Deborah Dugan's Push for Grammy Voting Reform Rattled Recording Academy's 'Boys Club'

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Deborah Dugan’s Push for Grammy Voting Reform Rattled Recording Academy’s ‘Boys Club’

by Brian Welk | January 22, 2020 @ 3:48 PM

Ousted CEO called out a nominations process that is ”ripe with corruption“ in her EEOC complaint filed Tuesday

Deborah Dugan’s explosive exit as CEO of the Recording Academy has devolved into counter-accusations about the “boys club” culture of the nonprofit organization behind the Grammy Awards. But according to at least two Grammy insiders, Dugan’s ouster was triggered by her attempts to reform a Grammy voting process she called “ripe with corruption” in the bombshell complaint she filed Tuesday with the Equal Employment Opportunity Commission.

“She was pushing for changes. These guys who run the place think they sit on top of the world. They’re entrenched and arrogant and smug — especially smug. And they don’t like to be questioned,” one insider told TheWrap.

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Dugan had been advocating for rule changes proposed by the Academy’s diversity task force, a group announced last spring and led by Time’s Up CEO Tina Tchen, that quickly met resistance with the executive committee of the Recording Academy’s board of trustees.

Tchen’s task force had recommended diversifying nominating committees and membership, creating opportunities for women and people of color through all levels of the organization and to revising the reporting process for sexual harassment. The Recording Academy’s board was ready to adopt all but one of the task force’s 18 recommendations: a ranked voting system for the Grammys. (Click here to read the task force’s final report.)

“This would have been a major alteration, because it would have weakened their secret committees,” the Grammy insider said, explaining resistance by Recording Academy board members. “She tried to push that change because the task force had recommended it. But it would have reduced their influence, so they resisted.”

Also Read: Grammy Drama: 7 Most Explosive Accusations by Ousted Recording Academy CEO Deborah Dugan

In her EEOC complaint, Dugan criticized the “secret committees,” chosen by national chair (and now interim CEO) Harvey Mason Jr. and head of awards Bill Freimuth, that help determine nominations for the Grammy Awards. While the makeup of these nomination review committees is not made public, Dugan said the groups often include board members and industry professionals who have conflicts — perofessional relationships with nominated artists. In some cases, she said artists have been members of committees choosing nominees in categories for which they are themselves eligible.

The nominating committee’s job is to whittle the top 20 contenders down to five or eight nominees, depending on the category. But Dugan says these bodies instead use their position to push forward their own clients (or in the case of artists, themselves) and even manipulate the nomination process to ensure Grammys producer Ken Ehrlich will have a particular song that can be performed on the live awards broadcast.

The complaint said the board was permitted to nominate artists and songs that may have been excluded from the initial shortlists entirely or that artists ranked below others could wind up with a nomination at the exclusion of others. Dugan specifically said that this year, Ed Sheeran and Ariana Grande were overlooked by the nomination committee for “Song of the Year” in favor of an unnamed artist who only ranked 18 out of 20 contenders — but nonetheless emerged with a “Song of the Year” nomination.

But the bias in the Academy may extend far beyond the executive level. An individual familiar with the eligibility process said that in 2010, she participated on a panel made entirely of at least 10 white men over 40, all of whom were dismissive of her suggestions. “The crux of it all was that this was a white man’s game and they stuck together, even when their thoughts and opinions were no longer viable,” the individual said.

Also Read: Recording Academy Lawyer Joel Katz Denies Deborah Dugan's Sexual Harassment Accusation

Tchen’s task force — appointed after then-Grammy head Neil Portnow came under fire for telling female artists they needed to “step up” if they wanted to see more recognition from the Academy — noted that past winners in the “Big Four” categories (Artist of the Year, Record of the Year, Song of the Year, Best New Artist) had won with as little of 13% of the overall popular vote. For instance, while multiple hip-hop and rap artists might conceivably be nominated in a given year, supporters for those genres might split the vote among the contenders, and a country or pop record with less consensus support would win instead.

