64th Annual GRAMMY AWARDS® Program Book by AFMLA

SUN APR 3

THE 64 GRAMMYS ®

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THE 64 GRAMMYS

SUN APR 3

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For The Recording Academy Harvey Mason jr. CEO

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Manuel Abud

CO-PRESIDENT

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Ecologically intelligent practices were integrated into the planning and production of the GRAMMY Awards®. Most paper products and other supplies we bought and the services we procured were selected with sensitivity toward positive ecological stewardship. As an organization with a broad public reach, we take our obligations to society very seriously. The Recording Academy is honored to have teamed with the Natural Resources Defense Council, one of America’s most respected nonpartisan environmental organizations, to help reduce the Academy’s ecological footprint.

Recording Academy Television Committee Advisory Group

Jennifer Jones EXECUTIVE VICE PRESIDENT, LEGAL AFFAIRS

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Recording Academy Television Committee

WRITTEN BY

David Wild PRODUCER FOR THE RECORDING ACADEMY

Terry Lickona PRODUCTION DESIGNER

Jimmy Jam

Julio Himede

Fletcher Foster

LIGHTING DESIGNER

Leslie Fram

Noah Mitz

Tammy Hurt Mike Knobloch Harvey Mason jr. Alex Patsavas

ART DIRECTOR

Kristen Merlino SCREENS PRODUCER

Drew Findley

2022 GRAMMY® AWARDS NOMINEES

LISTEN LIKE YOU’RE THERE

WELCOME 12 CEO’s Message NOMINEES 16 ABBA Alicia Keys & Brandi Carlile

Arlo Parks Arooj Aftab

Baby Keem Billie Eilish

Brandi Carlile Doja Cat

Ed Sheeran Finneas

Glass Animals H.E.R.

Japanese Breakfast Jimmie Allen

Jon Batiste Justin Bieber

Kanye West Lil Nas X

Olivia Rodrigo Saweetie

Silk Sonic Taylor Swift

The Kid LAROI Tony Bennett & Lady Gaga

Complete Nominations List

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SPECIAL MERIT AWARDS Lifetime Achievement Awards

88 Grandmaster Flash & The Furious Five

90 Lionel Hampton 92 Marilyn Horne 94 Bonnie Raitt 96 Salt-N-Pepa 98 Selena 100 Talking Heads Trustees Awards

102 Ed Cherney 104 Benny Golson 106 Kenny “Babyface” Edmonds Technical GRAMMY Award

108 Daniel Weiss Music Educator Award

110 Stephen Cox Hall Of Fame

112 2021 GRAMMY Hall Of Fame

WE SALUTE ALL OF OUR 2022 GRAMMY NOMINEES!

YOUR MUSIC MOVES US. MUSIC MOVES OUR WORLD

1 TRIBE COLLECTIVE 30 ROC 88-KEYS 9TH WONDER AARON BOW AFROJACK (BUMA) ALEJANDRO RODRIGUEZ-DAWSON ALEX PYLE ALEXANDER 23 ALI TAMPOSI AMY ANDERSSON ANDREW WATT ANTHONY BROWN ANTHONY CLEMONS JR. ANTHONY M. JONES ANTONIO KEARNEY ANTWOINE COLLINS ARLO PARKS AROOJ AFTAB ARTURO O’FARRILL ASIA SMITH ATTICUS ROSS AYMÉE NUVIOLA AYOAA BABY KEEM BEAM BÉLA FLECK BEN JOHNSON BEN SCHOFIELD BENJAMIN LANZ BENNY BLANCO BILLY STRINGS BJ BURTON BLACK PUMAS BLAKE HUBBARD BLAKE MILLS BLAKE SLATKIN BLUES TRAVELER BMW KENNY BOMBA ESTÉREO BONOBO (PRS) BOOGZDABEAST BOOKER T BRANDEE YOUNGER BRANDI CARLILE BRITTANY “CHI” CONEY BRYSON TILLER CARDIAK CARLOS RAFAEL RIVERA CAROLE KING CARRIE UNDERWOOD CARTER LANG CECE WINANS CHA WA CHANCE THE RAPPER CHANDLER MOORE CHARLIE MUSSELWHITE CHICK COREA CHIDI OSONDU CHRIS BROWN CHRIS BROWN CHRIS SHIFLETT CHRISTIAN MCBRIDE CHRISTIAN SCOTT ATUNDE ADJUAH CHRISTONE “KINGFISH” INGRAM CLINT GIBBS CONWAY THE MACHINE CORDAE DUNSTON COREY LEDET CORY HENRY CURTIS STEWART CYNTHIA NUNN DAFNIS PRIETO SEXTET DAN AUERBACH DAN NICHOLS DANIEL CAESAR (SOCAN) DANIEL JAMES DANIEL TASHIAN DANTE BOWE DARRYL WOODSON DAVE COBB DAVE GROHL DAVID ARKENSTONE DAVID BIRAL DAVID BOWDEN DAVID BYRNE DAVID FROST DELACEY DEM JOINTZ DENZEL BAPTISTE DEREK KEOTA DEREK MIXON DERNST “D’MILE” EMILE II DIAMANTE ELÉCTRICO DIGITAL NAS DJ KHALED DJ KHALIL DOJA CAT DOLLY PARTON DOMINIC FIKE

DON TOLIVER DREAM THEATER DRRIQUE RENDEER E.VAX ED SHEERAN (PRS) ELIANE ELIAS ELIJAH DIAS ELLE KING ERIC BELLINGER ERIC DEATON ERIC JACOBSEN ERNIE HAASE ETANA FALU FIVIO FOREIGN FREDDY WEXLER GAITHER VOCAL BAND GAMAL “LUNCHMONEY” LEWIS GIVEON GREGORY ALDAE HEIN GUNNA GUY DAVIS H.E.R. HALSEY HARRY CONNICK, JR. HARV HIATUS KAIYOTE (APRA) HIGHTOWER HIT-BOY HOT 8 BRASS BAND IAN FITCHUK IDO ZMISHLANY ILLENIUM ISAAC DE BONI ISLEY JUBER ISRAEL & NEW BREED J BALVIN J. COLE J.T. CURE JABRILE HASHIM WILLIAMS JACK ANTONOFF JACK DEJOHNETTE JACLYN SANCHEZ JACOB GREENSPAN JAHAAN SWEET JAKE HEGGIE JAKE TORREY JARROD INGRAM JASON ALDEAN JASON BANKS (63RD) JASON BOYD JASON EVIGAN JASON ISBELL JASPER HARRIS JASPER SHEFF JAZZMEIA HORN JEFF “GITTY” GITELMAN JEFF BHASKER JELLI DORMAN JENS JUNGKURTH JEREMY BIDDLE JEREMY LINDSAY JESSE ROYAL JESSIE JO DILLON JID JIDENNA MOBISSON JIMMIE GUTCH JOE VISCIANO JOHN CUNNINGHAM JOHN HIATT JOHNNY MCDAID JON GAUTIER JON KING (PRS) JON RANDALL JONATHAN MCREYNOLDS JONATHAN WARD JORDAN DOUGLAS JORDAN K. JOHNSON JORGEN ODEGARD JOSEPH LORGE JOSH COLEMAN JOSH GUDWIN JUAN “AYOJUAN” PEÑA JUANES JULIA KARLSSON JULIA MICHAELS KACEY MUSGRAVES KAMERON GLASPER KANYE WEST KARI JOBE KAROL G KAYTRANADA (SOCAN) KBEAZY KENDRICK LAMAR KENNY BARRON KENNY BROWN KEVIN “CAPI” CARBO KEVIN GOMRINGER KEVIN HART KHALID KIRK FRANKLIN

KRISTEN ANDERSON-LOPEZ KURT ELLING KURTIS MCKENZIE LADY GAGA LARAYA ASHLEE ROBINSON LARRY HOOVER JR. LATISHA TWANA HYMAN LAURA SULLIVAN LAURA VELTZ LEAH HAYWOOD LEE STASHENKO LESLIE ANN JONES LESLIE ODOM, JR. LIL NAS X LIL YACHTY LINDA PERRY LOGAN JENNINGS LORENZO WOLFF LORI MCKENNA LOS LOBOS LUCKY DAYE LUDWIG GÖRANSSON LUIS BORDEAUX LUIS CAMPOZANO LUIS PERDOMO LUKE COMBS LYLE MAYS MAJOR LAZER MANEESH MARC WHITMORE MARCUS “MARC LO” LOMAX MAREN MORRIS MARK MYRIE MARK WILLIAMS MARSHMELLO MARVIN “TONY” HEMMINGS MARVIN FIGUEROA MASEGO MASTODON MATT DIMONA MAVERICK CITY MUSIC MAVIS STAPLES MEGAN THEE STALLION MIA WALLIS MICHAEL GRAVES MICHAEL HOWE MICHAEL L. WILLIAMS II MICHAEL MULÉ MICHAEL OLMO MICHAEL POLLACK MICKEY GUYTON MIGUEL ZENÓN MIKE “SCRIBZ” RILEY MIKE DEAN MIKE HECTOR MIKE SHINODA MIKEY FREEDOM HART MILES ALE MILEY CYRUS MIRANDA LAMBERT MITCH WONG (APRA) MON LAFERTE MORRAY NAGARIS JOHNSON NAS NASRI ATWEH (SOCAN) NATALIE GRANT NATALIE HEMBY NATE MENDEL NATE MERCEREAU NATHAN JESS NEAL H POGUE NIMA JAHANBIN NORAH JONES OLIVER “GERMAN” PETERHOF OMER FEDI OPIUM MOON P!NK PAIMON JAHANBIN PARKER WELLING PAT METHENY PAT SMEAR PATRIZIO ‘TEEZIO’ PIGLIAPOCO PAUL LAMALFA PHIL HANSEROTH PIERCE FREELON POP SMOKE RACHEL ECKROTH RAMI YACOUB RANDALL AVERY HAMMERS RANDY BRECKER RASHADE BENANI BEVEL SR. RAUL CUBINA RAUW ALEJANDRO REEF RHIANNON GIDDENS RHONDA VINCENT RIAN LEWIS RICHARD KING RICHARD MARTIN

RICKY KEJ RICKY REED RIVERS CUOMO ROB KINELSKI ROBERT LOPEZ ROBIN SMITH ROCCO DID IT AGAIN! ROCKY DAWUNI RODDY RICCH RODNEY “DARKCHILD” JERKINS ROGÉT CHAHAYED RON CARTER RONALD “FLIP” COLSON RONNY J ROSHWITA LARISHA BACHA ROY LENZO RUBY AMANFU RYAN HURD SAINT JHN SAM ASHWORTH SAM BARSH SARAH JAROSZ SAWEETIE SCOTTY BARNHART SEAN ARDOIN SEAN SOLYMAR SHANE STEVENS SHAY MOONEY SHEMEKIA COPELAND SHNDO SHOOTER JENNINGS SPICE STEVE CROPPER STEVE GADD STEVE MCEWAN (PRS) STEVEN FURTICK STEVEN J. COLLINS STEVEN SATER STEVEN WILSON STEWART COPELAND STREETRUNNER STURGILL SIMPSON SULLY SUN RA ARKESTRA SUNNY LEVINE SZA TAHRENCE BROWN TAUREN WELLS TAYLA PARX TAYLOR SWIFT TEMS TEN CITY TERENCE BLANCHARD THE BAYLOR PROJECT THE BLACK KEYS THE BLIND BOYS OF ALABAMA THE INFAMOUS STRINGDUSTERS THE ISAACS THE JERRY DOUGLAS BAND THE KID LAROI (APRA) THOMAS BARTLETT THOMAS BRENNECK THOMAS JAMES LEVESQUE THOMAS RHETT THURDI TIA SCOLA TIARA THOMAS TIËSTO TIFFANY HUDSON TIM GOMRINGER TIM HANSEROTH TOBIAS DEKKER TOM EATON TOM NAZZIOLA TOTALLY ENORMOUS EXTINCT DINOSAURS TRACKZ TY DOLLA $IGN TYLER CHILDERS TYLER SHEPPARD TYLER, THE CREATOR TYWAN MACK VALERIE JUNE VINCENT GOODYER VORY VURDELL “V. SCRIPT” MULLER WALKER HAYES WHEEZY WHITNEY PHILLIPS WILL ACKERMAN WILLIAM BOWERY WILLIE NELSON WIZKID (PRS) WU10 Y2K YELLOWJACKETS YETI BEATS YOLA (PRS) YOUNG THUG ZACH BROWN

FEATURES 116 New Era, New Vision, One Academy The Real Work Advancing Change Is Happening Within The Academy’s Walls

126 2022 GRAMMY Collection First Look

The Recording Academy Today

132 The Recording Academy: A Snapshot

Diversity, Equity & Inclusion

134 Advocacy & Public Policy 136 Membership & Industry Relations 138 MusiCares® 139 GRAMMY Museum® 140 The Latin Recording Academy® 141 GRAMMY Awards Process Staff Directory

143 Executive Staff 145 National Trustee Officers And Trustees 147 National Staff 150 Recording Academy Chapters 154 Past Chairs 156

In Memoriam

Remembering music people we lost in 2021

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The GRAMMY Award design is a trademark and service mark registered with the United States Patent and Trademark Office and may not be reproduced without permission. The National Academy of Recording Arts & Sciences, Inc., owns, among others, the following trademarks: Recording Academy®, GRAMMY®, GRAMMYs®, GRAMMY Awards®, GRAMMY Hall Of Fame®, The Latin Recording Academy®, MusiCares®, and GRAMMY Museum®. The 64thAnnual GRAMMY Awards Program Book is published by the Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, in association with AFM. © 2022 The Recording Academy. All rights reserved.

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It is a great pleasure to be able to welcome you back to the 64th Annual GRAMMY Awards© in person. While last year’s GRAMMYs were certainly a great triumph of technology and ingenuity, there is nothing like the excitement of a live audience and the shared joy of celebrating musical excellence together. The past two years have been a challenging time but also one that allowed us, as individuals and as an organization, to reflect and rebalance. To think about what’s important, what matters. To listen differently to the voices around us, and to consider what kind of world we want to live in. At the Recording Academy, we have been doing the same thing. We have worked through a period of intense reflection and spent time figuring out what is most important for us and for the people we serve. While we will, certainly, continue to honor excellence with the GRAMMYs, we have recommitted to the other parts of our mission, including advocacy, education and service. As we went through the process of reflection, we also developed an even greater sense of appreciation and gratitude for the opportunity we have to live a life in music and to experience it with the extraordinary people who make it. With new leadership pushing ahead at the Academy, we are continuing on our journey to ensure that the GRAMMYs celebrate the full spectrum of musical genres and the diversity of those who are a part of it. We are strengthening

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the Academy’s advocacy efforts and expanding both our educational and charitable impact. And next, we will launch our initiative to take on a role as global as music itself. I want to thank everyone at the Academy, including our members, elected leaders, show producers and partners, and our dedicated staff, for all they’ve done to make this evening possible. As always, I encourage you to join us in the important work we do at the Recording Academy all year long, but tonight, we have one focus – to celebrate the excellence achieved by all the GRAMMY nominees, to honor the GRAMMY winners, and to have BIG fun doing it! I’m expecting incredible performances, lots of excitement, and, as always, a few surprises. Thank you for joining us on Music’s Biggest Night®, the 64th Annual GRAMMY Awards. Have an amazing time! Musically yours,

Harvey Mason jr.

Excellence The people with an eye for investments salute the people with an ear for music The Poppo Group proudly supports the 64th Annual GRAMMY Awards®

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GOING FOR

CONGRATULATIONS TO ASCAP’S

JON BATISTE

11 NOMINATIONS

JUSTIN BIEBER

8 NOMINATIONS

BILLIE EILISH

7 NOMINATIONS

MOST GRAMMY-NOMINATED ARTIST OF ALL TIME

TONY BENNETT 5 NOMINATIONS

MAVERICK CITY MUSIC (BRANDON LAKE) 4 NOMINATIONS

JAY-Z

3 NOMINATIONS

ASCAP MEMBERS WITH 21 SAVAGE AC/DC ALLISON RUSSELL ANGÉLIQUE KIDJO ARIANA GRANDE ASHLEY GORLEY AUTUMN ROWE BENJ PASEK BLACK PUMAS

BO BURNHAM BRANDY CLARK BROTHERS OSBORNE CARDO CHRIS STAPLE TON CHRISTOPHER BRODY BROWN CLARICE ASSAD DaBABY DAN NIGRO

DEF TONES DENISIA ANDREWS DR. LUKE E THAN SHUMAKER FOO FIGHTERS GREG WELLS JACOB COLLIER JAZMINE SULLIVAN JENNIFER HUDSON

THE GOLD

345 GRAMMY AWARDS® NOMINEES

OLIVIA RODRIGO 7 NOMINATIONS

FINNEAS

5 NOMINATIONS

LIL BABY

5 NOMINATIONS

LIFETIME ACHIEVEMENT HONOREES

BONNIE RAITT

GRANDMASTER FLASH & THE FURIOUS FIVE

SALT-N-PEPA

TALKING HEADS

2 OR 3 NOMINATIONS JUSTIN PAUL KIZZO KUK HARRELL LOUIS BELL MICHAEL ROMANOWSKI ÓLAFUR ARNALDS

PAUL McCARTNEY SÉRGIO ASSAD SNOH AALEGRA THIRD COAST PERCUSSION TIZHIMSELF

TOM ELMHIRST TORI KELLY VINCE MENDOZA THE WEEKND YO-YO MA

See our full list of nominees at ASCAP.COM/GRAMMYNOMS22

BAILLIE WALSH

ago, they did so with only the promise of seeing if the magic might still be there after 40 years apart. But over the course of the ensuing recording sessions, the sparkling voices of Agnetha Fältskog and Anni-Frid Lyngstad were once again brought to joyous life by Björn Ulvaeus and Benny Andersson, yielding the band’s first album in four decades, Voyage, and the emotionally walloping lead single “I Still Have Faith In You.” As much a love letter to each other as to their legions of fans, the song swells with a stark, emotional piano twinkling on each verse, completed with a stadium-sized chorus so powerful that it yielded ABBA’s first career GRAMMY nomination for Record Of The Year. It’s as timeless as anything ABBA has ever produced, and just as compelling, too. — Brennan Carley

Created with the purpose of inspiring Americans to vote in the 2020 Presidential Election, Alicia Keys and Brandi Carlile’s “A Beautiful Noise” speaks to the power of using our voices to enact change. Crafted alongside a diverse, all-female writing team to provide varying perspectives and life experiences, the pianodriven R&B/pop ballad also aims to honor the women’s suffrage movement during its 100th anniversary. Carlile — who, along with Keys, is helmed as a modern-day champion of women’s rights and the causes of marginalized communities — noted in a statement that the song is “a universal message of hope and empowerment,” in addition to encouraging voting. She added, “It is an important reminder that we all have a voice and that our voices count.”

— J’na Jefferson

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AMANDA CHARCHIAN NEIL KRUG

When Swedish pop pioneers ABBA first reunited a few years

ALICIA KEYS & BRANDI CARLILE

SONG OF THE YEAR

RECORD OF THE YEAR

ABBA

ALEX WAESPI

Singer and composer Arooj Aftab conjures her own musical world from the lineages she’s collected throughout her lifetime, from traditional Sufi music to jazz, reggae and American folk. At age 18, Aftab uploaded a cover of Leonard Cohen’s “Hallelujah” that spread via email and filesharing sites in the early 2000s, making her the first artist in her hometown of Lahore, Pakistan, to go viral. Shortly after, she moved to the United States to attend the Berklee College of Music; now she lives in New York City where she’s been performing, recording and creating film and video game scores for the last decade. On her third album, 2021’s

Twenty-one-year-old musician and poet Arlo Parks captures all the thorny emotions of a Gen Z coming-of-age experience with a wisdom beyond her years. In 2018, the London artist released her debut single “Cola,” a funky, laid-back indie pop track about young heartbreak, and soon found her breakthrough with 2020’s “Black Dog,” a wistful song about helping a loved one through depression. Parks sharpened her literary sensibilities on her critically acclaimed debut album, Collapsed In Sunbeams (up for Best Alternative Music Album), whose lyrical vignettes reference everyone from Radiohead’s Thom Yorke to novelist Zadie Smith. Folding elements of indie rock, trip hop and folk into her detailed and understated pop style, Parks told tmrw she aims to establish “a complete world that people can immerse themselves in” — one that’s only growing bigger by the minute. — Michelle Hyun Kim

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died in 2018 — Arooj reimagines Urdu poems known as ghazals into unexpectedly arresting arrangements, forging forward a new path that’s deeply rooted in tradition.

