t Hilburn Sing Along?

The fact that Robert Hilburn totally missed the point of “All I Wanna Do” doesn’t surprise me; I have been suspect of his taste for quite some time. The lyric was written by the respected poet Wyn Cooper. His words reveal the ironic and complicated state of contemporary life, one that never provides easy answers. When was it bad to have the most infectious, catchy, well-remembered melody of the year? Bob, don’t you like to sing along?

Hilburn’s trashing of Sheryl Crow, just to vent his bile regarding the selection process of the National Academy of Recording Arts & Sciences, was way out of line and, I should think, beneath him. His characterization of Sheryl as being “spunky” is condescending, if not sexist. His cheap-shot comparison to Rickie Lee Jones shows him at his mean-spirited, cynical, self-serving worst.

AL CAFARO

President and Chief Executive Officer

A & M Records, Los Angeles

Smarting Over Springsteen?

“Bruce Springsteen deserves honors for his song . . . but Sheryl Crow’s win for record of the year . . .(is) just plain sad,” read the headline on Hilburn’s analysis. No, Hilburn is just plain sad. This purported music authority’s total incompetence (like most critics) never ceases to amaze me.

Sure, “The Streets of Philadelphia” is a phenomenal song, but Hilburn only likes it because of his obsession with Bruce Springsteen. If the AIDS song had won for best rap performance, Hilburn would have found a way to justify it, which is probably why he insists on reviling a superior artist like Sheryl Crow.

“All I Wanna Do” may not be about a devastating disease but it certainly is worthy of record of the year. Crow’s vocals are always potent, spicy and unique (no, she does not sound like a Rickie Lee Jones wanna-be). Furthermore, the song resounds with a verve that reminds you of the whimsy in life, which can be just as important as recalling the woes of existence. Just because Crow’s song deservedly beat out the almighty Springsteen, Hilburn should not knock her ability as an artist.

MICHELLE BROADUS

Los Angeles

A Word for Hilburn

For once, I agree with one of your critics (Robert Hilburn). Sheryl Crow’s “All I Wanna Do” was in no way the best song of the year.

When a song that has no rhythm, nonsensical lyrics and vocals that would make the late Janis Joplin sound like Barbra Streisand can win record of the year, then music in this country is in a sad state, indeed.

BRUCE JAMES

Indio

Back to Rapping Critic

Robert Hilburn’s report of the Grammys is absolutely the last straw!

Is Hilburn a Communist? Is there any editor in the Calender section who reviews his work before it goes to print? Personally, I am fed up and disgusted with his negative, prejudiced, sarcastic, one-dimensional critiques of musical entertainment. If Hilburn hates most pop music so much (unless of course it’s Bruce Springsteen, whom I also like very much), then why is he the pop music critic? Just so he can be critical of all pop music?

Tony Bennett and Sheryl Crow are fine talents and do not deserve to be smeared by Hilburn simply because they beat out Hilburn’s favorite picks.

DEBRA HOPE

Venice

Does Walk Match the Talk?

I’m a Christian too, but evidently I just don’t get it. The first words out of Grammy winners Salt-N-Pepa were, “First, I want to thank Jesus.” This, right after the winning rap group’s performance filled with arrogance and blatantly vulgar lyrics and deeply suggestive dance and posturing moves suitable for a strip joint filled the stage.

So why was God thanked? For writing the lyrics and directing the choreography? I don’t think so.

PATTI GARRITY

Manhattan Beach

Benny Carter Still Tops

Don Heckman makes the unilateral judgment that Benny Carter’s Grammy for best jazz instrumental solo “ . . . has more to do with the still active 87-year-old’s lifetime achievement than with his current playing.”

He condescendingly adds, “ . . . but--let’s give him credit--it is an important acknowledgment of his continuing vitality.”

Benny Carter’s worldwide coterie of fans is fully aware of his sustained skills that have withstood erosion over the passing years. Heckman’s patronizing comments are a lamentable affront to those voters who nominated the great jazzman for his immaculate performance of “Prelude to a Kiss.”

FLOYD LEVIN

Studio City

No Accounting for Crows

What, Counting Crows won nothing at the 1995 Grammy Awards!? You mean to tell me my ears are lying again? Go figure.

MIKE KAPOWICH

Corona del Mar

Mancini, Jobim Are Missed

In 1994, the music business lost two of the most important composers of the 20th Century, Henry Mancini (“Moon River” and hundreds of other treasures) and Antonio Carlos Jobim (“Girl From Ipanema” and hundreds of other jewels).

As a former member of the National Academy of Recording Arts & Sciences, I am fully aware of the incredible work and planning that goes into preparing for each year’s show. However, I can’t help questioning how these two geniuses, whose music influenced musicians in every category of music, in all parts of the world, were not honored with so much as a simple “goodby, we’ll miss you” from one of the presenters.

Mancini was shown only on tape, in the middle of a composite of others during the lifetime achievement segment (along with Peggy Lee and others that are, gratefully, still with us). Jobim was not mentioned at all.

MICHELLE HART

Los Angeles

That’s All There Is for Lee?

Last year it was the Sinatra speech fiasco, this year the Peggy Lee insult. After a few terse words to sum up a long, legendary career as a singer and a songwriter, we get a five-second camera shot and a quick segue.

Is that all there is for Miss Lee?

GLENN ELLISON

Beverly Hills

Selling Young Fans Short

One is a living legend and the other a recently departed one. Both are fixtures on the American musical landscape and integral parts of the history of the Grammy Awards. But in the ultimate wisdom of Grammy Award executives, Andy Williams was not permitted to sing Henry Mancini’s signature song, “Moon River.” Written by Mancini and Johnny Mercer for the film classic “Breakfast at Tiffany’s,” the song has become an American standard.

With Williams’ silk-like voice and the music genius of Mancini, the two made musical history. With songs like “Days of Wine and Roses” and “Charade” they romanced and enchanted millions. The strongest testament to their contributions has been that these songs, and the original recordings of them, have stood up some 30 years after they were first released.

And shouldn’t the Grammy Awards be a celebration of American music of the present and past? Do we only have room for Tony Bennett in this year’s spotlight for “older entertainers”? And would Bennett have been showcased if he had not been paired with a contemporary artist like k.d. lang?

What this and the cutting of Frank Sinatra’s emotional acceptance speech of last year so aptly illustrates is the total lack of respect for musical history by those running our major show business industries. They are concerned that Generation X will switch channels in droves if they have to be introduced to a standard song and veteran entertainer that their parents and grandparents listened to.

Did we learn nothing from the re-emergence and success of Tony Bennett? MTV had the vision to feature Bennett for an entire hour “Unplugged” and the viewers responded with enthusiasm.

Sinatra’s two latest recording efforts have gone platinum due to his overwhelming popularity among those under 30.

Being 29 and a Generation X’er myself, I would caution those who would wish to put our generation into a box: Don’t underestimate this generation’s ability to expand its musical tastes and also understand and appreciate our musical history and heritage.

ROB WILCOX

President, Rob Wilcox Public Relations

Los Angeles