Ranking potential nominees and winners would help fix that. A preferential ballot system, the report explained, could help democratize the process and ensure the views of the Academy’s increasingly diverse membership would be recognized. The report even pointed out that the Oscars and other state governments had adopted this very method. But there’s been no movement from the Academy on changing the nature of the nominating committees or installing a ranked system.

A representative for Tchen’s Time’s Up had no comment. Representatives for the Academy did not respond to a request for comment about Dugan’s specific accusations of corruption within the voting process. However, in response to Dugan’s EEOC claim filed on Tuesday, the Recording Academy said it had “launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing.”

In addition, four women who have served on the organization’s executive committee on Wednesday issued a statement insisting that the Academy “is keenly sensitive to any and all allegations of harassment or abuse, and we support the independent investigations that have been launched.” They added, “We would not have taken precious time away from our families and careers if we felt that it was a ‘boys’ club.'”

Also Read: Prince to Be Honored at the Grammys in Tribute Concert Special on CBS

But other insiders said that Dugan, who became the Recording Academy’s first female CEO last year after Portnow’s abrupt resignation following the “step up” firestorm, faced severe challenges reforming a mostly masculine institution set in its ways. “My impression is that it is a male-dominated, political place,” one Academy member told TheWrap.

While noting that Dugan had a reputation as “demanding and impatient,” several insiders questioned why Portnow’s former assistant — whose complaint about Dugan’s “toxic and intolerable” and “abusive and bullying” behavior toward staff triggered an investigation and her ouster as CEO — had gone directly to the executive committee. “Why would you complain to the trustees instead of to HR? Because they were all Neil’s people,” the insider said of the board of trustees.

Another individual who worked with Dugan at the nonprofit (RED) said she stood out for her strong personality but that she had never been the subject of an employee complaint in her eight years leading the organization dedicated to eradicating AIDS.

Regardless of her skills, the Grammy insider said Dugan had misread the politics of her position — and her ability to make quick reforms. “My educated guess is that she is difficult to work for and she found herself very frustrated by their loyalty to Neil,” the insider said. “But she was not very smart about it — an analysis of the situation would say that you should go a little slower, ease off a few of Neil’s people out and bring in a few of your own.”

The insider also lamented that this public firestorm came at the worst possible time. “This is going to rip the Academy apart,” the insider continued. “Why would you fire somebody 10 days before the Grammys and think you’ll get away with it without public scrutiny? If this continues, it’s going to destroy the value of a Grammy.”

Steve Pond and Sharon Waxman contributed to this report.

25 Stars Who Only Need a Grammy to EGOT, From Frances McDormand to Al Pacino (Photos)

The EGOT -- an acronym for Emmy, Grammy, Oscar, Tony -- is the greatest honor in entertainment. These stars are (or were) close to achieving it. Viola Davis has an opportunity to EGOT this Sunday if she wins a Grammy.
Ellen Burstyn (1932 - )

Emmy: Guest Actress in Drama Series, "Law & Order: Special Victims Unit" (2009); Supporting Actress in Miniseries or Movie, "Political Animals" (2013)

Oscar: Actress, "Alice Doesn't Live Here Anymore" (1974)

Tony: Actress in a Play, "Same Time, Next Year" (1975)
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Maggie Smith (1934 - )

Emmy: Actress in a Miniseries or a Movie
"My House in Umbria" (2003); Supporting Actress in a Miniseries or Movie, "Downton Abbey" (2011, 2012 and 2016)

Oscar: Actress, "The Prime of Miss Jean Brodie" (1969); Supporting Actress, "California Suite" (1978)

Tony: Actress, "Lettice and Lovage" (1990)
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Glenda Jackson (1936 - )

Emmy (2):
Outstanding Single and Continued Performance by a Lead Actress, "Elizabeth R" (1971)

Oscar (2): Best Actress, "Women in Love" (1970) and "A Touch of Class" (1973)

Tony: Best Actress in a Play, "Three Tall Women" (2018)
Vanessa Redgrave (1937 - )

Emmy (2): Actress in a Limited Series or a Special, "Playing for Time" (1981); Supporting Actress in a Miniseries or a Movie, "If These Walls Could Talk 2" (2000)