AROOJ AFTAB

SOICHIRO SUIZI

— Michelle Hyun Kim

BEST NEW ARTIST

ARLO PARKS

BEST NEW ARTIST

Vulture Prince — dedicated to her younger brother, who

DANIEL REGAN

While Happier Than Ever gives the facade that Billie Eilish, well, happy, the pop star’s Album Of The Year-nominated second LP is largely a harrowing, coming-of-age narrative about the paradox of fame. A departure from her GRAMMYwinning debut When We All Fall Asleep, Where Do We Go?, Eilish’s latest effort trades haunting trip-hop for a more intimate approach flanked by homages to ‘90s rave culture and old Hollywood. The album’s grand centerpiece, “Happier Than Ever” — helmed with the help of her brother, producer and co-writer FINNEAS —details a toxic relationship in a scorched-earth ballad-turned-rock opera. “You were my

be an anomaly in rap. Unlike artists from established hip-hop areas like Los Angeles, Atlanta or Detroit, the 21-year-old rapper/producer had no regional sound to reference for his musical foundation. As a result, instead of emulating a specific region, Keem’s sound is an evolved amalgamation of his favorites and the characteristics that help make them special: Young Thug’s high-pitched vocal delivery, Lil Uzi Vert’s raw energy, Kid Cudi’s transcendent melodies, Travis Scott’s emphasis on production — the list goes on. “Family Ties,” which features Keem’s cousin and 13-time GRAMMY winner Kendrick Lamar, serves as the perfect example of the Vegas native’s wide-ranging abilities and earned the Best New Artist nominee two more nods, for Best Rap Performance and Best Rap Song. — Taj Mayfield

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impassioned vocals, the Record and Song Of The Year nominee means more to the singer-songwriter than the several GRAMMY nominations it has earned: She told Spotify “Happier Than Ever” is “probably the most therapeutic song I’ve ever written or recorded.” — Ilana Kaplan

BILLIE EILISH

KELIA ANNE MACCLUSKEY

Hailing from Las Vegas, Nevada, Baby Keem was destined to

Eilish warbles in pop-punk catharsis. As indicated by Eilish’s

RECORD OF THE YEAR, ALBUM OF THE YEAR, SONG OF THE YEAR

BABY KEEM

BEST NEW ARTIST

everything / And all that you did was make me f***in’ sad,”

THE NEW FR AGR ANCE

Congratulations on your 7 nominations from your partners at Parlux.

embraced candor. And it made sense that the LP’s lead single “Right On Time” was emotionally liberating for her, too. The roots-rock singer told SPIN that in writing the sweeping power ballad, she “felt like the pressure was off in terms of getting my heart to come out of my mouth.” The poignant

DOJA CAT

“Right On Time” picked up right where her 2018 LP By The

Doja Cat is not your average pop star. The 26-year-old singer and

Way, I Forgive You left off, seeing Carlile deliver a dynamic

dancer also comes equipped with witty, rapid-fire raps showcasing

vocal performance reminiscent of By The Way’s GRAMMY-

her animated personality, which has captured audiences since

winning standout “The Joke.” Penned in the early days of

her viral hit “Mooo!” in 2018. Her third studio LP, Planet Her, is a

the COVID-19 pandemic, “Right On Time” reflects on how

genre-bending display of her abilities, helping Doja Cat earn eight

Carlile reacted to the uncertain times and recognizes the

nominations this year — including her first for Album Of The Year

importance of growing from the experience, as she declares

and Song Of The Year. On the lead single, the SZA-assisted “Kiss Me

at the chorus’ end: “It wasn’t right / But it was right on time.”

More,” the pair trade flirtatious verses over a spritely summertime

— Ilana Kaplan

beat, which features a genius interpolation of Olivia Newton-John’s “Physical.” The track was one of 2021’s monster anthems, evidenced by its record-breaking run on the Billboard Hot 100, where it surpassed Brandy and Monica’s 1998 duet “The Boy Is Mine” for the longest-running all-female top 10 collaboration. — J’na Jefferson

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DAVE LACHAPELLE

In These Silent Days, 2021 was the year that Brandi Carlile

RECORD OF THE YEAR , ALBUM OF THE YEAR, SONG OF THE YEAR

NEIL KRUG

With her memoir Broken Horses and its companion album,

RECORD OF THE YEAR, SONG OF THE YEAR

BRANDI CARLILE

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DAN MARTENSEN

SONG OF THE YEAR

ED SHEERAN Sheeran earned his latest SOTY nomination with a much different vibe. This time, he’s not singing about a lifelong romance. Instead, the British superstar delves into the dark side of drinking and late-night partying — bad habits, if you will — revealing his struggles in lines such as “I only know how to go too far” and “Swearin’ this’ll be the last, but it probably won’t.” “Bad Habits” was inspired by

FINNEAS

Sheeran’s decision to cut back on alcohol before the birth of his daughter, Lyra. “Becoming a dad has really made

As the longtime co-writer and producer for his sister Billie

me prioritize who I am and what I do,” the singer told

Eilish, FINNEAS has already seen the kind of success artists

Zach Sang last year. The song served as the lead single for

dream of. But this past year, the Los Angeles-born musical

Sheeran’s fifth album, =, introducing a new-and-improved

mastermind broke out as an artist in his own right with

version of himself who’s faced his demons head-on.

his self-written and self-produced debut album, Optimist.

— Taylor Weatherby

Nominated as Best New Artist (in addition to nods for his work with Billie, including Record Of The Year, Song Of The Year and Album Of The Year), FINNEAS is now being recognized for his work as an in-demand songwriter, producer, engineer, and artist. Despite its name, Optimist is more maudlin than it seems, with a more straightforward approach to pop than his work with Billie. “To me the title Optimist is more aspirational — I think optimism is something I try to strive for,” the 24-year-old multihyphenate told NPR. “At my most optimistic, I’m also the hardest working and the most successful.” — Ilana Kaplan

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LUKE FENSTEMAKER

for the swoon-worthy ballad “Thinking Out Loud,” Ed

BEST NEW ARTIST

Six years after snagging his first Song Of The Year honor

— Justin Bieber

Create and experience music like never before professional.dolby.com/music

DREW PEREZ

GLASS ANIMALS

Despite having several accolades and awards to her name (including four GRAMMYs), H.E.R. only just released her debut album in summer 2021. Back Of My Mind finds the singer/songwriter and multi-instrumentalist flowing through sonic moods with ease, keeping her flair for marrying traditional R&B stylings and modern melodies intact. From the sunny summer bop “Slide” to the silky, GRAMMY-nominated “Damage,” the LP solidifies the 24-year-old’s ownership of her craft, and knowledge of her artistic direction. H.E.R also aims to spark change with her work, evident by her soulful Song Of The Year nominee,

Animals has had an “absolutely bonkers” year. While the English four-piece has made three albums (beginning with 2014’s Zaba, featuring the earworm single “Gooey”) and garnered a legion of fans, their major breakthrough came in 2021 via the swirling smash, “Heat Waves.” The song spent a record-breaking 60 weeks on Billboard’s Hot Rock & Alternative Songs chart before hitting No. 1 in September 2021, also earning the group their first hit on the Hot 100 (where it reached No. 7) — both propelled by a second life as a TikTok favorite. Its parent album, 2020’s Dreamland, expanded the band’s indie-pop palette to include R&B and hip-hop textures, including a link-up with Denzel Curry on “Tokyo Drifting.” They continued pushing boundaries on the thumping single, “I Don’t Wanna Talk (I Just Wanna Dance),” a deluxe album track. — Jack Tregoning

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the 2021 Academy Awards) serves as a wake-up call to the horrors of social and racial unrest — and proves that H.E.R. is a powerful voice in music and beyond. — J’na Jefferson

H.E.R.

TIM SACCENTI

As frontman Dave Bayley told Consequence Of Sound, Glass

Judas and The Black Messiah and won Best Original Song at

ALBUM OF THE YEAR, SONG OF THE YEAR

BEST NEW ARTIST

“Fight For You.” The uplifting track (which was written for

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PETER ASH LEE

Fourteen years after moving to Nashville and sleeping in his car, Jimmie Allen is living the dream he’s long been striving for. The Milton, Delaware native’s honeyed pop-country tenor keyed his charge from the shadows to the spotlight with his heartfelt debut single, “Best Shot,” in 2018. He scored back-to-back No. 1s on Billboard’s Country Airplay chart with “Best Shot” and its upbeat follow-up, 2019’s “Make Me Want To.” Allen carried that success into 2021, landing another top 10 hit with his Brad Paisley duet “Freedom Was a

Michelle Zauner has been making exuberant, emotionally charged indie rock as Japanese Breakfast for nearly a decade now, but her 2021 album Jubilee (up for Best Alternative Music Album) feels like a true arrival. The Korean American artist first drew critical buzz with 2016’s Psychopomp, an urgent debut written after her mother’s death from cancer, establishing her reputation for making haunting songs about loss and sexuality. Zauner found catharsis through the writing of Jubilee, a meditation on joy and survival that served as an intentional step into the spotlight. A true multi-hyphenate who self-directs her music videos and recently scored the adventure game “Sable,” Zauner also released her first book, Crying in H Mart, last year. As Zauner told GRAMMY.com upon Jubilee’s release, a lot of the album “was the aftermath of where the book left off,” allowing for her to explore a new side Japanese Breakfast — one that paid off. — Michelle Hyun Kim

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Bettie James, on which Allen blended R&B melodies and pop production into his country sound (and collaborated with his idol, the late Charley Pride), solidifying him as one of

JIMMIE ALLEN

SHEA FLYNN

country’s genre-bending hitmakers. — Marcus K. Dowling

BEST NEW ARTIST

JAPANESE BREAKFAST

BEST NEW ARTIST

Highway.” The song was featured on his star-studded album

SESAC CONGRATULATES OUR 64TH GRAMMY® AWARD NOMINEES

CHRISTIAN SCOTT ATUNDE ADJUAH

— Best Improvised Jazz Solo

DVLP

JIMMIE ALLEN

—

Best New Artist

ROBERT GLASPER

BURNA BOY

—

Album Of The Year Best Global Music Performance

KENYON DIXON

—

Best Traditional R&B Performance

JACK HARLOW

—

GLASS ANIMALS

LILI HAYDN

JAPANESE BREAKFAST

— Best New Age Album

Best New Artist Best Alternative Music Album

JOSH JENKINS

KINGS OF LEON

Best Country Song

Best Rock Song

KYLE LEE

MARK LETTIERI

AMELIA MEATH

PJ MORTON

Best Contemporary Christian Music Performance/Song

Best Contemporary Instrumental Album

—

Album Of The Year, Best Traditional R&B Performance

— Album Of The Year

(OPIUM MOON)

—

Best Traditional R&B Performance Best Progressive R&B Album

—

— Best New Artist

—

(SYLVAN ESSO)

Best Dance/Electronic Music Album

EMILE MOSSERI

CHRISTIAN NODAL

BILL O’CONNELL

Best Arrangement, Instrumental or A Cappella

Best Regional Mexican Music Album (Including Tejano)

Best Arrangement, Instrumental or A Cappella

—

— Album Of The Year

—

Album Of The Year Best Melodic Rap Performance

—

TONY SUCCAR

—

Best Tropical Latin Album

YOUNG GURU

—

Album Of The Year

seven Fields, including R&B, Jazz, American Roots Music, and Classical. That’s both thanks to his role as co-composer on Pixar’s Academy Award-winning homage to jazz, Soul, and Batiste’s own masterwork, WE ARE. The latter earned the multi-hyphenate his first Album Of The Year nomination as well as his first nod for Record Of The Year with “FREEDOM.” The triumphant track seems at once vintage and modern, a combination Batiste deftly presents across the genrebending LP. The lead single from WE ARE, “FREEDOM” is a techno-blues shuffle wherein Batiste’s exuberant falsetto vocals weave through a funky matrix of throbbing synth bass and New Orleans-style percussion. Aligned with the album’s overall message of “love, joy, and community” (as Batiste told Apple Music), “FREEDOM” encapsulates the meaningful impact he looks to make with his music.

— Bruce Britt

JUSTIN BIEBER Justin Bieber is no stranger to the GRAMMYs. The 27-year-old singer has 22 total career nods, including this year’s eight. But his latest are particularly special, as Bieber scored nominations in three of the four General Field Categories, as well as first-time nominations in the Best R&B Performance and Best Music Video Categories. His sixth album, Justice, helped him achieve these milestones, showcasing Bieber’s vocal and musical versatility while baring his heart lyrically. Three of the album’s tracks received nominations: the impassioned tribute to his wife Hailey, “Anyone,” for Best Pop Solo Performance; the vulnerable ballad “Lonely” for Best Pop Duo/Group Performance; and the wavy hit “Peaches” for Best R&B Performance. The latter is also Bieber’s Record and Song Of The Year contender, thanks to its clever take on long-lasting love and its appeal both stateside and worldwide — the laid-back tune landed Bieber his seventh No. 1 on the Billboard Hot 100, also topping the Global 200. — Taylor Weatherby

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RORY KRAMER

Awards, Jon Batiste has 11 nominations across a remarkable

RECORD OF THE YEAR, ALBUM OF THE YEAR, SONG OF THE YEAR

LOUIS BROWNE

As the most-nominated artist at this year’s GRAMMY

RECORD OF THE YEAR, ALBUM OF THE YEAR

JON BATISTE

their album in the category for Album Of The Year, so I can finally win.” With Donda (a tribute to his late mother) and Lil Nas X’s Montero (on which West produced “Industry Baby”) receiving nominations, the 22-time GRAMMY

LIL NAS X

winner has now earned 10 Album Of The Year nods for his work as an artist and producer. Ye expertly plays both of those roles on his 10th studio album by blending all of his musical stylings — College Dropout’s progressive rap, 808s & Heartbreak’s electropop, Yeezus’ industrial hip-hop, Jesus Is King’s gospel — across its whopping 27 tracks. Between rapping must-hear verses on songs like “Off The Grid” and “Heaven and Hell” and serving up first-class pairings like The Weeknd and Lil Baby on the Best Melodic Rap Performance-nominated track “Hurricane,” Ye truly set out to place Donda in a category of its own. — Taj Mayfield

Two years after blasting onto the scene with the viral smash “Old Town Road,” Lil Nas X proved he was never meant to be the predicted one-hit wonder with his debut album, Montero. Exploring grave themes such as heartbreak, suicidal ideation and internalized homophobia and racism, Montero earned Lil Nas X his second Album Of The Year nomination. Standout single “Montero (Call Me By Your Name)” moved the needle for queer representation with its sexually charged lyrics, also making listeners dance with a burning flamenco riff. The Record and Song Of The Year nominee became Lil Nas’ second No. 1 on the Billboard Hot 100 as well as his second hit to surpass 1 billion streams on Spotify, in part thanks to its controversial fall-from-grace visual (which scored a nod for Best Music Video). Putting his sexuality at the forefront, Lil Nas X is showing critics and bigots alike that he’s not afraid to push boundaries. — Shannon Casey

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CHARLOTTE RUTHERFORD

West made his wish for Donda clear: “Nobody should put

RECORD OF THE YEAR, ALBUM OF THE YEAR, SONG OF THE YEAR

MERT ALAS AND MARCUS PIGGOTT

In an interview with Revolt TV’s “Drink Champs,” Kanye

ALBUM OF THE YEAR

KANYE WEST

Cali-bred rapper Saweetie is the embodiment of heart and hustle, but her meteoric rise didn’t happen overnight. Amid receiving her BA in communications at the University of Southern California, she made a name for herself in 2012 by releasing freestyle rap verses on social media. After catching the internet’s attention with

After making a name for herself as an actress, singer-songwriter

her impressive flow, her big breakthrough came with the Petey

Olivia Rodrigo had a breakout year that dreams are made of — one

Pablo-sampling “My Type” in 2019. Ever since, Saweetie has proven

that ended with nominations in all four General Field Categories.

to be one of rap’s most in-demand female stars, collaborating with

She became a record-setting artist upon the release of her debut

the likes of Jhené Aiko, Gwen Stefani, Anitta, and Tyga and YG. Her

single “driver’s license,” a piano-driven ballad of teenage heartbreak

empowering 2021 team-up with Doja Cat, “Best Friend,” became

that captured hearts of all ages and earned nominations for Record

her biggest hit to date, also earning the pair a nomination for Best

and Song Of The Year — as well as Best Pop Solo Performance.

Rap Song. Thanks to a confident set of bars, a hyphy West Coast-

The track’s runaway success (including a historic eight-week run

approved collection of reworked early-aughts bangers, and a

atop the Billboard Hot 100) catapulted the Best New Artist nominee

penchant for trendsetting, it seems Saweetie isn’t going out of style

to global stardom. Her ascent was solidified with her debut album,

anytime soon. — J’na Jefferson

Sour, up for both Album Of The Year and Best Pop Vocal Album. Should Rodrigo go on to win all four awards at the 2022 GRAMMYs, she’ll join an elite group of artists who have swept the Big Four — including Billie Eilish, who Rodrigo would tie for the youngest at just 18 years old. — Taylor Weatherby

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BRIAN CONTRERAS

BEST NEW ARTIST

LISSYELLE LARICCHIA

RECORD OF THE YEAR, ALBUM OF THE YEAR, SONG OF THE YEAR, BEST NEW ARTIST

OLIVIA RODRIGO

SAWEETIE

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HARPER SMITH

RECORD OF THE YEAR, SONG OF THE YEAR

SILK SONIC

Coming off her history-making third Album Of The Year win at the 63rd GRAMMYs with her mystical masterpiece folklore, Taylor Swift notches her fifth nomination in the category with what she deemed “folklore’s sister record,” evermore. The superstar released the album in very untraditional Swift fashion — just five months after folklore. That’s largely because she and her collaborators (Aaron Dessner, Jack Antonoff, Justin Vernon, and William

On paper, it makes the utmost sense that pop’s

Bowery, the pseudonym of her boyfriend Joe Alwyn) “just couldn’t

resident soul-searcher, Bruno Mars, and music’s

stop writing songs” after diving into folklore’s fanciful universe.

funkiest genre-bender Anderson .Paak, would unite

The result is another striking display of Swift’s poetic lyricism,

for a super-project blending their singular scopes

expanding the singer’s new sonic universe with bolder narratives

and talents. In practice, it’s a masterwork in perfect

and impressionistic takes on love and pain — ultimately furthering

harmony, yielding tracks like the Record Of The

her place as one of her generation’s greatest storytellers.

Year and Song Of The Year nominee “Leave the Door

— Taylor Weatherby

bongo drumbeat, an undulating tambourine, and a dedication to capturing the emotion and electricity of a live performance), the song manages to straddle the past and the future in one big, crooning breath. “Leave the Door Open” is a sparkling display of both Mars and .Paak’s smooth vocal abilities, as well as their knack for slinky tongue-in-cheek lyricism — a combination that also earned the duo Best R&B Performance and Best R&B Song nods.

— Brennan Carley

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TAYLOR SWIFT

BETH GARRABRANT

and rock ‘n’ roll’s most timeless takeaways (a steady

ALBUM OF THE YEAR

Open.” Paying homage to some of R&B, soul, funk,

Here’s to everyone who pursues their dreams Start Something Priceless

™

Congratulations to all of the GRAMMY® winners and nominees. Your lifelong passion for music inspires us all.

