New York Magazine

Snooty Glee and Self-Sufficiency

THE GRAMMY for Best New Artist is something of a curse. It’s keen on capturing artists in a breakout year but not so good at guessing what happens next. For every good call—like the Beatles winning in 1965, or Mariah Carey in 1991, or Adele in 2009—there’s another that veers left. Betting on the conscious hip-hop collective Arrested Development after the 1992 smashes “People Everyday” and “Tennessee” was smart; there was no way to tell there weren’t any more big hits in the well. Lauryn Hill was a sure bet in 1999, but we still haven’t seen a sequel to over 20 years later. The logic in picking Evanescence over 50.

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