Oscar: Supporting Actress, "Julia" (1977)

Tony: Actress, "Long Day's Journey Into Night" (2003)
Al Pacino (1940 -)

Emmy: Actor in a Miniseries or a Movie, "Angels in America" (2004) and "You Don't Know Jack" (2010)

Oscar: Actor, "Scent of a Woman" (1992)

Tony: Supporting Actor in a Play, "Does a Tiger Wear a Necktie?" (1969); Actor, "The Basic Training of Pavlo Hummel" (1979)

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Helen Mirren (1945 - )

Emmy: Actress in a Miniseries or a Special, "Prime Suspect" (1996); Actress in a Miniseries or a Movie, "The Passion of Ayn Rand" (1999); Actress in a Miniseries or a Movie, "Elizabeth I" (2006); Lead Actress in a Miniseries or Movie, "Prime Suspect: The Final Act" (2007)

Oscar: Actress, "The Queen" (2006)

Tony: Actress in a Play, "The Audience" (2015)
Liza Minnelli (1946 - )

Emmy: Single Program - Variety and Popular Music, "Liza With a Z" (1973)

Oscar: Actress, "Cabaret" (1973)

Tony: Actress in a Musical, "Flora, the Red Menace" (1965); Actress, "The Act" (1978)
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Jeremy Irons (1948 - )

Emmy: Voiceover Performance, "The Great War and the Shaping of the 20th Century" (1997); Outstanding Supporting Actor in a Miniseries or a Movie, "Elizabeth I" (2006); Narrator, "Big Cat Week" (2014)

Oscar: Actor, "Reversal of Fortune" (1990)

Tony: Actor in a Play, "The Real Thing" (1984)
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Jessica Lange (1949 - )

Emmy (3): Actress in a Miniseries or a Movie, "Grey Gardens" (2009); "American Horror Story" (2012 and 2014)

Oscar (2): Supporting Actress, "Tootsie" (1982); Actress, "Blue Sky" (1994)

Tony: Actress, "Long Day's Journey Into Night" (2016)
Photographed by Megan Mack for TheWrap
Geoffrey Rush (1951 - )

Emmy: Actor in a Miniseries or a Movie,
"The Life and Death of Peter Sellers" (2005)

Oscar: Actor, "Shine" (1996)

Tony: Actor in a Play, "Exit the King" (2009)
Frances McDormand (1957 - )

Emmy: 2 prizes for producing and starring in Limited Series or a Movie, "Olive Kitteridge" (2015)

Oscar (2): Actress, "Fargo" (1996); "Three Billboards Outside Ebbing, Missouri" (2017)

Tony: Actress in a Play, "Good People" (2011)
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Thomas Mitchell (1892-1962)

Emmy: Actor, NBC (1953)

Oscar: Supporting Actor, "Stagecoach" (1939)

Tony: Actor in a Musical, "Hazel Flagg" (1953)
Melvyn Douglas (1901-1981)

Emmy: Single Performance by an Actor in Leading Role in a Drama, "CBS Playhouse" (1968)

Oscar: Supporting Actor, "Hud" (1963); Supporting Actor, "Being There" (1979)

Tony: Actor in a Play, "The Best Man" (1960)
Jack Albertson (1907-1981)

Emmy: Continuing or Single Performance by a Supporting Actor in Variety or Music, "Cher" (1975); Actor in Comedy Series, "Chico and the Man" (1976)

Oscar: Supporting Actor, "The Subject Was Roses" (1968)

Tony: Supporting Actor, "The Subject Was Roses" (1965)
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Ingrid Bergman (1915-1982)

Emmy: Single Performance by an Actress, "Startime" (1960); Actress in Limited Series or Special, "A Woman Called Golda" (1982)

Oscar: Actress, "Gaslight" (1944); Actress, "Anastasia" (1956); Supporting Actress, "Murder on the Orient Express" (1974)

Tony: Actress (Dramatic), "Joan of Lorraine" (1947)
Bob Fosse (1927-1987)