GRAMMY®, GRAMMY Awards®, and the gramophone logo are registered trademarks of the Recording Academy® and are used under license. ©2022 The Recording Academy. Mastercard, Start Something Priceless and the circles design are registered trademarks of Mastercard International Incorporated. ©2022 Mastercard. All rights reserved.

BRANDON BOWEN

Lady Gaga helped Tony Bennett cap off an illustrious 70year career with the release of Love for Sale, the duo’s second collaborative album. Bennett announced his retirement at age 95 in August 2021, making Love for Sale his final album as well as the end of his unforgettable musical coupling with the pop superstar. Produced by Tony’s son Dae, the Album Of The Year candidate sees the pair translating songs by legendary composer Cole Porter, including a rapturous reading of “Night and Day” and an enchanting take on “Dream Dancing.” The duo’s adaptation of “I Get A Kick Out of You” is an endearing display of Bennett and Gaga’s admiration for one another — as is its tear-jerking Best Music Video-nominated visual — earning them their first Record Of The Year nomination together. Adding five more nominations to Bennett’s resume (the pair are also up for

After spending his childhood memorizing the lyrics of Eminem and the Fugees, The Kid LAROI is celebrating global stardom in the latter part of his teens. The 18-yearold Sydney, Australia native firmly planted himself as a formidable artist at the cutting-edge intersection of hip-hop and pop with memorable lines all his own. The Best New Artist nominee’s earworm melodies and raw, aching lyrics are a major part of his appeal, strung together with a unique voice that features warts-and-all perspectives — whether he’s lamenting a deep emotional void on the pained ballad “WITHOUT YOU” or begging a lover to stick around on the frenetic, Justin Bieber-assisted “STAY.” His debut mixtape, F*** Love, expanded on those all-too-relatable vulnerabilities (and subsequently earned the singer-songwriter his first No. 1 album on the Billboard 200), making it apparent that The Kid LAROI has a deft ear for eloquently encapsulating the tumultuous nature of romantic emotion. — Rob LeDonne

38 THE 64 GRAMMYS

Vocal Album), Love for Sale marks a bittersweet finale for one

TONY BENNETT & LADY GAGA

KELSEY BENNETT

of music’s greats. — Bruce Britt

RECORD OF THE YEAR, ALBUM OF THE YEAR

THE KID LAROI

BEST NEW ARTIST

Best Pop Duo/Group Performance and Best Traditional Pop

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NOMINATIONS For recordings released during the eligibility year September 1, 2020 through September 30, 2021. Note: More or less than 5 nominations in a category is the result of ties.

General Field

1_RECORD OF THE YEAR (Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.)

I Still Have Faith In You

ABBA

Benny Andersson & Björn Ulvaeus, producers; Benny Andersson & Bernard Löhr, engineers/mixers; Björn Engelmann, mastering engineer

Freedom

Jon Batiste Jon Batiste, DJ Khalil, Kizzo & Autumn Rowe, producers; Russ Elevado, Kizzo & Manny Marroquin, engineers/mixers; Michelle Mancini, mastering engineer

I Get A Kick Out Of You

Tony Bennett & Lady Gaga

Dae Bennett, producer; Dae Bennett & Josh Coleman, engineers/ mixers; Greg Calbi & Steve Fallone, mastering engineers

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Peaches

Kiss Me More

drivers license

Justin Doja Cat Olivia Bieber Featuring Rodrigo Featuring SZA Daniel Caesar & Silk Sonic Giveon Billie Eilish Rogét Chahayed, tizhimself & Yeti Beats, producers; Rob Bisel, Serban Ghenea, John Hanes, Rian Lewis & Joe Visciano, engineers/mixers; Mike Bozzi, mastering engineer

Happier Than Ever

Louis Bell, Josh Gudwin, HARV, Shndo & Andrew Watt, producers; Josh Gudwin & Andrew Watt, engineers/mixers; Colin Leonard, mastering engineer

Right On Time

Brandi Carlile Dave Cobb & Shooter Jennings, producers; Brandon Bell & Tom Elmhirst, engineers/mixers; Pete Lyman, mastering engineer

FINNEAS, producer; Billie Eilish, FINNEAS & Rob Kinelski, engineers/mixers; Dave Kutch, mastering engineer

Montero (Call Me By Your Name)

Lil Nas X Omer Fedi, Roy Lenzo & Take A Daytrip, producers; Denzel Baptiste, Serban Ghenea, John Hanes & Roy Lenzo, engineers/mixers; Chris Gehringer, mastering engineer

Daniel Nigro, producer; Mitch McCarthy & Daniel Nigro, engineers/mixers; Randy Merrill, mastering engineer

Leave The Door Open

Dernst “D’Mile” Emile II & Bruno Mars, producers; Serban Ghenea, John Hanes & Charles Moniz, engineers/mixers; Randy Merrill, mastering engineer

GT L AW.COM

Congratulations To all the GRAMMY® nominees and winners on this well-deserved achievement! The Entertainment & Media Practice of Greenberg Traurig proudly supports our client, the Recording Academy®, and our many friends there whose tireless efforts have created Music’s Biggest Night®. We are honored to join in celebrating the 64th GRAMMY Awards®.

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NOMINATIONS General Field

2_ALBUM OF THE YEAR

(Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s).)

We Are

Jon Batiste

Craig Adams, David Gauthier, Braedon Gautier, Brennon Gautier, Gospel Soul Children Choir, Hot 8 Brass Band, PJ Morton, Autumn Rowe, Zadie Smith, St. Augustine High School Marching 100 & Trombone Shorty, featured artists; Jon Batiste, Mikey Freedom Hart, DJ Khalil, King Garbage, Kizzo, Sunny Levine, Nate Mercereau, David Pimentel, Ricky Reed, Autumn Rowe, Jahaan Sweet & Nick Waterhouse, producers; Jon Batiste, Russ Elevado, Mischa Kachkachishvili, Kizzo, Joseph Lorge, Manny Marroquin, Ken Oriole, David Pimentel, Ricky Reed, Jaclyn Sanchez, Ethan Shumaker, Matt Vertere, Marc Whitmore & Alex Williams, engineers/mixers; Andrae Alexander, Troy Andrews, Jon Batiste, Zach Cooper, Vic Dimotsis, Eric Frederic, Kizzo, Sunny Levine, Steve McEwan, PJ Morton, Autumn Rowe & Mavis Staples, songwriters; Michelle Mancini, mastering engineer

Love For Sale

Tony Bennett & Lady Gaga

Dae Bennett, producer; Dae Bennett, Josh Coleman & Billy Cumella, engineers/mixers; Greg Calbi & Steve Fallone, mastering engineers

Justice (Triple Chucks Deluxe)

Justin Bieber

BEAM, benny blanco, Burna Boy, Daniel Caesar, Chance The Rapper, DaBaby, Dominic Fike, Giveon, Jaden, Tori Kelly, Khalid, The Kid LAROI, Lil Uzi Vert & Quavo, featured artists; Amy Allen, Louis Bell, Jon Bellion, Justin Bieber, benny blanco, BMW Kenny, Capi, Dreamlab, Dvlp, Jason

44 THE 64 GRAMMYS

Evigan, FINNEAS, The Futuristics, German, Josh Gudwin, Jimmie Gutch, HARV, Marvin “Tony” Hemmings, Ilya, Rodney “Darkchild” Jerkins, Stefan Johnson, KCdaproducer, Denis Kosiak, The Monsters & Strangerz, Jorgen Odegard, Michael Pollack, Poo Bear, Shndo, Skrillex, Jake Torrey, Trackz, Andrew Watt & Ido Zmishlany, producers; Cory Bice, benny blanco, Kevin “Capi” Carbo, Edwin Diaz, DJ Durel, Dreamlab, FINNEAS, Josh Gudwin, Sam Holland, Daniel James, Antonio Kearney, Denis Kosiak, Paul LaMalfa, Jeremy Lertola, Devin Nakao, Chris “TEK” O’Ryan, Andres Osorio, Micah Pettit & Benjamin Thomas, engineers/mixers; Amy Allen, Delacey (Brittany Amaradio), Louis Bell, Jonathan Bellion, Chancelor Johnathon Bennett, Justin Bieber, David Bowden, Jason Boyd, Scott Braun, Tommy Lee Brown, Valentin Brunn, Kevin Carbo, Kenneth Coby, Kevin Coby, Raul Cubina, Jordan Douglas, Giveon Dezmann Evans, Jason Evigan, Dominic David Fike, Kameron Glasper, Jacob Greenspan, Josh Gudwin, James Gutch, Scott Harris, Bernard Harvey, Leah Haywood, Gregory Aldae Hein, Marvin Hemmings, Jeffrey Howard, Alexander Izquierdo, Daniel James, Jace Logan Jennings, Rodney Jerkins, Jordan K. Johnson, Stefan Johnson, Anthony M. Jones, Antonio Kearney, Charlton Kenneth, Joe Khajadourian, Felisha “Fury” King, Jonathan Lyndale Kirk, Matthew Sean Leon, Benjamin Levin, Marcus Lomax, Quavious Keyate Marshall, Luis Manuel Martinez Jr., Sonny Moore, Finneas O’Connell, Jorgen Odegard, Damini Ebunoluwa Ogulu, Tayla Parx, Oliver Peterhof, Whitney Phillips, Michael Pollack, Khalid Donnel Robinson, Ilya Salmanzadeh, Alex Schwartz, Tia Scola, Aaron Simmonds, Ashton

Simmonds, Gian Stone, Ali Tamposi, Ryan Tedder, Tyshane Thompson, Jake Torrey, Billy Walsh, Freddy Wexler, Symere Woods, Andrew Wotman, Rami Yacoub, Keavan Yazdani, Bigram Zayas & Ido Zmishlany, songwriters; Colin Leonard, mastering engineer

Happier Than Ever

Billie Eilish

FINNEAS, producer; Billie Eilish, FINNEAS & Rob Kinelski, engineers/mixers; Billie Eilish O’Connell & Finneas O’Connell, songwriters; John Greenham & Dave Kutch, mastering engineers

Planet Her (Deluxe)

Doja Cat

Eve, Ariana Grande, Gunna, JID, SZA, The Weeknd & Young Thug, featured artists; Aaron Bow, Rogét Chahayed, Crate Classics, Digi, Dr. Luke, f a l l e n, Mayer Hawthorne, Mike Hector, Linden Jay, Aynzli Jones, Kurtis McKenzie, Jason Quenneville, Reef, Khaled Rohaim, Al Shux, Sully, tizhimself, Yeti Beats & Y2K, producers; Rob Bisel, Jesse Ray Ernster, Serban Ghenea, Clint Gibbs, John Hanes, Rian Lewis, NealHPogue, Tyler Sheppard, Kalani Thompson, Joe Visciano & Jeff Ellis Worldwide, engineers/mixers; Ilana Armida, Aaron Bow, Rogét Chahayed, Jamil Chammas, Sheldon Yu-Ting Cheung, Antwoine Collins, Amala Zandile Dlamini, Lukasz Gottwald, Ariana Grande, Mayer Hawthorne, Mike Hector, Aaron Horn, Taneisha Damielle Jackson, Linden Jay, Eve Jihan Jeffers, Aynzli Jones, Sergio Kitchens, Carter Lang, Siddharth Mallick, Maciej Margol-Gromada, Kurtis McKenzie, Jidenna Mobisson, Gerard A. Powell II, Geordan Reid-Campbell, Khaled Rohaim, Destin Route, Solána Rowe, Laura Roy, Al Shuckburgh, David Sprecher, Ari Starace, Lee Stashenko, Abel Tesfaye, Rob Tewlow, Margaux Whitney & Jeffery Lamar Williams, songwriters; Dale Becker & Mike Bozzi, mastering engineers

Back Of My Mind

H.E.R.

Chris Brown, Cordae, DJ Khaled, Lil Baby, Thundercat, Bryson Tiller, Ty Dolla $ign, YG & Yung Bleu, featured artists; Tarik Azzouz, Bordeaux, Nelson Bridges, DJ Camper, Cardiak, Cardo, Chi Chi, Steven J. Collins, Flip, Jeff “Gitty” Gitelman, GRADES, H.E.R., Hit-Boy, Rodney “Darkchild” Jerkins, Walter Jones, KAYTRANADA, DJ Khaled, Mario Luciano, Mike Will Made-It, NonNative, NOVA WAV, Scribz Riley, Jeff Robinson, STREETRUNNER, Hue Strother, Asa Taccone, Thundercat, Thurdi & Wu10, producers; Rafael Fai Bautista, Luis Bordeaux, Dee Brown, Anthony Cruz, Ayanna Depas, Morning Estrada, Chris Galland, H.E.R., Jaycen Joshua, KAYTRANADA, Derek Keota, Omar Loya, Manny Marroquin, Tim McClain, Juan “AyoJuan” Peña, Micah Pettit, Patrizio Pigliapoco, Alex Pyle, Jaclyn Sanchez, Miki Tsutsumi & Tito “Earcandy” Vasquez, engineers/ mixers; Denisia “Blu June” Andrews, Nasri Atweh, Tarik Azzouz, Stacy Barthe, Jeremy Biddle, Nelson “Keyz” Bridges, Chris Brown, Stephen Bruner, Darhyl Camper Jr., Luis Campozano, Louis Kevin Celestin, Anthony Clemons Jr., Steven J. Collins, Ronald “Flip” Colson, Brittany “Chi” Coney, Elijah Dias, Cordae Dunston, Jeff Gitelman, Tyrone Griffin Jr., Priscilla “Priscilla Renea” Hamilton, H.E.R.,

Charles A. Hinshaw, Chauncey Hollis, Latisha Twana Hyman, Keenon Daequan Ray Jackson, Rodney Jerkins, Dominique Jones, Khaled Khaled, Ron Latour, Gamal “Lunchmoney” Lewis, Mario Luciano, Carl McCormick, Leon McQuay III, Julia Michaels, Maxx Moore, Vurdell “V. Script” Muller, Chidi Osondu, Karriem Riggins, Mike “Scribz” Riley, Seandrea Sledge, Hue Strother, Asa Taccone, Tiara Thomas, Bryson Tiller, Daniel James Traynor, Brendan Walsh, Nicholas Warwar, Jabrile Hashim Willliams, Michael L. Williams II, Robert Williams & Kelvin Wooten, songwriters; Colin Leonard, mastering engineer

Montero

Lil Nas X

Miley Cyrus, Doja Cat, Jack Harlow, Elton John & Megan Thee Stallion, featured artists; Denzel Baptiste, David Biral, John Cunningham, Omer Fedi, Kuk Harrell, Jasper Harris, KBeaZy, Carter Lang, Nick Lee, Roy Lenzo, Tom Levesque, Jasper Sheff, Blake Slatkin, Drew Sliger, Take A Daytrip, Ryan Tedder & Kanye West, producers; Denzel Baptiste, David Biral, Jon Castelli, John Cunningham, Jelli Dorman, Tom Elmhirst, Serban Ghenea, John Hanes, Kuk Harrell, Roy Lenzo, Manny Marroquin, Nickie Jon Pabon, Patrizio ‘Teezio’ Pigliapoco, Blake Slatkin, Drew Sliger, Ryan Tedder & Joe Visciano, engineers/ mixers; Keegan Bach, Denzel Baptiste, David Biral, John Cunningham, Miley Ray Cyrus, Amala Zandile Dlamini, Omer Fedi, Vincent Goodyer, Jack Harlow, Jasper Harris, Montero Hill, Ilsey Juber, Carter Lang, Nick Lee, Roy Lenzo, Thomas James Levesque, Andrew Luce, Michael Olmo, Jasper Sheff, Blake Slatkin, R.L. Stafford, Ryan Tedder, William

K. Ward & Kanye West, songwriters; Chris Gehringer, Eric Lagg & Randy Merrill, mastering engineers

Sour

Olivia Rodrigo

Alexander 23, Daniel Nigro & Olivia Rodrigo, producers; Ryan Linvill, Mitch McCarthy & Daniel Nigro, engineers/mixers; Daniel Nigro, Olivia Rodrigo & Casey Smith, songwriters; Randy Merrill, mastering engineer

Evermore

Taylor Swift

Bon Iver, Haim & The National, featured artists; Jack Antonoff, Aaron Dessner, Bryce Dessner & Taylor Swift, producers; Thomas Bartlett, JT Bates, Robin Baynton, Stuart Bogie, Gabriel Cabezas, CJ Camerieri, Aaron Dessner, Bryce Dessner, Scott Devendorf, Matt DiMona, Jon Gautier, Trevor Hagen, Mikey Freedom Hart, Sean Hutchinson, Josh Kaufman, Benjamin Lanz, Nick Lloyd, Jonathan Low, James McAlister, Dave Nelson, Sean O’Brien, Ryan Olson, Ariel Rechtshaid, Kyle Resnick, Michael Riddleberger, Laura Sisk, Evan Smith, Alex Sopp & Justin Vernon, engineers/mixers; Jack Antonoff, William Bowery, Aaron Dessner, Bryce Dessner, Taylor Swift & Justin Vernon, songwriters; Greg Calbi & Steve Fallone, mastering engineers

Donda

Kanye West

Baby Keem, Chris Brown, Conway The Machine, DaBaby, Jay Electronica, Fivio Foreign, Westside Gunn, JAY-Z, Syleena Johnson, Kid Cudi, Lil Baby, Lil Durk, Lil Yachty, The LOX, Marilyn

Manson, Playboi Carti, Pop Smoke, Roddy Ricch, Rooga, Raphael Saadiq, Travis Scott, Shenseea, Swizz Beatz, Young Thug, Don Toliver, Ty Dolla $ign, Vory, The Weeknd, Westside Gunn & Lil Yachty, featured artists; Allday, Audi, AyoAA, Roark Bailey, Louis Bell, Jeff Bhasker, Boi-1Da, BoogzDaBeast, Warryn Campbell, Cirkut, Cubeatz, David & Eli, Mike Dean, Dem Jointz, Digital Nas, DJ Khalil, DRTWRK, 88-Keys, E.Vax, FNZ, Gesaffelstein, Nikki Grier, Cory Henry, Ronny J, Wallis Lane, Jarrod “Twisco” Morgan, Nabeyin, Nascent, Ojivolta, Shuko, Sloane, Sean Solymar, Sucuki, Arron “Arrow” Sunday, Swizz Beatz, Zen Tachi, 30 Roc, The Twilite Tone, Federico “Fede” Vindver, Bastian Völkel, Mia Wallis, Kanye West, Wheezy & Jason White, producers; Roark Bailey, A. ‘BAINZ’ Bains, Rafael Fai Bautista, Josh Berg, Todd Bergman, Rashade Benani Bevel Sr., Will Chason, Cirkut, Chris Connors, Dave Cook, Daniel Davila, Andrew Dawson, Mike Dean, Dem Jointz, Chris Dennis, Zack Djurich, Jesse Ray Ernester, Kyle Fitzgibbon, Shane Fitzgibbon, Marcus Fritz, Patrick Hundley, IRKO, Jess Jackson, Nagaris Johnson, Shin Kamiyama, Gimel “Young Guru” Keaton, James Kelso, Ronald Lark III, Scott McDowell, Gentuar Memishi, Kalam Ali Muttalib, Shelton “Renegade El Ray” Oliver, Jonathan Pfarr, Kaushlesh “Gary” Purohit, Enzo Rarri, Reno Reagan, Preston Reid, Drrique Rendeer, Alejandro Rodriguez-Dawson, Jeff Ryon, Mikalai Skrobat, Randy Urbanski, Federico “Fede” Vindver, Cristal Viramontes, Devon Wilson & Lorenzo Wolff, engineers/mixers; Dwayne Abernathy Jr., Elpadaro F. Electronica Allah, Aswad Asif, Roark Bailey, Durk Banks, Sam Barsh, Christoph Bauss, Louis Bell, Jeff Bhasker, Christopher Brown, Jahshua

Brown, Tahrence Brown, Aaron Butts, Warryn Campbell, Hykeem Carter Jr., Jordan Terrell Carter, Shawn Carter, Denzel Charles, Raul Cubina, Albert Daniels, Andrew Dawson, Isaac De Boni, Kasseem Dean, Michael Dean, Rennard East, Donny Flores, Tim Friedrich, Cristina Gallo, Wesley Glass, Samuel Gloade, Kevin Gomringer, Tim Gomringer, Tyrone Griffin Jr., Jahmal Gwin, Leonard Harris, Cory Henry, Tavoris Javon Hollins Jr., Larry Hoover Jr., Bashar Jackson, Sean Jacob, Nima Jahanbin, Paimon Jahanbin, Syleena Johnson, Dominique Armani Jones, Anthony C. Khan, Jonathan Kirk, Eli Klughammer, Ricardo LaMarre, Chinsea Lee, Mike Lévy, Angie Martinez, Evan Mast, MarkMbogo, Miles McCollum, Josh Mease, Scott Medcudi, Brian Miller, Dexter Mills Jr., Rodrick Wayne Moore Jr., Michael Mulé, Mark Myrie, Rico Nichols, Charles M. Njapa, Edgar Nabeyin Panford, Nasir Pemberton, Jalil Pereza, Carlos St. John Phillips, Jason Phillips, Simon David Plummer, Demond Price, Khalil Abdul Rahman, Laraya Ashlee Robinson, Christopher Ruelas, David Ruoff, Cailin Russo, Maxie Lee Ryles III, Raphael Saadiq, Matthew Samuels, Daniel Seeff, Eric Sloan Jr., Che Smith, Tobias Smith, Sean Solymar, Ronald O’Neill Spence Jr., Lee Stashenko, David Styles, Michael Suski, Aqeel Tate, Abel Makkonen Tesfaye, Caleb Zackery Toliver, Tyshane Thompson, Terrence Thornton, Warren Trotter, Federico Vindver, Bastian Völkel, Billy Walsh, Henry Russell Walter, Travis Darrelle Walton, Brian Hugh Warner, Jacques Webster II, Kanye West, Thomas Whitfield, Orlando Wilder, Jeffery Williams & Mark Williams, Darius Woodley, Alvin Lamar Worthy, Adam Wright, Cydel Young, Malik Yusef, songwriters; Irko, mastering engineer

THE 64 GRAMMYS

NOMINATIONS General Field

3_SONG OF THE YEAR

(A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.) Bad Habits

Fred Gibson, Johnny McDaid & Ed Sheeran, songwriters (Ed Sheeran) A Beautiful Noise

Ruby Amanfu, Brandi Carlile, Brandy Clark, Alicia Keys, Hillary Lindsey, Lori McKenna, Linda Perry & Hailey Whitters, songwriters (Alicia Keys & Brandi Carlile) drivers license

Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

Fight For You

Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.) Happier Than Ever

Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish) Kiss Me More

Rogét Chahayed, Amala Zandile Dlamini, Lukasz Gottwald, Carter Lang, Gerard A. Powell II, Solána Rowe & David Sprecher, songwriters (Doja Cat Featuring SZA)

Leave The Door Open

Brandon Anderson, Christopher Brody Brown, Dernst Emile II & Bruno Mars, songwriters (Silk Sonic) Montero (Call Me By Your Name)

Denzel Baptiste, David Biral, Omer Fedi, Montero Hill & Roy Lenzo, songwriters (Lil Nas X)

4_BEST NEW ARTIST

(This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.)

Arooj Aftab

Japanese Breakfast

Jimmie Allen

The Kid LAROI

Baby Keem

Arlo Parks

FINNEAS

Olivia Rodrigo

Glass Animals

Saweetie

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Peaches

Louis Bell, Justin Bieber, Giveon Dezmann Evans, Bernard Harvey, Felisha “Fury” King, Matthew Sean Leon, Luis Manuel Martinez Jr., Aaron Simmonds, Ashton Simmonds, Andrew Wotman & Keavan Yazdani, songwriters (Justin Bieber Featuring Daniel Caesar & Giveon) Right On Time

Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)

THE AWARD WINNERS & NOMINEES OF THIS YEAR’S GRAMMY AWARDS®

PEOPLE® IS PROUD TO PARTNER WITH THE GRAMMYS® AND THE RECORDING ACADEMY®

NOMINATIONS Pop

5_BEST POP SOLO PERFORMANCE (For new vocal or instrumental pop recordings. Singles or Tracks only.) Anyone

Justin Bieber

Right On Time

Brandi Carlile

Happier Than Ever

Billie Eilish

Positions

Ariana Grande

drivers license

Olivia Rodrigo

6_BEST POP DUO/GROUP PERFORMANCE (For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.) I Get A Kick Out Of You

Tony Bennett & Lady Gaga

Lonely

Justin Bieber & benny blanco

Butter

Higher Power

BTS

Coldplay

Kiss Me More

Doja Cat Featuring SZA

7_BEST TRADITIONAL POP VOCAL ALBUM (For albums containing at least 51% playing time of new traditional pop recordings.) Love For Sale

Tony Bennett & Lady Gaga ‘Til We Meet Again (Live)

Norah Jones

A Tori Kelly Christmas

That’s Life

Ledisi Sings Nina

A Holly Dolly Christmas

Tori Kelly Ledisi

Willie Nelson Dolly Parton

8_BEST POP VOCAL ALBUM (For albums containing at least 51% playing time of new pop vocal recordings.) Justice (Triple Chucks Deluxe)

Justin Bieber

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Planet Her (Deluxe)

Doja Cat

Happier Than Ever

Billie Eilish

Positions

Ariana Grande

Sour

Olivia Rodrigo

DK BARTLEY Chief Diversity, Equity & Inclusion Officer

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For more information, visit moodys.com/diversity

NOMINATIONS Dance/Electronic Music

9_BEST DANCE/ELECTRONIC RECORDING (For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.) Hero

Before

You Can Do It

The Business

Afrojack, David Guetta, Kuk Harrell & Stargate, producers; Elio Debets, mixer

James Blake & Dom Maker, producers; James Blake, mixer

Dan Snaith, producer; David Wrench, mixer

Hightower, Julia Karlsson & Tiësto, producers; Tiësto, mixer

Afrojack & David Guetta

James Blake

Caribou

Loom

Heartbreak

Alive

Ólafur Arnalds & Simon Green, producers; Ólafur Arnalds, mixer

Simon Green & Orlando Higginbottom, producers; Simon Green, mixer

Jason Evigan & Rüfüs Du Sol, producers; Cassian Stewart-Kasimba, mixer

Ólafur Arnalds Featuring Bonobo

Bonobo & Totally Enormous Extinct Dinosaurs

Tiësto

Rüfüs Du Sol

10_BEST DANCE/ELECTRONIC ALBUM (For vocal or instrumental albums. Albums only.) Subconsciously

Black Coffee

Fallen Embers

ILLENIUM

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Music Is The Weapon (Reloaded)

Major Lazer Shockwave

Marshmello

Free Love

Sylvan Esso Judgement

Ten City

Contemporary Instrumental Music

11_BEST CONTEMPORARY INSTRUMENTAL ALBUM

(For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.) Double Dealin’

Randy Brecker & Eric Marienthal The Garden

Rachel Eckroth

Tree Falls

Deep: The Baritone Sessions, Vol. 2

Taylor Eigsti

Mark Lettieri

At Blue Note Tokyo

Steve Gadd Band

Rock

12_BEST ROCK PERFORMANCE (For new vocal or instrumental solo, duo/group or collaborative rock recordings.) Shot In The Dark

AC/DC

Know You Better (Live From Capitol Studio A)

Black Pumas

Nothing Compares 2 U

Chris Cornell

Ohms

Deftones

Making A Fire

Foo Fighters

13_BEST METAL PERFORMANCE (For new vocal or instrumental solo, duo/group or collaborative metal recordings.) Genesis

Amazonia

The Alien

Pushing The Tides

Deftones Dream Theater

Gojira

Mastodon

The Triumph Of King Freak (A Crypt Of Preservation And Superstition)

Rob Zombie

THE 64 GRAMMYS

NOMINATIONS Rock

14_BEST ROCK SONG

(A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.) All My Favorite Songs

Rivers Cuomo, Ashley Gorley, Ben Johnson & Ilsey Juber, songwriters (Weezer)

The Bandit

Caleb Followill, Jared Followill, Matthew Followill & Nathan Followill, songwriters (Kings Of Leon)

Distance

Wolfgang Van Halen, songwriter (Mammoth WVH) Find My Way

Paul McCartney, songwriter (Paul McCartney)

Waiting On A War

Dave Grohl, Taylor Hawkins, Rami Jaffee, Nate Mendel, Chris Shiflett & Pat Smear, songwriters (Foo Fighters)

15_BEST ROCK ALBUM

(For albums containing at least 51% playing time of new rock, hard rock or metal recordings.) Power Up

AC/DC

No One Sings Like You Anymore Vol. 1

Capitol Cuts - Live From Studio A

Medicine At Midnight

Black Pumas

Chris Cornell

McCartney III

Paul McCartney

Foo Fighters

Alternative

16_BEST ALTERNATIVE MUSIC ALBUM (Vocal or Instrumental.) Shore

Jubilee

If I Can’t Have Love, I Want Power

Collapsed In Sunbeams

Fleet Foxes

Halsey

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Japanese Breakfast Arlo Parks

Daddy’s Home

St. Vincent

R&B

17_BEST R&B PERFORMANCE (For new vocal or instrumental R&B recordings.) Lost You

Snoh Aalegra

Peaches

Justin Bieber Featuring Daniel Caesar & Giveon

Damage

H.E.R.

Leave The Door Open

Pick Up Your Feelings

Fight For You

How Much Can A Heart Take

Silk Sonic

Jazmine Sullivan

18_BEST TRADITIONAL R&B PERFORMANCE (For new vocal or instrumental traditional R&B recordings.) I Need You

Jon Batiste

Bring It On Home To Me

BJ The Chicago Kid, PJ Morton & Kenyon Dixon Featuring Charlie Bereal

Born Again

Leon Bridges Featuring Robert Glasper

H.E.R.

Lucky Daye Featuring Yebba

19_BEST R&B SONG

Anthony Clemons Jr., Jeff Gitelman, H.E.R., Carl McCormick & Tiara Thomas, songwriters (H.E.R.)

Good Days

Jacob Collier, Carter Lang, Carlos Munoz, Solána Rowe & Christopher Ruelas, songwriters (SZA)

Heartbreak Anniversary

Giveon Evans, Maneesh, Sevn Thomas & Varren Wade, songwriters (Giveon)

Leave The Door Open

Brandon Anderson, Christopher Brody Brown, Dernst Emile II & Bruno Mars, songwriters (Silk Sonic)

Pick Up Your Feelings

Denisia “Blue June” Andrews, Audra Mae Butts, Kyle Coleman, Brittany “Chi” Coney, Michael Holmes & Jazmine Sullivan, songwriters (Jazmine Sullivan)

THE 64 GRAMMYS

NOMINATIONS R&B

20_BEST PROGRESSIVE R&B ALBUM (For albums containing at least 51% playing time of newly recorded progressive vocal tracks derivative of R&B.) New Light

Mood Valiant

Something To Say

Table For Two

Eric Bellinger Cory Henry

Hiatus Kaiyote Lucky Daye

Dinner Party: Dessert

Terrace Martin, Robert Glasper, 9th Wonder & Kamasi Washington

Studying Abroad: Extended Stay

Masego

21_BEST R&B ALBUM

(For albums containing at least 51% playing time of new R&B recordings.) Temporary Highs In The Violet Skies

Snoh Aalegra

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We Are

Jon Batiste

Gold-Diggers Sound

Leon Bridges

Back Of My Mind

H.E.R.

Heaux Tales

Jazmine Sullivan

Let’s create a fan experience that’s as exciting ↪ as Music’s Biggest Night. ®

The GRAMMYs are serving up the deepest of deep cuts for music fans with help from IBM to transform the red carpet livestream. IBM Watson uses AI to analyze over 30 million news stories about hundreds of artists to generate new insights about all your favorite nominees. It’s the next big thing in creating an unmatched experience for music fans. Learn more at ibm.com/GRAMMYs

IBM and the IBM logo are trademarks of International Business Machines Corporation, registered in many jurisdictions worldwide. Other product and service names might be trademarks of IBM or other companies. A current list of IBM trademarks is available at ibm.com/trademark. International Business Machines Corp. 2022. GRAMMY , GRAMMY Awards, Music’s Biggest Night and the gramophone logo are registered trademarks of the Recording Academy and are used under license. 2022 The Recording Academy.

NOMINATIONS Rap

22_BEST RAP PERFORMANCE (For a Rap performance. Singles or Tracks only.) Family Ties

Baby Keem Featuring Kendrick Lamar

Cardi B

MY.LIFE

J. Cole Featuring 21 Savage & Morray

Thot S***

Megan Thee Stallion

23_BEST MELODIC RAP PERFORMANCE (For a solo or collaborative performance containing both elements of R&B melodies and Rap.) PRIDE.IS. THE.DEVIL

J. Cole Featuring Lil Baby

Need To Know

Doja Cat

Industry Baby

Lil Nas X Featuring Jack Harlow

Wusyaname

Tyler, The Creator Featuring Youngboy Never Broke Again & Ty Dolla $ign

Hurricane

Kanye West Featuring The Weeknd & Lil Baby

24_BEST RAP SONG

Shawn Carter, Kasseem Dean, Michael Forno, Nasir Jones & Earl Simmons, songwriters (DMX Featuring Jay-Z & Nas)

Best Friend

Amala Zandelie Dlamini, Lukasz Gottwald, Randall Avery Hammers, Diamonté Harper, Asia Smith, Theron Thomas & Rocco Valdes, songwriters (Saweetie Featuring Doja Cat)

Family Ties

Roshwita Larisha Bacha, Hykeem Carter, Tobias Dekker, Colin Franken, Jasper Harris, Kendrick Lamar, Ronald Latour & Dominik Patrzek, songwriters (Baby Keem Featuring Kendrick Lamar)

Jail

Dwayne Abernathy, Jr., Shawn Carter, Raul Cubina, Michael Dean, Charles M. Njapa, Sean Solymar, Kanye West & Mark Williams, songwriters (Kanye West Featuring Jay-Z)

25_BEST RAP ALBUM

(For albums containing at least 51% playing time of new rap recordings.) The Off-Season

J. Cole

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King’s Disease II

Nas

Call Me If You Get Lost

Tyler, The Creator

Donda

Kanye West

MY.LIFE

Shéyaa Bin AbrahamJoseph, Jermaine Cole & Jacob Dutton, songwriters (J. Cole Featuring 21 Savage & Morray)

NOMINATIONS Country

26_BEST COUNTRY SOLO PERFORMANCE (For new vocal or instrumental solo country recordings.) Forever After All

Luke Combs

Remember Her Name

Mickey Guyton

All I Do Is Drive

Jason Isbell

camera roll

Kacey Musgraves

You Should Probably Leave

Chris Stapleton

27_BEST COUNTRY DUO/ GROUP PERFORMANCE (For new vocal or instrumental duo/group or collaborative country recordings.) If I Didn’t Love You

Jason Aldean & Carrie Underwood

Younger Me

Brothers Osborne

Glad You Exist

Dan + Shay

Chasing After You

Ryan Hurd & Maren Morris

Drunk (And I Don’t Wanna Go Home)

Elle King & Miranda Lambert

28_BEST COUNTRY SONG

Jessie Jo Dillon, Maren Morris, Jimmy Robbins & Laura Veltz, songwriters (Maren Morris)

camera roll

Ian Fitchuk, Kacey Musgraves & Daniel Tashian, songwriters (Kacey Musgraves)

Cold

Dave Cobb, J.T. Cure, Derek Mixon & Chris Stapleton, songwriters (Chris Stapleton) Country Again

Fancy Like

Cameron Bartolini, Walker Hayes, Josh Jenkins & Shane Stevens, songwriters (Walker Hayes)

Remember Her Name

Mickey Guyton, Blake Hubbard, Jarrod Ingram & Parker Welling, songwriters (Mickey Guyton)

Zach Crowell, Ashley Gorley & Thomas Rhett, songwriters (Thomas Rhett)

29_BEST COUNTRY ALBUM (For albums containing at least 51% playing time of new country recordings.) Skeletons

Brothers Osborne

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Remember Her Name

Mickey Guyton

The Marfa Tapes

Miranda Lambert, Jon Randall & Jack Ingram

The Ballad Of Dood & Juanita

Sturgill Simpson

Starting Over

Chris Stapleton

New Age

30_BEST NEW AGE ALBUM

(For albums containing at least 51% playing time of new vocal or instrumental new age recordings.) Brothers

Will Ackerman, Jeff Oster & Tom Eaton

Divine Tides

Stewart Copeland & Ricky Kej

Pangaea

Wouter Kellerman & David Arkenstone

Night + Day

Opium Moon

Pieces Of Forever

Laura Sullivan

Jazz

31_BEST IMPROVISED JAZZ SOLO

(For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or Tracks only.) Sackodougou

Kick Those Feet

Bigger Than Us

Track from: The Hands Of Time (Weedie Braimah)

Track from: Songs From My Father (Gerry Gibbs Thrasher Dream Trios)

Track from: Soul (Original Motion Picture Sountrack) (Various Artists)

Christian Scott aTunde Adjuah, soloist

Kenny Barron, soloist

Jon Batiste, soloist

Absence

Terence Blanchard, soloist

Track from: Absence (Terence Blanchard Featuring The E Collective And The Turtle Island Quartet)

Humpty Dumpty (Set 2)

Chick Corea, soloist Track from: Akoustic Band Live (Chick Corea, John Patitucci & Dave Weckl)

32_BEST JAZZ VOCAL ALBUM (For albums containing at least 51% playing time of new vocal jazz recordings.) Generations

The Baylor Project

SuperBlue

Kurt Elling & Charlie Hunter

Time Traveler

Nnenna Freelon

Flor

Gretchen Parlato

Songwrights Apothecary Lab

Esperanza Spalding

33_BEST JAZZ INSTRUMENTAL ALBUM (For albums containing at least 51% playing time of new instrumental jazz recordings.) Jazz Selections: Music From And Inspired By Soul

Jon Batiste

Absence

Terence Blanchard Featuring The E Collective And The Turtle Island Quartet

Skyline

Ron Carter, Jack DeJohnette & Gonzalo Rubalcaba

Akoustic Band LIVE

Chick Corea, John Patitucci & Dave Weckll

Side-Eye NYC (V1.IV)

Pat Metheny

THE 64 GRAMMYS

NOMINATIONS Jazz

34_BEST LARGE JAZZ ENSEMBLE ALBUM (For albums containing at least 51% playing time of new ensemble jazz recordings.) Live At Birdland!