Emmy: Choreography, Directing, Single Program - Variety and Popular Music, "Liza With a Z" (1973)

Oscar: Director, "Cabaret" (1972)

Tony: Choreographer, "The Pajama Game" (1955); "Damn Yankees" (1956); "Redhead" (1959); "Little Me" (1963); "Sweet Charity" (1966); "Pippin" (1973); "Dancin'" (1978); "Big Deal" (1986); Director, "Pippin" (1973)
Shirley Booth (1898-1992)

Emmy: Actress in a Series, "Hazel" (1962 and 1963)

Oscar: Actress, "Come Back, Little Sheba" (1952)

Tony: Supporting Actress in a Play, "Goodbye, My Fancy" (1949); Actress in a Play, "Come Back, Little Sheba" (1950); Actress in a Play, "Time of the Cuckoo" (1953)
Jessica Tandy (1909-1994)

Emmy: Actress in a Miniseries or a Special,
"Foxfire" (1987)

Oscar: Actress, "Driving Miss Daisy" (1989)

Tony: Actress in a Drama, "A Streetcar Named Desire" (1948); "The Gin Game" (1978); "Foxfire" (1983)
Jason Robards (1922-2000)

Emmy: Actor in a Miniseries or a Special, "Inherit the Wind" (1988)

Oscar: Supporting Actor, "All the President's Men" (1976); Supporting Actor, "Julia" (1977)

Tony: Actor in a Play, "The Disenchanted" (1959)
Ralph Burns (1922-2001)

Emmy: Music Direction, "Baryshnikov on Broadway" (1980)

Oscar: Scoring, Adaptation and Original Song Score, "Cabaret" (1972); Original Song Score/Adaptation Score, "All That Jazz" (1979)

Tony: Orchestrations, "Fosse" (1999); Orchestrations, "Thoroughly Modern Millie" (2002)
Anne Bancroft (1931-2005)

Emmy: Variety or Musical Program - Variety and Popular Music, "Annie, The Women in the Life of a Man" (1970)

Oscar: Actress, "The Miracle Worker" (1962)

Tony: Supporting Actress in a Play, "Two for the Seesaw" (1958); Actress in a Play, "The Miracle Worker" (1960)
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Maureen Stapleton (1925-2006)

Emmy: Single Performance by an Actress in a Drama, "Among the Paths to Eden" (1968)

Oscar: Supporting Actress, "Reds" (1981)

Tony: Supporting Actress in a Play, "The Rose Tattoo" (1951); Actress in a Play, "The Gingerbread Lady" (1971)
Paul Scofield (1922–2008)

Emmy: Single Performance by a Lead Actor, "Male of the Species" (1969)

Oscar: Actor, "A Man for All Seasons" (1966)

Tony: Actor in a Play, "A Man for All Seasons" (1962)
Christopher Plummer (1929-2021)

Emmy (2): Actor in a Limited Series,
"Arthur Hailey's the Moneychangers" (1977); Voiceover Performance, "Madeline" (1994)

Oscar: Supporting Actor, "The Beginners" (2011)

Tony (2): Actor in a Musical, "Cyrano" (1974); Actor in a Play, "Barrymore" (1997)
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Tony Walton (1934 - 2022)

Emmy: Art Direction for a Miniseries or a Special, "Death of a Salesman" (1986)

Oscar: Art Direction, "All That Jazz" (1979)

Tony: Scenic Designer, "Pippin" (1973); Scenic Designer, "The House of Blue Leaves" (1986); "Guys and Dolls" (1992)
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So who has made the cut? Here are all of the stars who have achieved EGOT status, from Audrey Hepburn to Whoopi Goldberg.

Also Read: All 12 EGOT Winners, From Audrey Hepburn to Whoopi Goldberg (Photos)

1 of 27

A select group of entertainers can round out their trophy cases with a competitive win from the Recording Academy

The EGOT -- an acronym for Emmy, Grammy, Oscar, Tony -- is the greatest honor in entertainment. These stars are (or were) close to achieving it. Viola Davis has an opportunity to EGOT this Sunday if she wins a Grammy.

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