The Count Basie Orchestra Directed By Scotty Barnhart

Dear Love

Jazzmeia Horn And Her Noble Force

For Jimmy, Wes And Oliver

Christian McBride Big Band

Swirling

Sun Ra Arkestra

Jackets XL

Yellowjackets + WDR Big Band

35_BEST LATIN JAZZ ALBUM

(For vocal or instrumental albums containing at least 51% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.) Mirror Mirror

Eliane Elias With Chick Corea and Chucho Valdés

The South Bronx Story

Carlos Henriquez

Virtual Birdland

Arturo O’Farrill & The Afro Latin Jazz Orchestra

Transparency

Dafnis Prieto Sextet

El Arte Del Bolero

Miguel Zenón & Luis Perdomo

Gospel/Contemporary Christian Music

36_BEST GOSPEL PERFORMANCE/SONG (This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.) Voice Of God

Dante Bowe Featuring Steffany Gretzinger & Chandler Moore; Dante Bowe, Tywan Mack, Jeff Schneeweis & Mitch Wong, songwriters Joyful

Dante Bowe; Dante Bowe & Ben Schofield, songwriters

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Help

Anthony Brown & Group Therapy; Anthony Brown & Darryl Woodson, songwriters Never Lost

CeCe Winans

Wait On You

Elevation Worship & Maverick City Music; Dante Bowe, Chris Brown, Steven Furtick, Tiffany Hudson, Brandon Lake & Chandler Moore, songwriters

37_BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG (This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)) We Win

Kirk Franklin & Lil Baby; Kirk Franklin, Dominique Jones, Cynthia Nunn & Justin Smith, songwriters

Hold Us Together (Hope Mix)

H.E.R. & Tauren Wells; Josiah Bassey, Dernst Emile & H.E.R., songwriters

Man Of Your Word

Chandler Moore & KJ Scriven; Jonathan Jay, Nathan Jess & Chandler Moore, songwriters

Believe For It

CeCe Winans; Dwan Hill, Kyle Lee, CeCe Winans & Mitch Wong, songwriters

Jireh

Elevation Worship & Maverick City Music Featuring Chandler Moore & Naomi Raine; Chris Brown, Steven Furtick, Chandler Moore & Naomi Raine, songwriters

38_BEST GOSPEL ALBUM

(For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.) Changing Your Story

Jekalyn Carr

Royalty: Live At The Ryman

Tasha Cobbs Leonard

Jubilee: Juneteenth Edition

Maverick City Music

Jonny X Mali: Live In LA

Jonathan McReynolds & Mali Music

Believe For It

CeCe Winans

39_BEST CONTEMPORARY CHRISTIAN MUSIC ALBUM

(For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.) No Stranger

Natalie Grant

Feels Like Home Vol. 2

Israel & New Breed

The Blessing (Live)

Kari Jobe

Citizen Of Heaven (Live)

Tauren Wells

Old Church Basement

Elevation Worship & Maverick City Music

40_BEST ROOTS GOSPEL ALBUM (For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.) Alone With My Faith

Harry Connick, Jr.

That’s Gospel, Brother

Gaither Vocal Band

Keeping On

Ernie Haase & Signature Sound

Songs For The Times

The Isaacs

My Savior

Carrie Underwood

THE 64 GRAMMYS

NOMINATIONS Latin

41_BEST LATIN POP ALBUM (For albums containing at least 51% playing time of new Latin pop recordings.) Vértigo

Pablo Alborán

Mis Amores

Paula Arenas

Hecho A La Antigua

Ricardo Arjona

Mis Manos

Mendó

Camilo

Alex Cuba

Revelación

Selena Gomez

42_BEST MÚSICA URBANA ALBUM (For albums containing at least 51% playing time of new Música Urbana recordings.) Afrodisíaco

Rauw Alejandro

El Último Tour Del Mundo

Jose

KG0516

J Balvin

Bad Bunny

KAROL G

Sin Miedo (Del Amor Y Otros Demonios) 8

Kali Uchis

43_BEST LATIN ROCK OR ALTERNATIVE ALBUM

(For albums containing at least 51% playing time of new Latin rock or alternative recordings.) Deja

Bomba Estéreo

Mira Lo Que Me Hiciste Hacer (Deluxe Edition)

Origen

Calambre

Juanes

Nathy Peluso

El Madrileño

C. Tangana

Diamante Eléctrico

Sonidos De Karmática Resonancia

Zoé

44_BEST REGIONAL MEXICAN MUSIC ALBUM (For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.) Antología De La Musica Ranchera, Vol. 2

A Mis 80’s

Vicente Fernández

Seis

Mon Laferte

Aida Cuevas

Un Canto Por México, Vol. II

Natalia Lafourcade

Ayayay! (Súper Deluxe)

Christian Nodal

45_BEST TROPICAL LATIN ALBUM (For albums containing at least 51% playing time of new tropical Latin recordings.) Salswing!

Rubén Blades y Roberto Delgado & Orquesta

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En Cuarentena

El Gran Combo De Puerto Rico

Sin Salsa No Hay Paraíso

Aymée Nuviola

Colegas

Gilberto Santa Rosa

Live In Peru

Tony Succar

American Roots Music

46_BEST AMERICAN ROOTS PERFORMANCE (For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including Americana, bluegrass, blues, folk or regional roots. Award to the artist(s).) Cry

Love And Regret

Jon Batiste

I Wish I Knew How It Would Feel To Be Free

Billy Strings

The Blind Boys Of Alabama & Béla Fleck

Same Devil

Brandy Clark Featuring Brandi Carlile

Nightflyer

Allison Russell

47_BEST AMERICAN ROOTS SONG

(A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.) Avalon

Bored

Call Me A Fool

Cry

Rhiannon Giddens, Justin Robinson & Francesco Turrisi, songwriters

Linda Chorney, songwriter

Valerie June, songwriter

Jon Batiste & Steve McEwan, songwriters

(Rhiannon Giddens With Francesco Turrisi)

(Linda Chorney Featuring Becca Byram, EJ Ouellette & Trevor Sewell)

(Valerie June Featuring Carla Thomas)

(Jon Batiste)

Diamond Studded Shoes

Nightflyer Jeremy Lindsay & Allison Russell, songwriters

Dan Auerbach, Natalie Hemby, Aaron Lee Tasjan & Yola, songwriters

(Allison Russell)

(Yola)

48_BEST AMERICANA ALBUM

(For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.) Downhill From Everywhere

Jackson Browne

Leftover Feelings

John Hiatt with The Jerry Douglas Band

Native Sons

Los Lobos

Outside Child

Allison Russell

Stand For Myself

Yola

49_BEST BLUEGRASS ALBUM

(For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.) Renewal

Billy Strings

My Bluegrass Heart

Béla Fleck

A Tribute To Bill Monroe

The Infamous Stringdusters

Cuttin’ Grass Vol. 1 (Butcher Shoppe Sessions)

Music Is What I See

Rhonda Vincent

Sturgill Simpson

50_BEST TRADITIONAL BLUES ALBUM (For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.) 100 Years Of Blues

Elvin Bishop & Charlie Musselwhite

Traveler’s Blues

Blues Traveler

I Be Trying

Cedric Burnside

Be Ready When I Call You

Guy Davis

Take Me Back

Kim Wilson

THE 64 GRAMMYS

NOMINATIONS American Roots Music

51_BEST CONTEMPORARY BLUES ALBUM (For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.) Delta Kream

Royal Tea

The Black Keys Featuring Eric Deaton & Kenny Brown

Uncivil War

Joe Bonamassa

Shemekia Copeland

Fire It Up

Steve Cropper

662

Christone “Kingfish” Ingram

52_BEST FOLK ALBUM

(For albums containing at least 51% playing time of new vocal or instrumental folk recordings.) One Night Lonely [Live]

Long Violent History

Mary Chapin Carpenter

Tyler Childers

Wednesday (Extended Edition)

Madison Cunningham

They’re Calling Me Home

Rhiannon Giddens With Francesco Turrisi

Blue Heron Suite

Sarah Jarosz

53_BEST REGIONAL ROOTS MUSIC ALBUM (For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.) Live In New Orleans!

Sean Ardoin And Kreole Rock And Soul

Bloodstains & Teardrops

Big Chief Monk Boudreaux

My People

Corey Ledet Zydeco

Cha Wa

Corey Ledet Zydeco

Kau Ka Pe’a

Kalani Pe’a

Reggae

54_BEST REGGAE ALBUM (For albums containing at least 51% playing time of new reggae recordings.) Pamoja

Etana

66 THE 64 GRAMMYS

Positive Vibration

Gramps Morgan

Live N Livin

Sean Paul

Royal

Jesse Royal

Beauty In The Silence

Soja

Spice

Global Music

55_BEST GLOBAL MUSIC PERFORMANCE (For new vocal or instrumental Global music recordings.) Mohabbat

Arooj Aftab

Do Yourself

Angelique Kidjo & Burna Boy

Pà Pá Pà

Femi Kuti

Blewu

Yo-Yo Ma & Angelique Kidjo

Essence

WizKid Featuring Tems

56_BEST GLOBAL MUSIC ALBUM (For albums containing at least 51% playing time of new vocal or instrumental Global Music recordings.) Voice Of Bunbon, Vol. 1

Rocky Dawuni

East West Players Presents: Daniel Ho & Friends Live In Concert

Mother Nature

Angelique Kidjo

Legacy +

Femi Kuti And Made Kuti

Made In Lagos: Deluxe Edition

WizKid

Daniel Ho & Friends

Children’s

57_BEST CHILDREN’S MUSIC ALBUM (For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.) Actívate

123 Andrés

All One Tribe

1 Tribe Collective

Black To The Future

Pierce Freelon

A Colorful World

Falu

Crayon Kids

Lucky Diaz And The Family Jam Band

Spoken Word

58_BEST SPOKEN WORD ALBUM (Includes Poetry, Audio Books & Storytelling) Aftermath

LeVar Burton

Carry On: Reflections For A New Generation From John Lewis

Don Cheadle

Catching Dreams: Live At Fort Knox Chicago

J. Ivy

8:46

Dave Chappelle & Amir Sulaiman

A Promised Land

Barack Obama

THE 64 GRAMMYS

NOMINATIONS Comedy

59_BEST COMEDY ALBUM (For albums containing at least 51% playing time of new recordings.) The Comedy Vaccine

Lavell Crawford

Evolution

Chelsea Handler

Sincerely Louis CK

Louis C.K.

Thanks For Risking Your Life

Lewis Black

The Greatest Average American

Nate Bargatze

Zero F***s Given

Kevin Hart

Musical Theater

60_BEST MUSICAL THEATER ALBUM (For albums containing at least 51% playing time of new recordings. Award to the principal vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.) Andrew Lloyd Webber’s Cinderella

Carrie Hope Fletcher, Helen George, Victoria Hamilton-Barritt & Ivano Turco, principal vocalists; Andrew Lloyd Webber, Nick Lloyd Webber & Greg Wells, producers; Andrew Lloyd Webber & David Zippel, composers/ lyricists (Original Album Cast)

68 THE 64 GRAMMYS

Burt Bacharach and Steven Sater’s Some Lovers

Burt Bacharach, Michael Croiter, Ben Hartman, Cody Lassen & Steven Sater, producers; Burt Bacharach, composer; Steven Sater, lyricist (World Premiere Cast

Girl From The North Country

Simon Hale, Conor McPherson & Dean Sharenow, producers (Bob Dylan, composer & lyricist) (Original Broadway Cast)

Les Misérables: The Staged Concert (The Sensational 2020 Live Recording)

Michael Ball, Alfie Boe, Carrie Hope Fletcher & Matt Lucas, principal vocalists; Sir Cameron Mackintosh, Lee McCutcheon & Stephen Metcalfe, producers (ClaudeMichel Schönberg, composer; Alain Boublil, John Caird, Herbert Kretzmer, JeanMarc Natel & Trevor Nunn, lyricists) (The 2020 Les Misérables Staged Concert Company)

Stephen Schwartz’s Snapshots

Daniel C. Levine, Michael J Moritz Jr, Bryan Perri & Stephen Schwartz, producers (Stephen Schwartz, composer & lyricist) (World Premiere Cast)

The Unofficial Bridgerton Musical

Emily Bear, producer; Abigail Barlow & Emily Bear, composers/ lyricists (Barlow & Bear)

NETFLIX PROUDLY CONGRATULATES OUR

GRAMMY Awards Nominees ®

BEST MUSIC FILM Bo Burnham Josh Senior BEST SONG WRITTEN FOR VISUAL MEDIA “All Eyes On Me”

Bo Burnham

BEST SCORE SOUNDTRACK FOR VISUAL MEDIA Kris Bowers

BEST COMEDY ALBUM

BEST SCORE SOUNDTRACK FOR VISUAL MEDIA Carlos Rafael Rivera

NOMINATIONS Music for Visual Media

61_BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA (Award to the artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).) Cruella

In The Heights

Respect

Craig Gillespie, compilation producer; Susan Jacobs, music supervisor

Alex Lacamoire, Lin-Manuel Miranda, Bill Sherman & Greg Wells, compilation producers; Steven Gizicki, music supervisor

Stephen Bray & Jason Michael Webb, compilation producers

(Various Artists)

Dear Evan Hansen

(Various Artists)

Alex Lacamoire, Benj Pasek, Justin Paul & Dan Romer, compilation producers; Jordan Carroll, music supervisor

(Various Artists)

One Night In Miami...

Leslie Odom, Jr. (& Various Artists)

Jennifer Hudson

Schmigadoon! Episode 1

The United States Vs. Billie Holiday

Andra Day

Salaam Remi, compilation producer; Lynn Fainchtein, music supervisor

(Various Artists)

Doug Besterman, Cinco Paul & Scott M. Riesett, compilation producers

Nicholai Baxter, compilation producer; Randall Poster, music supervisor

62_BEST SCORE SOUNDTRACK FOR VISUAL MEDIA (Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.) Bridgerton

Kris Bowers, composer Dune

Hans Zimmer, composer

The Mandalorian: Season 2 - Vol. 2 (Chapters 13-16)

Ludwig Göransson, composer

The Queen’s Gambit

Carlos Rafael Rivera, composer

Soul

Jon Batiste, Trent Reznor & Atticus Ross, composers

63_BEST SONG WRITTEN FOR VISUAL MEDIA (A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.) Agatha All Along [From WandaVision: Episode 7]

Kristen Anderson-Lopez & Robert Lopez, songwriters (Kristen Anderson-Lopez & Robert Lopez Featuring Kathryn Hahn, Eric Bradley, Greg Whipple, Jasper Randall & Gerald White)

70 THE 64 GRAMMYS

All Eyes On Me [From Inside]

Bo Burnham, songwriter (Bo Burnham)

All I Know So Far [From P!NK: All I Know So Far]

Alecia Moore, Benj Pasek & Justin Paul, songwriters (P!nk)

Fight For You [From Judas And The Black Messiah]

Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.) Here I Am (Singing My Way Home) [From Respect]

Jamie Hartman, Jennifer Hudson & Carole King, songwriters (Jennifer Hudson)

Speak Now [From One Night In Miami...]

Sam Ashworth & Leslie Odom, Jr., songwriters (Leslie Odom, Jr.)

©2022 Bulova. , and Bulova are registered trademarks. GRAMMY®, GRAMMY Awards® and the gramophone logo are registered trademarks of the Recording Academy™ and used under license. ©2022 the Recording Academy. 98A241. BULOVA.COM

G RA M M Y ® AU TO M ATIC

OFFI CI A L TI MEPI ECE PA RT N ER

NOMINATIONS Composing/Arranging

64_BEST INSTRUMENTAL COMPOSITION (A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.) Beautiful Is Black

Brandee Younger, composer (Brandee Younger)

Cat And Mouse

Tom Nazziola, composer (Tom Nazziola)

Concerto For Orchestra: Finale

Vince Mendoza, composer (Vince Mendoza & Czech National Symphony Orchestra Featuring Antonio Sánchez & Derrick Hodge

Dreaming In Lions: Dreaming In Lions

Arturo O’Farrill, composer (Arturo O’Farrill & The Afro Latin Jazz Ensemble)

Eberhard

Lyle Mays, composer (Lyle Mays)

65_BEST ARRANGEMENT, INSTRUMENTAL OR A CAPPELLA (An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.) Chopsticks

Bill O’Connell, arranger (Richard Baratta)

For The Love Of A Princess (From “Braveheart”)

Robin Smith, arranger (HAUSER, London Symphony Orchestra & Robin Smith)

Infinite Love

Emile Mosseri, arranger (Emile Mosseri)

Meta Knight’s Revenge (From “Kirby Superstar”)

Charlie Rosen & Jake Silverman, arrangers (The 8-Bit Big Band Featuring Button Masher)

The Struggle Within

Gabriela Quintero & Rodrigo Sanchez, arrangers (Rodrigo y Gabriela)

66_BEST ARRANGEMENT, INSTRUMENTS AND VOCALS (An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.) The Bottom Line

Ólafur Arnalds, arranger (Ólafur Arnalds & Josin)

72 THE 64 GRAMMYS

A Change Is Gonna Come

Tehillah Alphonso, arranger (Tonality & Alexander Lloyd Blake)

The Christmas Song (Chestnuts Roasting On An Open Fire)

Jacob Collier, arranger (Jacob Collier)

Eleanor Rigby

Cody Fry, arranger (Cody Fry)

To The Edge Of Longing (Edit Version)

Vince Mendoza, arranger (Vince Mendoza, Czech National Symphony Orchestra & Julia Bullock)

Package, Notes, and Historical

67_BEST RECORDING PACKAGE American Jackpot / American Girls

Sarah Dodds & Shauna Dodds, art directors (Reckless Kelly)

Carnage

Nick Cave & Tom Hingston, art directors (Nick Cave & Warren Ellis)

Pakelang

Li Jheng Han & Yu, Wei, art directors (2nd Generation Falangao Singing Group & The Chairman Crossover Big Band)

Serpentine Prison

Dale Doyle, art director (Matt Berninger)

Zeta

Xiao Qing Yang, art director (Soul Of Ears)

68_BEST BOXED OR SPECIAL LIMITED EDITION PACKAGE All Things Must Pass: 50th Anniversary Edition

Darren Evans, Dhani Harrison & Olivia Harrison, art directors (George Harrison)

Color Theory

Lordess Foudre & Christopher Leckie, art directors (Soccer Mommy)

The Future Bites (Limited Edition Box Set)

Simon Moore & Steven Wilson, art directors (Steven Wilson)

77-81

Dan Calderwood, Jon King & Bjarke Vind Normann, art directors (Gang Of Four)

Swimming In Circles

Ramón Coronado & Marshall Rake, art directors (Mac Miller)

69_BEST ALBUM NOTES Beethoven: The Last Three Sonatas

The Complete Louis Armstrong Columbia Ann-Katrin Zimmermann, And RCA Victor Studio Sessions 1946-1966 album notes writer

(Sunwook Kim)

Ricky Riccardi, album notes writer (Louis Armstrong)

Creation Never Sleeps, Etching The Voice: Emile Creation Never Dies: The Berliner And The First Willie Dunn Anthology Commercial Gramophone Discs, 1889-1895 Kevin Howes, album

The King Of Gospel Music: The Life And Music Of Reverend James Cleveland

notes writer (Willie Dunn) David Giovannoni, Robert Marovich, Richard Martin & Stephan album notes writer Puille, album notes (Various Artists) writers (Various Artists)

70_BEST HISTORICAL ALBUM Marian Anderson Beyond The Music: Her Complete RCA Victor Recordings

Robert Russ, compilation producer; Nancy Conforti, Andreas K. Meyer & Jennifer Nulsen, mastering engineers (Marian Anderson)

Etching The Voice: Emile Berliner And The First Commercial Gramophone Discs, 1889-1895

Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer; David Giovannoni

& Richard Martin, restoration engineers (Various Artists)

Michael Graves, mastering engineer (Various Artists)

engineer (Joni Mitchell)

Excavated Shellac: An Alternate History Of The World’s Music

Joni Mitchell Archives, Vol. 1: The Early Years (1963-1967)

Trevor Guy, Michael Howe & Kirk Johnson, compilation producers; Bernie Grundman, mastering engineer (Prince)

April Ledbetter, Steven Lance Ledbetter & Jonathan Ward, compilation producers;

Patrick Milligan & Joni Mitchell, compilation producers; Bernie Grundman, mastering

Sign O’ The Times (Super Deluxe Edition)

THE 64 GRAMMYS

NOMINATIONS Production

71_BEST ENGINEERED ALBUM, NON-CLASSICAL (An Engineer’s Award. (Artists names appear in parentheses.)) Cinema

Dawn

Hey What

Love For Sale

Josh Conway, Marvin Figueroa, Josh Gudwin, Neal H Pogue & Ethan Shumaker, engineers; Joe LaPorta, mastering engineer

Thomas Brenneck, Zach Brown, Elton “L10MixedIt” Chueng, Riccardo Damian, Tom Elmhirst, Jens Jungkurth, Todd Monfalcone, John Rooney, Smino & Gosha Usov, engineers; Randy Merrill, mastering engineer

BJ Burton, engineer; Huntley Miller, mastering engineer

Dae Bennett, Josh Coleman & Billy Cumella, engineers; Greg Calbi & Steve Fallone, mastering engineers

(The Marías)

(Low)

(Tony Bennett & Lady Gaga)

Notes With Attachments Joseph Lorge & Blake Mills, engineers; Greg Koller, mastering engineer

(Pino Palladino & Blake Mills)

(Yebba)

72_PRODUCER OF THE YEAR, NON-CLASSICAL (A Producer’s Award. (Artists’ names appear in parentheses.))

Jack Antonoff

• Chemtrails Over The Country Club (Lana Del Rey) (A) • Daddy’s Home (St. Vincent) (A) • Gold Rush (Taylor Swift) (T) • Sling (Clairo) (A) • Solar Power (Lorde) (A) • Take The Sadness Out Of Saturday Night (Bleachers) (A)

Rogét Chahayed

• //aguardiente Y Limón %ᵕ‿‿ᵕ% (Kali Uchis) (T) • Ain’t S*** (Doja Cat) (T) • Beautiful (Shelley FKA DRAM) (T) • Blueberry Eyes (MAX Featuring SUGA of BTS) (S) • Fire In The Sky (Anderson .Paak) (T) • Kiss Me More (Doja Cat Featuring SZA) (S) • Lazy Susan (21 Savage With Rich Brian Featuring Warren Hue & Masimwei) (S) • NITROUS (Joji) (T) • Vibez (ZAYN) (S)

Mike Elizondo

• Glow On (Turnstile) (A) • Good Day (Twenty One Pilots) (T) • Life By Misadventure (Rag’n’Bone Man) (A) • Mercy (Jonas Brothers) (T) • Mulberry Street (Twenty One Pilots) (T) • Obviously (Lake Street Dive) (A) • Repeat (Grace Vanderwaal) (S) • Taking The Heat (Joy Oladokun) (T)

Hit-Boy

• Judas And The Black Messiah: The Inspired Album (Various Artists) (A) • King’s Disease II (Nas) (A)

Ricky Reed

• //aguardiente Y Limón %ᵕ‿‿ᵕ% (Kali Uchis) (T) • Can’t Let You Go (Terrace Martin Featuring Nick Grant) (S) • Damn Bean (JohnRobert) (T) • Don’t Go Yet (Camila Cabello) (S) • Gold-Diggers Sound (Leon Bridges) (A) • Piece Of You (Shawn Mendes) (T) • Pushing Away (Junior Mesa) (T) • Rumors (Lizzo Featuring Cardi B) (S) • Sing (Jon Batiste) (T)

73_BEST REMIXED RECORDING (A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.) Back To Life (Booker T Kings Of Soul Satta Dub)

Born For Greatness (Cymek Remix)

Inside Out (3SCAPE DRM Remix)

Passenger (Mike Shinoda Remix)

Booker T, remixer

Spencer Bastin, remixer

3SCAPE DRM, remixer

Mike Shinoda, remixer

Constant Craving (Fashionably Late Remix)

Met Him Last Night (Dave Audé Remix)

Talks (Mura Masa Remix)

Tracy Young, remixer

Dave Audé, remixer

(Soul II Soul)

74 THE 64 GRAMMYS

(Papa Roach)

(K.D. Lang)

(Zedd & Griff)

(Demi Lovato & Ariana Grande)

(Deftones)

Alexander Crossan, remixer

(PVA)

Berklee Creates Scholarship Fund in Honor of Recording Legend Al Schmitt In a career spanning more than 60 years, Al Schmitt recorded more than 150 gold and platinum albums, received 20 Grammy Awards, two Latin GRAMMYs, and the Trustees Grammy for Lifetime Achievement in 2006. Berklee’s Al Schmitt Engineering Scholarship will support inancially and academically deserving students majoring in music production and engineering. Learn how to make a gift to the Al Schmitt Engineering Scholarship fund. berklee.edu/al-schmitt-scholarship

NOMINATIONS Production

74_BEST IMMERSIVE AUDIO ALBUM

(This category recognizes excellence in multichannel immersive audio recordings. Eligible recordings must be commercially released for sale or streaming on a consumer format/configuration (DVD-Video, DVD-Audio, SACD, Blu-Ray, Atmos, Auro-3D, immersive download, etc.) that provides an original immersive mix (not electronically re-purposed) of four or more channels.) Alicia

Clique

Fine Line

The Future Bites

Stille Grender

George Massenburg & Eric Schilling, immersive mix engineers; Michael Romanowski, immersive mastering engineer; Ann Mincieli, immersive producer

Jim Anderson & Ulrike Schwarz, immersive mix engineers; Bob Ludwig, immersive mastering engineer; Jim Anderson, immersive producer

Greg Penny, immersive mix engineer; Greg Penny, immersive mastering engineer; Greg Penny, immersive producer

Jake Fields & Steven Wilson, immersive mix engineers; Dave Kosten & Steven Wilson, immersive producers

Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer

(Alicia Keys)

(Patricia Barber)

(Harry Styles)

(Steven Wilson)

(Anne Karin SundalAsk & Det Norske Jentekor)

72*_BEST IMMERSIVE AUDIO ALBUM (63rd GRAMMY)

(Due the COVID-19 pandemic, the 63RD GRAMMY Awards Best Immersive Audio Album Craft Committee meeting was postponed until after last year’s GRAMMY Awards. The committee has met and the nominations for the 63rd GRAMMYs are being voted on and the winner presented as part of the 64TH GRAMMY Awards.) Bolstad: Tomba Sonora

Dear Future Self (Dolby Atmos Mixes)

Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer

Fritz Hilpert, immersive mix engineer; Jason Banks, Fritz Hilpert & David Ziegler, immersive mastering engineers; Tom Ammerman, Arno Kammermeier & Walter Merziger, immersive producers

(Stemmeklang)

Fryd Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer

(Tove RamloYstad & Cantus)

(Booka Shade)

Mutt Slang II - A Wake Of Sorrows Engulfed In Rage Elliot Scheiner, immersive mix engineer; Darcy Proper, immersive mastering engineer; Alain Mallet & Elliot Scheiner, immersive producers

(Alain Mallet)

Soundtrack Of The American Soldier Leslie Ann Jones, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Dan Merceruio, immersive producer

(Jim R. Keene & The United States Army Field Band)

75_BEST ENGINEERED ALBUM, CLASSICAL (An Engineer’s Award. (Artist names appear in parentheses.)) Archetypes

Beethoven: Symphony No. 9

Jonathan Lackey, Bill Maylone & Dan Nichols, engineers; Bill Maylone, mastering engineer

Mark Donahue, engineer; Mark Donahue, mastering engineer

(Sérgio Assad, Clarice Assad & Third Coast Percussion) Beethoven: Cello Sonatas - Hope Amid Tears Richard King, engineer

(Yo-Yo Ma & Emanuel Ax)

76 THE 64 GRAMMYS

(Manfred Honeck, Mendelssohn Choir Of Pittsburgh & Pittsburgh Symphony Orchestra) Chanticleer Sings Christmas Leslie Ann Jones, engineer; Michael Romanowski, mastering engineer

(Chanticleer)

Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers

(Gustavo Dudamel, Fernando MalvarRuiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale & Los Angeles Philharmonic)

NOMINATIONS Production

76_PRODUCER OF THE YEAR, CLASSICAL (A Producer’s Award. (Artist names appear in parentheses.))

Blanton Alspaugh •

Appear And Inspire (James Franklin & The East Carolina University Chamber Singers) (A)

• Howells: Requiem (Brian Schmidt & Baylor University A Cappella Choir) (A) • Hymns Of Kassianí (Alexander Lingas & Cappella Romana) (A) • Kyr: In Praise Of Music (Joshua Copeland & Antioch Chamber Ensemble) (A) • More Honourable Than The Cherubim (Vladimir Gorbik & PaTRAM Institute Male Choir) (A) • O’Regan: The Phoenix (Patrick Summers, Thomas Hampson, Chad Shelton, Rihab Chaieb, Lauren Snouffer, Houston Grand Opera & Houston Grand Opera Orchestra) (A)

• Sheehan: Liturgy Of Saint John Chrysostom (Benedict Sheehan & The Saint Tikhon Choir) (A)

Steven Epstein

• Bach And Brahms ReImagined (Jens Lindemann, James Ehnes & Jon Kimura Parker) (A) • Bartók: Quartet No. 3; Beethoven: Op. 59, No. 2; Dvořák: American Quartet (Juilliard String Quartet) (A) • Beethoven: Cello Sonatas - Hope Amid Tears (Yo-Yo Ma & Emanuel Ax) (A) • Mozart: Piano Concertos Nos. 9 & 17, Arr. For Piano, String Quartet And Double Bass (Alon Goldstein, Alexander Bickard & Fine Arts Quartet) (A) • Songs Of Comfort And Hope (Yo-Yo Ma & Kathryn Stott) (A)

David Frost

• Chamber Works By Dmitri Klebanov (ARC Ensemble) (A) • Glass: Akhnaten (Karen Kamensek, J’Nai Bridges, Dísella Lárusdóttir, Zachary James, Anthony Roth Costanzo, Metropolitan Opera Chorus & Orchestra) (A) • Mon Ami, Mon Amour (Matt Haimovitz & Mari Kodama) (A) • One Movement Symphonies - Barber, Sibelius, Scriabin (Michael Stern & Kansas City Symphony) (A) • Poulenc: Dialogues Des Carmélites (Yannick Nézet-Séguin, Isabel Leonard, Erin Morley, Adrianne Pieczonka, Karita Mattila, Karen Cargill, Metropolitan Opera Chorus & Orchestra) (A)

• Primavera I - The Wind (Matt Haimovitz) (A) • Roots (Randall Goosby & Zhu Wang) (A)

Judith Sherman • Alone Together (Jennifer Koh) (A)

• Bach & Beyond Part 3 (Jennifer Koh) (A)

Elaine Martone

• Bruits (Imani Winds) (A)

• Beneath The Sky (Zoe Allen & Levi Hernandez) (A)

•

• Archetypes (Sérgio Assad, Clarice Assad & Third Coast Percussion) (A)

• Davis: Family Secrets Kith & Kin (Timothy Myers, Andrea Edith Moore & Jane Holding) (A) • Quest (Elisabeth Remy Johnson) (A) • Schubert: Symphony In C Major, ‘The Great’; Krenek: Static & Ecstatic (Franz Welser-Möst & The Cleveland Orchestra) (A)

• Eryilmaz: Dances Of The Yogurt Maker (Erberk Eryilmaz & Carpe Diem String Quartet) (A) Fantasy - Oppens Plays Kaminsky (Ursula Oppens) (A)

• Home (Blythe Gaissert) (A) • Mendelssohn, Visconti & Golijov (Jasper String Quartet & Jupiter String Quartet) (A) • A Schubert Journey (Llŷr Williams) (A) • Vers Le Silence - William Bolcom & Frédéric Chopin (Ran Dank) (A)

Classical

77_BEST ORCHESTRAL PERFORMANCE (Award to the Conductor and to the Orchestra.) Adams: My Father Knew Charles Ives; Harmonielehre

Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)

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Beethoven: Symphony No. 9

Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh & Pittsburgh Symphony Orchestra)

Muhly: Throughline

Nico Muhly, conductor (San Francisco Symphony)

Price: Symphonies Nos. 1 & 3

Yannick Nézet-Séguin, conductor (Philadelphia Orchestra)

Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy

Thomas Dausgaard, conductor (Seattle Symphony Orchestra)

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NOMINATIONS Classical

78_BEST OPERA RECORDING (Award to the Conductor, Album Producer(s) and Principal Soloists.) Bartók: Bluebeard’s Castle Susanna Mälkki, conductor; Mika Kares & Szilvia Vörös; Robert Suff, producer

(Helsinki Philharmonic Orchestra) Glass: Akhnaten Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James & Dísella Lárusdóttir; David Frost, producer

Janáček: Cunning Little Vixen

Little: Soldier Songs

Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer

(The Opera Philadelphia Orchestra)

(London Symphony Orchestra; London Symphony Chorus & LSO Discovery Voices)

Corrado Rovaris, conductor; Johnathan McCullough; James Darrah, David T. Little, Lewis Pesacov & John Toia, producers

Poulenc: Dialogues Des Carmélites Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley & Adrianne Pieczonka; David Frost, producer

(The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

79_BEST CHORAL PERFORMANCE

(Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.) It’s A Long Way Matthew Guard, conductor

(Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver & Dana Whiteside; Skylark Vocal Ensemble)

Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz & Luke McEndarfer, chorus masters

(Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson & Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus & Pacific Chorale)

Rising w/The Crossing Donald Nally, conductor

(International Contemporary Ensemble & Quicksilver; The Crossing) Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons Kaspars Putninš, conductor; Heli Jürgenson, chorus master

(Estonian Philharmonic Chamber Choir)

Sheehan: Liturgy Of Saint John Chrysostom Benedict Sheehan, conductor

(Michael Hawes, Timothy Parsons & Jason Thoms; The Saint Tikhon Choir) The Singing Guitar Craig Hella Johnson, conductor

(Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet & Texas Guitar Quartet; Conspirare)

80_BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE (For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.) Adams, John Luther: Lines Made By Walking

JACK Quartet

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Akiho: Seven Pillars

Sandbox Percussion

Archetypes

Sérgio Assad, Clarice Assad & Third Coast Percussion

Beethoven: Cello Sonatas - Hope Amid Tears

Yo-Yo Ma & Emanuel Ax

Bruits

Imani Winds

NOMINATIONS Classical

81_BEST CLASSICAL INSTRUMENTAL SOLO (Award to the Instrumental Soloist(s) and to the Conductor when applicable.) Alone Together

Bach: Sonatas & Partitas

Jennifer Koh

Augustin Hadelich

Beethoven & Brahms: Violin Concertos

Gil Shaham; Eric Jacobsen, conductor (The Knights)

An American Mosaic

Simone Dinnerstein

Mak Bach

Mak Grgić Of Power

Curtis Stewart

82_BEST CLASSICAL SOLO VOCAL ALBUM (Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.) Confessions

Laura Strickling; Joy Schreier, pianist Dreams Of A New Day Songs By Black Composers

Will Liverman; Paul Sánchez, pianist

Mythologies

Sangeeta Kaur & Hila Plitmann; Danaë Xanthe Vlasse, pianist (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto & Emilio D. Miler)

Schubert: Winterreise

Joyce DiDonato; Yannick Nézet-Séguin, pianist Unexpected Shadows

Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)

83_BEST CLASSICAL COMPENDIUM

(Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.) American Originals - A New World, A New Canon AGAVE & Reginald L. Mobley; Geoffrey Silver, producer

Berg: Violin Concerto; Seven Early Songs & Three Pieces For Orchestra Michael Tilson Thomas, conductor; Jack Vad, producer

Cerrone: The Arching Path Timo Andres & Ian Rosenbaum; Mike Tierney, producer

Plays Chick Corea; Chick Corea & Bernie Kirsh, producers

Women Warriors - The Voices Of Change Amy Andersson, conductor; Amy Andersson, Mark Mattson & Lolita Ritmanis, producers

84_BEST CONTEMPORARY CLASSICAL COMPOSITION

(A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.) Akiho: Seven Pillars Andy Akiho, composer

(Sandbox Percussion) Andriessen: The Only One Louis Andriessen, composer

(Esa-Pekka Salonen, Nora Fischer & Los Angeles Philharmonic)

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Assad, Clarice & Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin & David Skidmore, composers

(Sérgio Assad, Clarice Assad & Third Coast Percussion)

Batiste: Movement 11’ Jon Batiste, composer

(Jon Batiste)

Shaw: Narrow Sea Caroline Shaw, composer

(Dawn Upshaw, Gilbert Kalish & Sō Percussion)

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NOMINATIONS Music Video/Film

85_BEST MUSIC VIDEO (Award to the artist, video director, and video producer.) Shot In The Dark

AC/DC

David Mallet, video director; Dione Orrom, video producer

Freedom

Jon Batiste

Alan Ferguson, video director; Alex P. Willson, video producer

I Get A Kick Out Of You

Peaches

Jennifer Lebeau, video director; Danny Bennett, Bobby Campbell & Jennifer Lebeau, video producers

Colin Tilley, video director; Jamee Ranta & Jack Winter, video producers

Lil Nas X & Tanu Muino, video directors; Frank Borin, Ivanna Borin, Marco De Molina & Saul Levitz, video producers

Happier Than Ever

Good 4 U

Billie Eilish, video director; Michelle An, Chelsea Dodson & David Moore, video producers

Petra Collins, video director; Christiana Divona, Marissa Ramirez & Tiffany Suh, video producers

Tony Bennett & Lady Gaga

Justin Bieber Featuring Daniel Caesar & Giveon

Billie Eilish

Montero (Call Me By Your Name)

Lil Nas X

Olivia Rodrigo

86_BEST MUSIC FILM

(For concert/performance films or music documentaries. Award to the artist, video director, and video producer.) Inside

Bo Burnham

Bo Burnham, video director; Josh Senior, video producer

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David Byrne’s American Utopia

David Byrne

Spike Lee, video director; David Byrne & Spike Lee, video producers

Happier Than Ever: A Love Letter To Los Angeles

Music, Money, Madness...Jimi Hendrix In Maui

Patrick Osborne & Robert Rodriguez, video directors; Michelle An, Chelsea Dodson, Justin Lubliner & Juliet Tierney, video producers

John McDermott, video director; Janie Hendrix, John McDermott & George Scott, video producers

Billie Eilish

Jimi Hendrix

Summer Of Soul

(Various Artists)

Ahmir “Questlove” Thompson, video director; David Dinerstein, Robert Fyvolent & Joseph Patel, video producers

Recording Academy®

SPECIAL MERIT AWARDS

Every year the Recording Academy honors a group of music artists and professionals who have made exceptional contributions in the art of recording. In 2021, the Academy was unable to hold a ceremony to honor that year’s recipients due to COVID-19. Thus, in 2022, the Academy will re-honor the 2021 Special Merit Award recipients, with the addition of Bonnie Raitt, who will receive a Lifetime Achievement Award.

Lifetime Achievement Award This award is presented by vote of the Recording Academy’s National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording.

Trustees Award The Trustees Award was established in 1967. This honor is presented by vote of the Recording Academy’s National Trustees to individuals who, during their careers in music, have made significant contributions, other than performance, to the field of recording.

Technical GRAMMY® Award This award is presented by vote of the Producers & Engineers Wing Advisory Council and Chapter Committees and ratification by the Recording Academy’s National Trustees to individuals and/or companies/organizations/institutions who have made contributions of outstanding technical significance to the recording field.

Music Educator Award™ Presented by the Recording Academy and the GRAMMY Museum, the Music Educator Award was established to recognize current educators (kindergarten through college, public and private schools) who have made a significant and lasting contribution to the field of music education, and who demonstrate a commitment to the broader cause of maintaining music education in the schools.

GRAMMY Hall Of Fame® The GRAMMY Hall Of Fame was established by the Recording Academy’s National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. Inductees are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts.

VISIT GRAMMY.COM FOR A COMPLETE LIST OF PAST SPECIAL MERIT AWARDS RECIPIENTS.

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W E P R O U D LY CO N G R AT U L AT E

RECO R D I N G ACAD E M Y ® LI F ETI M E ACH I EVEM ENT AWAR D

LIFETIME ACHIEVEMENT Grandmaster Flash & The Furious Five

More than 30 years after Grandmaster Flash and his group The Furious Five called it quits, their legacy continues. The group was a part of hip-hop’s time-honored pioneers, who brought the now multi-billion dollar culture from park jams to famed nightclub stages. It all started when Grandmaster Flash embarked on his deejaying career in the mid-‘70s. He began as a student of other now-legendary DJs on the scene, including Grandmaster Flowers, Afrika Bambaataa, and DJ Kool Herc. The latter of his influences was the godfather of utilizing a two-turntable setup to grab a breakbeat and elevate the entire deejaying experience. Flash took it a step further, rapidly shifting the breakbeat sounds from turntable to turntable with the help of his homegrown crossfader. This technique, called “juggling,” is still the foundation to which all DJs follow today. DJs were first established as the backbone of any group, with emcees existing to hype up the DJ to the crowd. Flash recognized this was slowly evolving into the emcees heading to the front, so he recruited some group members to build exposure. This included the emcees Melle Mel and his brother The Kidd Creole, along with Keef Cowboy. Initially known as the Three MCs, the trio later added Rahiem and Scorpio to formally form The Furious Five. Grandmaster Flash’s unmatched live deejaying was accompanied by The Furious Five’s synchronized stage routines. Though the concept of hip-hop on record was still a growing trend — live stage performances dominated the budding art form at the time — the group eventually headed to the studio to start cutting real tracks. It was here that they learned how to move the live energy onto wax, arguably a difficult task for artists who started in parks and nightclubs. Their sound incorporated Flash’s propensity for juggling beats, masterfully blending each MC’s specific cadence with the flavor of rapping in unison.

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ECHOES/REDFERNS

Why Hip-Hop Wouldn’t Exist Without Grandmaster Flash & The Furious Five

While the South Bronx-bred group’s success was a slow burn, their big break came in 1982 with the release of their hit single “The Message” off their debut album of the same title. “The Message” was more than just a catchy song — it was a newspaper to the streets, detailing the ills of systemic poverty and violence in the midst of an emerging crack epidemic. With the pen of Duke Bootee and the undeniable delivery of Melle Mel, the song propelled the group to new heights. But more importantly, the track put the spotlight on its emcees, which ultimately set a new standard for mainstream hip-hop. Despite their breakthrough, the group disbanded shortly thereafter, with a brief reunion from 1987-1988 (following a couple of

lawsuits and new iterations of “The Furious Five” in between). Though short-lived, Grandmaster Flash & The Furious Five had a profound influence on the genre they helped establish: Their knack for mixing a versatile, entertaining flow with meaningful lyricism and strong production became the recipe for a successful rap song. The six-piece created the blueprint to which today’s artists — from Drake to Kendrick Lamar —still follow, with each of the group’s parts reflected in the current hip-hop landscape. Their legacy earned an induction into the GRAMMY Hall Of Fame in 2013. Now, they are lifetime achievers, carrying a “message” with them since day one. — Kathy Iandoli

311* AND COUNTING Berklee is proud to salute our 64th Annual GRAMMY Awards® alumni and faculty nominees.

*GRAMMY Awards won by Berklee alumni and faculty to date. Photo: Berklee’s New York City campus, Berklee NYC, is located at the historic Power Station studios on West 53rd Street.

LIFETIME ACHIEVEMENT “Rock ‘n’ roll wouldn’t be big for another 10 years… I was ahead of my time on that.”

The Rock And Roller Of Jazz Swing music and rock and roll might share some components, but value-wise, they seem like they’re from two different planets. The former is forever associated with a kind of retro conservatism; the other was the engine for youthful rebellion. But one of swing’s most crucial figures, vibraphonist Lionel Hampton, was a rock and roller of the highest order — and helped pioneer the genre a decade before it was named. He’s also responsible for one of the most recognizable punk-rock moves. “Lionel was one of the first people to jump off the stage into the audience,” says saxophonist Marshall McDonald, who played with him. “He used to slide across the stage like a rock player.” The list of antics goes on — standing on top

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of drum kits, wiping out in the pit when fans failed to catch him. “He used to work the crowd into a frenzy, literally,” McDonald says. “He was one of the first purveyors rock and roll.” But Lionel Hampton — who was born in 1908, recruited luminaries like Wes Montgomery, Dexter Gordon and Quincy Jones in his band for decades, and died in 2002 — is part of the foundation of rock and roll for more profound reasons than just showmanship. Check out Benny Goodman’s The Famous 1938 Carnegie Hall Jazz Concert, and you’ll hear one of the finest rhythmic engines on the vibraphone ever laid to tape. “Hamp literally tore up the vibes on ‘I Got Rhythm,’” says pianist John Collanni. “Without spoiling the impact of it, I can only tell you that the technical level displayed on that is unsurpassed.” While listening to Hampton’s ferocity on “I Got Rhythm” (and his poetic way with balladry on another Gershwin tune, “The Man I Love”),

consider that he used hard mallets at the time — which meant, on the fast tunes, his vibraphone popped like a round of gunfire. “Rock ‘n’ roll wouldn’t be big for another 10 years,” he wrote in his 1989 autobiography Hamp, describing recording a shelved album in 1946 called Rock and Roll Rhythm. “I was ahead of my time on that.” Despite being such a pioneer in this field, Hampton frustratedly found himself to be one of the dinosaurs when the rock and roll asteroid hit. “Where did it come from? Black musicians,” he wrote in his book. “But it was white musicians who became famous for it.” Still, Hampton soldiered on — not only as a nurturer of top jazz talent and a player of, as pianist Ray Gallon puts it, “incredible rhythmic feeling and drive,” but as a modernist musical thinker. “People remember him for all these blues tunes and forget how open he was to innovative things,” says pianist, educator and author Lewis Porter, noting that he was the rare musician of his generation to tackle John Coltrane’s whirligig standard “Giant Steps.” With all that said, Hampton shouldn’t just be cited in jazz literature, but celebrated and enjoyed as a captivating wildman and consummate performer. “The audience came to be entertained, not to enroll in a conservatory,” he declared in Hamp. His words ring true for the modern era, where jazz is too often locked in an ivory tower: If the people aren’t having a great time, something’s seriously wrong. And when Hampton was on stage, everyone received a jolt of electricity. “Many, many, many people who never went to a jazz concert in their lives, I’ve seen come to this concert — young and old,” says Cleve Guyton, Jr., who plays alto saxophone in the New Lionel Hampton Big Band. “The gist of what they always say is ‘Wow, this is my first jazz concert, but I didn’t know it was so exciting! I love it!” Innovating, galvanizing and thrilling audiences out of their shoes — sounds like rock and roll to us. — Morgan Enos

RALPH CRANE/THE LIFE PICTURE COLLECTION VIA GETTY IMAGES

Lionel Hampton

We miss you and love you, LIONEL. Keeping the good vibes alive. The Boys in the Band!

LIFETIME ACHIEVEMENT Marilyn Horne

Recipient of the Recording Academy’s 1964 Most Promising New Classical Recording Artist Award, American mezzo-soprano Marilyn Horne became one of the most celebrated singers of the 20th century. Possessing a voice that could effortlessly sustain long melodic lines and negotiate florid passages, she performed an astounding range of stage roles — particularly in the operas of the bel canto masters Rossini, Bellini and Donizetti — along with songs by Brahms, Falla, Mahler, and contemporary American masters, among countless others. Below is a small collection of some of Horne’s best recordings. Bellini’s Norma Richard Bonynge, conductor; London Symphony Orchestra and Chorus (Decca, 1964) Norma was the first of Horne’s numerous collaborations with the husband-and-wife team of soprano Joan Sutherland and conductor Richard Bonynge. In the title role (generally regarded as one of the most difficult in the repertoire) Sutherland is at her peak, and Horne’s Adalgisa is an ideal companion — blending with the soprano and even matching vibrato, making the pair greater than the sum of its parts. Later partnerships included Mozart’s Don Giovanni, Rossini’s Semiramide and Verdi’s Il trovatore, along with the legendary recording Live from Lincoln Center (a GRAMMY Award winner) with tenor Luciano Pavarotti that featured the three singers in duets and trios. Bach and Handel Arias Henry Lewis, conductor; Vienna Cantata Orchestra (Decca, 1969) One of her many collaborations with her husband, conductor Henry Lewis, this GRAMMY-nominated disc featured Horne in selections from Bach’s Magnificat and Saint Matthew Passion, along with Handel’s Messiah and Rodelinda. Horne’s advocacy of this repertoire helped to spark a new wave of interest in Handel’s operas, eventually encouraging New York’s Metropolitan Opera

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to stage Rinaldo in 1984 — the company’s first production of an opera by the composer — with Horne in the title role. Bizet’s Carmen Leonard Bernstein, conductor; Metropolitan Opera Orchestra and Manhattan Opera Chorus (Deutsche Grammophon, 1972) In 1954, 20-year-old Horne recorded Dorothy Dandridge’s vocals for Carmen Jones, a film adaptation of the 1943 musical of the same name that featured Bizet’s music. Horne portrayed the title character to open the Metropolitan Opera’s 1972-73 season, using her own voice to seduce in the Habanera and Seguidilla, and foreshadow her own fate in the third-act card game. Bernstein described Horne’s performance as “peaches and cream,” and the subsequent release earned the 1973 GRAMMY Award for Best Opera Recording. Beautiful Dreamer: The Great American Songbook Carl Davis, conductor; English Chamber Orchestra (Decca, 1986) This GRAMMY-nominated collection is Americana at its finest — including Irving

Berlin’s “God Bless America,” Aaron Copland’s “Simple Gifts” and George M. Cohan’s “You’re a Grand Old Flag.” In true Horne fashion, classics such as “Shenandoah,” “When Johnny Comes Marching Home” and “The Battle Hymn of the Republic” are delivered with a straightforward honesty. Horne gave over a thousand recitals over the course of her career, and Stephen Foster’s “Jeanie With the Light Brown Hair” and “Beautiful Dreamer,” both included here, were among her favorite encores. Rossini Recital Martin Katz, piano (RCA, 1991) Horne was more closely linked to the music of Gioachino Rossini than any other composer throughout her career. Anticipating the bicentennial of the composer’s birth, Horne and collaborative pianist Martin Katz — her longtime colleague, both on the recital stage and in the recording studio —recorded this collection of songs. In this GRAMMY-nominated release, Horne displays an ideal voice for the composer and everything he demands from a singer, delivering a master class in natural vocal beauty with rock-solid technique. — Frank Villella

RON SCHERL/REDFERNS

5 Essential Marilyn Horne Recordings — If You’ve Never Listened To Opera

CONGRATULATIONS, MARILYN HORNE, ON A LIFETIME OF EXCELLENCE! BROADWAY RECORDS

www.broadwayrecords.com

www.lyricfest.org

Marilyn Horne’s career is historic in terms of the scope of her talent, success, and stunning virtuosity. Her warmth and down-to-earth sense of humor, evident in her many television appearances, and her versatility, voicing the title role in Carmen Jones, all helped make her a household name. It was a privilege to watch her consummate professionalism when we both premiered our roles in John Corigliano’s The Ghosts of Versailles at the Metropolitan Opera. She became a trusted mentor and dear friend, and her advocacy for the art of the recital has been an inspiration to me. Renée Fleming, Soprano Four-time GRAMMY ® Award winner

The Carnegie Hall family salutes Marilyn Horne, applauding her distinguished career, her brilliant artistry, and her steadfast dedication to nurturing young talent, supporting the next generation of great singers. Huge congratulations to a remarkable friend and artistic legend! Clive Gillinson, Executive and Artistic Director Carnegie Hall

She is a giant in the industry. There isn’t any singer alive who hasn’t learned from her and copied her. Hearing her spin out exquisitely breath-stopping phrases was a masterclass in vocal technique and beauty. She set the bar at an impossible height! Denyce Graves, Soprano 63rd GRAMMY Award nominee

One of the greatest careers in the history of Opera, her performances on our stage are part and parcel of the legacy of the Met.

Peter Gelb, General Manager Metropolitan Opera

Marilyn Horne is not only a very great artist, but a real trooper who defined the role in the premiere of my opera, The Ghosts of Versailles, at the Metropolitan Opera. That year, Marilyn canceled all appearances with the Met, except her role in our opera. Despite a temporary injury, she literally sailed onto the stage and gave her indelible performance. Brava, Marilyn!! John Corigliano, Composer Five-time GRAMMY Award winner

Our dad, Leonard Bernstein, described Marilyn Horne’s voice as “peaches and cream.” We think that’s a pretty great description for Marilyn Horne in her glorious entirety. Jamie, Alexander, and Nina Bernstein

When we talk about bright lights, Marilyn Horne is the brightest. I cannot thank her enough for being present in my life, career, and in the lives of so many. A beacon of strength and brilliance we all strive for. Isabel Leonard, Mezzo-Soprano Two-time GRAMMY Award winner

As one of the preeminent voices of her time, and a fierce mentor to young singers, Ms. Horne’s dedication to artistic excellence, racial equality, and educating the next generation of great singers, is unparalleled. Our entire team congratulates her on this extraordinary achievement. Jonathan Estabrooks, Director of BLACK OPERA BlackOperaFilm.com

Marilyn Horne has not only given us the greatest standard of singing, but also the greatest standard of humanity. When I think of her, the words that come to mind are generosity, and humor. She gave us trills, legato, coloratura, exquisite melody and rhythm, for sure, but adds to that care and devotion, and commitment to this great art form. Frederica von Stade, Mezzo-Soprano GRAMMY Award winner

A great singer, mentor, teacher and, more than that, a cherished friend of 55 years, Marilyn Horne has not only contributed extraordinarily to the art form, but has profoundly influenced generations of American singers. Matthew A. Epstein, Impresario

On behalf of everyone at Opera Ithaca and Raylynmor Opera, we send our heartfelt congratulations to Marilyn Horne, in honor of her stunning lifetime of contributions to our collective art form. Ben Robinson, Artistic Director

I was at Marilyn Horne’s Carnegie Hall recital debut in 1966, and her singing was electrifying. This superb artist went on to electrify audiences and inspire musicians for decades. Composer William Bolcom once said she had “a glorious Hollandaise of a voice,” and I’d go even further: Marilyn Horne’s singing was a ten-course meal! Steven Blier, Pianist Founder/Artistic Director, New York Festival of Song

Photo by James Heffernan, courtesy Metropolitan Opera

Tribute Page Proprietor: Mia Moravis

LIFETIME ACHIEVEMENT Bonnie Raitt

How Bonnie Raitt’s Slow Climb Resulted In A Lifelong Impact Some people were simply born to play music. Some of them are determined to keep pushing until they make it happen. Bonnie Raitt is a prime example of both. Though she’s now lauded as a pioneer for women in Americana and blues, Raitt didn’t turn into a 10-time GRAMMY Award winner overnight. Even so, music critics hailed her take on country blues and bottleneck slide guitar early on, catching attention for her masterful blending of soul, pop and rock to create a oneof-a-kind sound. Raitt’s 1971 self-titled debut swaggers between barroom shuffles and bluesy folk rock. As early as “I Know,” from her 1972 album Give It Up, Raitt was experimenting with New Orleans funk rhythms underneath her slide work. After scoring a hit with a cover of John Prine’s “Angel From Montgomery” in 1974, she put all of the pieces in place with 1977’s “Runaway”: smoky guitar played over a driving backbeat, with a honking harmonica solo and her undeniable voice soaring about it all. Still, it was another decade before her commercial success matched the dynamic stylings she was bringing to the table. But by the time Raitt broke through, it was clear she was going to be a mainstay: 1989’s Nick of Time swept the 1990 GRAMMY Awards, winning the coveted Album Of The Year, with its title track taking Best Female Rock Vocal Performance and Best Female Pop Vocal Performance. Raitt turned out an even bigger smash with Luck of the Draw, the 1991 follow-up that included her signature hit, the cheeky love song “Something to Talk About.” The album earned her three more GRAMMYs, with “Something To Talk About” winning Best Pop Vocal Performance, Female and two other album tracks winning in the Rock Category — further solidifying Raitt’s cross-genre impact. Raitt has also proven a perennial live draw, performing around the world with the nowiconic Fender Stratocaster she nicknamed

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“Brownie.” She has performed at the GRAMMY Awards a record nine times — more than any other woman — with her performances all showcasing her vast musical ability, including a duet with Alicia Keys in honor of Etta James in 2012 and a B.B. King tribute with Chris Stapleton and Gary Clark Jr. in 2016. The icon will carry her legacy into a sixth decade with her 21st studio album, due in 2022. Along the way, Raitt’s artistry and influence has been felt by her peers and successors. Fellow blues singer/guitarist Susan Tedeschi touted Raitt for “making blues and music approachable in a man’s world” in an interview with New York radio station WFUV. “Her voice

is a perfect blend of sweetness, soul, and blues,” Tedeschi added. “Always telling a story, she makes you feel just what she’s feeling.” The genre-bending singer-songwriter has earned honors on Rolling Stone’s 100 Greatest Singers of All Time and 100 Greatest Guitarists of All Time lists. Nick Of Time and her hit Luck Of The Draw ballad “I Can’t Make You Love Me” have each earned a spot in the GRAMMY Hall Of Fame, in 2015 and 2017, respectively. Most recently, Raitt was inducted into the Rock and Roll Hall of Fame in 2020. Fifty years in and showing no sign of stopping, Bonnie Raitt has certainly cemented her place as a Lifetime Achievement artist. — Jim Beaugez

“Her voice is a perfect blend of sweetness, soul, and blues. Always telling a story, she makes you feel just what she’s feeling.” — SUSAN TEDESCHI

LIFETIME ACHIEVEMENT Push It Real Good: How Salt-N-Pepa’s Fearlessness Set The Stage For Female Rappers With colorful matching outfits, coordinated dance routines and infectious hit singles, SaltN-Pepa made a statement from the second they hit the hip-hop scene in 1986. Thirty-five years later, the group still stands as one of the genre’s all-time greatest, paving the way for women in a male-dominated industry. In 1985, Salt (Cheryl James) met Pepa (Sandra Denton) at Queensboro Community College. The pair recruited DJ Latoya Hanson to complete the group, and the trio connected with producer Hurby “Luv Bug” Azor to cut their very first single, “The Showstopper (Is Stupid Fresh),” a response record to Doug E. Fresh and The Get Fresh Crew’s “The Show.” It was no coincidence that Salt-N-Pepa’s first release challenged an all-male group: Breaking gender barriers inevitably became their forte, shifting hip-hop in an unprecedented direction as a result. With their 1988 single “Push It,” Salt-N-Pepa — who, by this point, had replaced Hanson with DJ Spinderella — sat in between genres, and the song charted on Billboard’s Hot R&B/ Hip-Hop chart and the Hot Dance Singles Sales chart. Without even knowing it, Salt-N-Pepa pushed hip-hop into a multi-genre territory that wouldn’t fully be realized until decades later. The group’s success also jumped across the pond, topping the charts in countries like the Netherlands, Belgium and Australia. Uncharted waters for the growing hip-hop genre at the time, Salt-N-Pepa managed to diversify the culture just as it was entering its formative years. That same year in 1988, Salt-N-Pepa made history as the first female rap group to ever be nominated for a GRAMMY Award (Best Rap Performance for “Push It”). They again made GRAMMY history

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seven years later, when they became the first female rap group to win Best Rap Performance By A Duo Or Group for their 1994 single “None Of Your Business.” As exhibited in “Push It” and “None Of Your Business,” Salt-N-Pepa were torchbearers of social commentary through their music. Their 1991 single “Let’s Talk About Sex” sent a bold message of the pleasures and perils that can come from intimacy. Their lyrics were far more than unapologetic sex positivity, though — Salt-N-Pepa tackled some of the most taboo and difficult subject matter in their songs, combining heavy messaging amidst beats that could blare through the speakers of any club. (They even reworked “Let’s Talk About Sex” to “Let’s Talk About AIDS” at the heart of the AIDS epidemic.) “We weren’t considered real hip-hop because we wanted to be on [UK television program] Top of the Pops,” Denton told The Guardian in 2017. “We kept pushing it until they had to start respecting us.” Following Salt-N-Pepa’s lead, female rap acts from TLC to Lil’ Kim to Megan Thee Stallion have all taken cues from their leading ladies, crafting bars to reflect their most authentic selves. Salt-N-Pepa — who are now a duo; Spinderella left in 2019 — transcended hiphop and continue to make their presence felt through touring, their timeless songs, and now, a Lifetime Achievement Award.

1987 ©JANETTE BECKMAN

Salt-N-Pepa

“We kept pushing it until they had to start respecting us.” — SANDRA DENTON (PEPA) But it’s all just the tip of the iceberg. SaltN-Pepa took the first risks through their art that have now become the norm for any woman who dares to pick up the microphone. When they said to “Push It,” they meant every boundary as well. — Kathy Iandoli

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CHERYL “SALT ”JAMES & SANDRA “PEPA” DENTON ON YOUR RECORDING ACADEMY LIFETIME ACHIEVEMENT AWARD ®

YOU ARE LEGENDS IN OUR LIFETIME. OUR BEST WISHES TO ALL OF THE 64TH ANNUAL GRAMMY AWARDS NOMINEES.

LIFETIME ACHIEVEMENT Selena

One of the most influential Latin artists of all time, Selena changed the course of pop stardom in the ‘90s. As the first female Tejano icon, the Chicana singer laid the groundwork for modernday Latin pop with her uncanny mix of regional Mexican styles and pop-leaning R&B. Selena spearheaded the future sounds of electronic cumbia — as evinced in her thesis statement “Techno Cumbia” — while embracing the beautiful complexities of being bicultural. An entrepreneur, musical trendsetter and fashion designer, the multi-hyphenate pop star set a new precedent that was barely seen in American pop culture, especially in the male-dominated Tejano music scene. Although her potential was tragically cut short at just 23 years old, Selena left an enduring legacy that still resonates beyond the Latinx diaspora decades later. “Selena straddled a very special place of [being] Mexican and American,” Christian Serratos, who portrayed the singer in Netflix’s Selena: The Series, told the Recording Academy. “She did such a good job at demanding that she be accepted for both things. To have somebody like Selena to say, ‘No, this is possible,’ is incredible for our culture.” Born in Lake Jackson, Texas to MexicanAmerican parents, Selena Quintanilla-Pérez was raised with strong family values and an eclectic musical background. She, along with her siblingband Los Dinos, began often performing around the local restaurant and street fair circuit on both sides of the U.S.-Mexico border during the 1980s. By the turn of the decade, Selena had become a star in her own right, releasing four studio LPs before her death. Her fifth, Dreaming Of You, was released posthumously in July 1995, and still reigns as the best-selling Latin album of all time in the U.S. In a time when female representation was nearly non-existent in Tejano music, Selena broke that barrier. She further solidified her enduring star power when she became the first female Tejano artist to win a GRAMMY for Best MexicanAmerican Album in 1994, thus becoming the

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indisputable Queen of Tejano Music. “There were only a few women who were trying to change the game,” Serratos adds. “She did it in a very unique way because she blended so many different styles.” Selena’s musical genius, coupled with her dazzling fashion and timeless beauty, continue to make big impressions on all corners of culture. She has inspired a MAC Cosmetics line, which launched in 2016; on screen, her legacy has been honored with the famed 1997 Jennifer Lopezstarring biopic, Selena, and the Netflix series that premiered last year. Unapologetically Latina, the charismatic pop star embraced her voluptuous features and brown skin proudly through her sparkly selfmade stage get-ups and infectious elan. Donning

her signature hoop earrings and red lipstick, Selena became a rare and relatable pop idol to Latinas everywhere — even a girl who went on to play her. As Serratos says, “There are so many things that I really connect with when it comes to Selena: being Mexican-American in this industry, trying to find yourself at a young age, experimenting a lot with her look, struggling with her language.” The secret to Selena’s enduring influence is that she was always simply herself. She was extremely proud of her roots, her family, biculturalism, and was open to the world around her. As her star has proven even nearly 30 years after her death, Selena will continue inspiring a multitude of fans for generations to come. — Isabela Raygoza

“There were only a few women who were trying to change the game. She did it in a very unique way.” — CHRISTIAN SERRATOS

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The Enduring Appeal Of Selena, The Ultimate Latin Pioneer

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LIFETIME ACHIEVEMENT Talking Heads

Throughout the late ‘70s and ‘80s, Talking Heads personified art rock. But they were hardly an enigmatic, underground quantity. Beyond their commercial success — they scored a massive top 10 new wave funk hit in “Burning Down the House,” and the video for their 1986 hit single “Wild Wild Life” was inescapable on MTV — the genre-bending quartet’s influence has resonated in pop culture from their conception to today. Along with inspiring acts like St. Vincent, The Weeknd, and Radiohead (who even derived their name from the True Stories track “Radio Head”), Talking Heads soundtracked a satirical moment in Oliver Stone’s 1987 drama Wall Street with their classic “This Must Be the Place (Naïve Melody).” What’s more, a collaboration with filmmaker Jonathan Demme led to one of the best concert films of all time, 1984’s Stop Making Sense. Such plaudits belie frontman David Byrne’s claim that Talking Heads were simply a “middleclass band.” To the contrary, they excelled at inserting subtle avant-garde touches into the rock bloodstream: the stiffly formal dance movements that typified Byrne’s early performances; staccato guitar riffs from Byrne and Jerry Harrison that were reminiscent of the Velvet Underground and Television; and Tina Weymouth’s counterintuitive and innately funky basslines. When they briefly expanded their lineup to include experimental musicians like Bernie Worrell and Nona Hendryx in 1980, they brought New York’s fervent no wave and post-punk scenes to the pop charts. Meanwhile, Byrne’s incisive lyrics for classics like “Life During Wartime” and “Once in a Lifetime” left fans puzzling over whether he was serious or satirist. As an opener for punk pioneers the Ramones at New York’s famed (and now defunct) club CBGB, their 1975 debut as Talking Heads took

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Once In A Lifetime: How Talking Heads Defined Art Rock

place amidst the hothouse flowering of the New York punk scene. Yet, the group immediately stood apart, thanks to twitchy singles like “Love → Building on Fire” and “Psycho Killer” (which became an instant symbol for New York’s summer of Sam serial murders, despite the band’s insistence that there was no correlation). The band’s debut album, 1977’s Talking Heads: 77, effortlessly merged power pop with funky, light boogie rhythms and songs that personified urban neurosis and a quixotic search for perfect, uncontaminated happiness. The following year, they collaborated with pioneering producer Brian Eno on More Songs About Buildings and Food, which yielded a surprising Billboard top 40 hit cover of Al Green’s “Take Me to the River.” They continued their late ‘70s rapid-fire release streak with the 1979 album Fear of Music, which inaugurated the world-building phase of Talking Heads’ career: From the kinetic highlife rhythms of “I Zimbra” to the droning, Bowie-esque rock of “Life During Wartime,” Talking Heads expanded their canvas — and, as a result, modern rock — beyond the itchy minimalism of their earlier work. Their 1980 LP Remain in Light brought further explorations into African rhythms as well as New York’s fast-developing hip-hop scene, thanks to the terrifically underrated single “Crosseyed and

Painless.” “Once in a Lifetime” inspired an iconic music video centering Byrne’s lasting image: the man in the gray suit, sweaty and buffered by loss of control, as well as the growing realization that life on Earth is “same as it ever was.” After well-received side projects, Talking Heads reconvened for their biggest-selling album, 1985’s Little Creatures. Subsequent releases confirmed them as a familiar institution, especially in the growing movements of new American rock. Little Creatures offered a pleasing detour into Americana, between the surreal optimism of “And She Was” and the joyful agnosticism of “Road to Nowhere.” Shortly thereafter, the group worked on the soundtrack to Byrne’s directorial debut, True Stories, before recording 1988’s Naked, which would become their final album. Talking Heads are a formative influence on today’s indie scene, and their creative decisions can be found everywhere — from an omnivorous embrace of global musical trends to complex lyricism, and an attempt to embrace personal happiness on its own, unironic terms. Byrne’s use of their best-loved songs in his Broadway show and 2020 film American Utopia only illustrates that the band’s work is as relevant as ever. It’s art rock that resonates across decades and generations. — Mosi Reeves

TRUSTEES Ed Cherney

During an illustrious three-decade career in music, recording engineer and producer Ed Cherney left his mark on the sounds that defined a generation of music. The late Cherney, who passed away at 69 in 2019, earned four GRAMMY Awards for his work on albums by Willie Nelson, Buddy Guy and Bonnie Raitt. But his impressive resume spanned far beyond his GRAMMY recognition, as Cherney has played a role on seminal albums and songs from stars including Iggy Pop, Bob Seger, Bette Midler, Wynonna, Eric Clapton, Jackson Browne, the Rolling Stones, Keb’ Mo, Bob Dylan, Ringo Starr, and hundreds more. Born in Chicago in 1950, Cherney was on track to attend law school before realizing audio production was his true life’s calling. He enrolled to study electronics instead, and befriended recording engineer Bruce Swedien, who became a mentor and friend. Swedien later hired him for his first major recording gig, engineering Michael Jackson’s 1979 hit album Off the Wall. Cherney later worked on iconic projects like a 47-disc Bob Dylan boxed set, The Complete Album Collection Vol. 1 [Columbia], and Woodstock 94 [A&M], the soundtrack to the 25th anniversary concert that featured Nine Inch Nails, Green Day and 29 other major artists. His influence crossed into motion pictures as well, with credits on Fast Times at Ridgemont High, The Bourne Legacy and A Mighty Wind. A steadfast supporter of the recording industry, Cherney founded the Music Producers Guild of America (which is now the Producers & Engineers Wing© of the Recording Academy), and also served as Governor of the Los Angeles Chapter of the Recording Academy. After his passing in October 2019, the

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Five Classic Albums That Wouldn’t Be The Same Without Ed Cherney

Recording Academy established the Ed Cherney Trustees Award in his honor. This year, Cherney posthumously received the award himself. In remembrance of his legacy, revisit five of Cherney’s most legendary credits. • Michael Jackson, Off the Wall After moving from Chicago to Los Angeles, Cherney reunited with his friend Bruce Swedien, who was working with Quincy Jones on the fourth solo album from the Jackson 5 star. Recorded and released just shy of Jackson’s 21st birthday, Off the Wall is the album where Jackson came into his own as an artist. Hits “Rock With You” and “Don’t Stop ‘Til You Get Enough” showcased Cherney’s engineering work, and in 2011, Off the Wall became a GRAMMY Hall Of Fame record. • The Rolling Stones, Bridges to Babylon Cherney lent his expertise to 1997’s Bridges to Babylon, a strong entry of the Stones’ later period. Collaborating with Don Was and the Dust Brothers, he worked on one of the album’s most adventurous tracks, “Might As Well Get Juiced,” an electro-blues strutter driven by pulsing bass played by Doug Wimbish [Living Colour]. On “Always Suffering,” he oversaw recording of a masterful, country-influenced Stones ballad in the tradition of classics like “Wild Horses.” • Bonnie Raitt, Nick of Time Although Cherney himself won a GRAMMY for engineering Bonnie Raitt’s 1994 album Longing

in Their Hearts — while also nominated for the same award for the duets album Rhythm, Country and Blues and Jackson Browne’s I’m Alive — his relationship with Raitt began with her commercial breakthrough, 1989’s Nick of Time. Certified five times platinum in the U.S., Nick of Time swept the 32nd GRAMMY Awards in 1990, winning Album Of The Year, Best Female Rock Vocal Performance, Best Female Pop Vocal Performance and Best Traditional Blues Recording. • Willie Nelson, My Way When the Texas troubadour recorded My Way, a set of standards from the American songbook popularized by Frank Sinatra, Cherney was on board to capture the sounds that made this 2018 album come to life. My Way earned Nelson the Best Traditional Pop Vocal Album honors at the 63rd GRAMMY Awards in 2018. • Eric Clapton, “Tears in Heaven” After Eric Clapton’s four-year-old son, Conor, died in 1991, the legendary guitarist went into a period of mourning and seclusion. He emerged with “Tears in Heaven,” his tribute to Conor and the biggest hit in his vast catalog. Cherney collaborated with Clapton on the recording that appeared on Rush (Music From the Motion Picture Soundtrack), which won Record Of The Year, Song Of The Year, and Best Male Pop Vocal Performance at the 35th GRAMMY Awards in 1993. — Jim Beaugez

ENTERTAINMENT INDUSTRY EVENT EXPERTS The Recording Academy®, GRAMMY Awards® Critics Choice Association®, Critics’ Choice Awards® The Producers Guild®, The Motion Picture Editors Guild®, The Animation Guild® afmla.com

Everyone who was lucky enough to spend time with Eddie was the better for it...one of the very greatest audio engineers and a sweet and loving man who was loved by all... God bless you Eddie! – DANNY KORTCHMAR

You just couldn’t have a bad time in the studio with Ed. Aside from his beautiful personality and that sense of humor, it was his sense of balance and rhythm and sound and harmony that were always correct and always so evident. Ed Cherney was one of the pleasures of my life. I miss him every day, as I know we all do. – WADDY WACHTEL Ed was a gifted engineer, a creative producer and one of the finest human beings I have ever known. Miss him every day! – LELAND SKLAR

Ed Cherney is universally revered in the industry for his legacy as a producer/engineer with immaculate taste and ears. But those who never worked with him may not know that his greatest gift was his generosity and humanity, being in a room with Ed made you a better person. – STEVE POSTELL Ed Cherney was one of the kindest caring and loving people I have ever met in my life. When my daughter Elsie was working at The Village Recorders as a receptionist if she ever had a bad day Eddie told her to come by his studio and hang with him until she felt better. That’s the kind of guy Ed Cherney was. – RUSS KUNKEL

TRUSTEES Benny Golson

In Spielberg’s comedy/drama, The Terminal, Tom Hanks is the star. But jazz icon Benny Golson is arguably just as central to the plot. Hanks’ character, Viktor Navorski, gets stuck in JFK Airport. After ensuing antics, we realize why he went to America in the first place: His late father, a jazz nut, had collected autographs from almost all 57 jazz musicians in the famous Harlem 1958 photo, where the era’s top cats assembled before a brownstone. All except one: Golson, one of the all-time great tenor saxophonists and composers, who was born in Philadelphia in 1928 and remains with us. Navorski is determined to finish what his father started. Why was Golson’s autograph so important? Probably because his role in jazz history is ironclad, unquestionable. He wrote standards like “Stablemates,” “Blues March,” “Along Came Betty,” and “Killer Joe”; co-founded the Jazztet with Art Farmer; and recorded Moanin’ with Art Blakey and the Jazz Messengers. Still, he’s mentioned a tad less frequently relative to household names like Sonny Rollins or John Coltrane. But there are a multitude of reasons why unfamiliar jazz fans should drop everything and seek him — just like Navorski. Unlike the above musicians, Golson might not be instantly recognizable by sound alone. But those who simply play and write superbly aren’t just welcome in the jazz world — they’re pillars of its architecture. “Jazz has its geniuses, but everybody can be a total original. You need really good musicians who can do their thing in a way that is accessible to people and of a high quality,” says Dan Morgenstern, a GRAMMY-winning jazz historian, archivist and author. “If everybody was a total original, music would be very difficult to digest.” Golson may not have shattered boundaries, but he’s one of the greatest melodists to ever pick up the tenor saxophone; his tunes are generally hummable after one listen. Pianist, scholar and author Lewis Porter

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Why Everybody Should Seek Benny Golson

connects Golson to tenormen with a “powerful, big sound,” like Lucky Thompson and Don Byas. But if you ask Golson, he might push against these designations. “What about Gene Ammons, whose sound was incredibly big?” he asked in his 2016 autobiography, Whisper Not. “Chu Berry, Jimmy Forrest, and Ike Quebec were all sonic monsters.” Speaking of Whisper Not: it’s one of the greatest jazz books ever written. He tells stories of how he composed standards like the offbeat “Stablemates” and maintained close friendships with Quincy Jones, John Coltrane and other musical titans. He also champions women artists, opens up his 1969 baptism as one of Jehovah’s Witnesses — which explains the humility and wonder of his authorial voice — and, yes, talks about his cameo at the end of The Terminal. At the film’s end, Viktor Navorski gets his final autograph and opts to return to his home country: “I am going home,” he tells a cabbie. And Golson’s greatest records, from 1957’s Benny Golson’s New York Scene and 1958’s Benny Golson and the Philadelphians all the way to 2009’s New Time, New ‘Tet, sound just like home — the gravitational center of the bop

tradition. Golson also composed music for some of the most beloved properties in film and TV, from “Mission: Impossible” to “M*A*S*H,” making him the most well-rounded, three-dimensional kind of musician there is. And if all that isn’t enough of a reason to seek Golson, know that all authentic jazz musicians dig him in one way or another — or, at the very least, acknowledge his cruciality to the form. “His compositions have become the fabric and language of this music,” drummer Johnathan Blake says. “And if you don’t know these tunes, then you’re doing a disservice — number one, to yourself, but also to music as a whole.” And if none of those names sway you, consider this expression from the Saxophone Colossus himself, Sonny Rollins, who’s currently on his 92nd trip around the sun. “He hasn’t been quite appreciated yet to the extent he should be, but we still have time on the planet. And as long as we have time, there’ll be new people — and they’ll hear what he’s doing.” Whether you’re a diehard fan or have never heard of Golson before, crack open his book, turn him up loud and head on home. — Morgan Enos

Kenny “Babyface” Edmonds

The Indelible Impact Of Babyface In 1983, an Ohio-based R&B band called the Deele released its debut album, showcasing song contributions by the sextet’s resident wunderkind, Kenneth “Babyface” Edmonds. The band’s album cover featured a group portrait, with Edmonds positioned rearmost in the shot. Little did his bandmates know, he would soon be anything but the background man. Nearly 40 years later, Edmonds looms as one of the most successful writers, producers and music executives of all time. He has charted over 200 Top 10 R&B hits and more than 50 Top 10 pop hits — including 16 No. 1s — earning a whopping 11 GRAMMY Awards (including a record four Producer Of The Year, NonClassical) along the way. In a bold demonstration of his entrepreneurial flair, Edmonds teamed with longtime collaborator L.A. Reid in 1989 to co-found LaFace Records. The duo quickly established the label as a Motownlike hit factory capable of transforming onceunknowns like P!nk, TLC, Outkast, Toni Braxton, and Usher into household names. Boasting over 500 million units of combined singles and albums sales worldwide, Edmonds’ resume includes timeless radio staples by legendary artists such as Madonna (“Take A Bow”), Eric Clapton (“Change the World”), Whitney Houston (“I’m Your Baby Tonight”), Mary J. Blige (“Not Gon’ Cry”), Bobby Brown (“Every Little Step”), Beyoncé (“Best Thing I Never Had”), the Whispers (“Rock Steady”), and more. Proving he could become a star in his own

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“Edmonds’ uptempo songs reconcile the danceability of disco with the earworm melodiousness of classic R&B; his heady and alluring ballads established new standards for harmonic lushness.”

right, Edmonds’ 1989 solo album Tender Lover spawned the Top 10 pop hits “It’s No Crime” and “Whip Appeal.” His songs have been covered by the likes of Michael Jackson, Mariah Carey, Ariana Grande, Lil Wayne, and countless others. In the ‘90s, as hip-hop began to overtake R&B, Edmonds not only withstood the siege, but he enjoyed one of the most successful periods of his career. The musical polymath scored two platinum singles for Boyz II Men, including “End of the Road” (1992) and “I’ll Make Love to You” (1994). Both singles spent 14 weeks atop the Billboard Hot 100 — two of the longest No. 1 runs in the chart’s history. Co-writing “Take A Bow” with Madonna, Edmonds watched as the 1995 single became the Material Girl’s longestrunning No. 1 single, charting seven weeks atop the Hot 100. Later that same year, Edmonds performed a similar miracle for Whitney Houston when his composition “Exhale (Shoop Shoop)” debuted at No. 1, becoming the third single to do so in the chart’s history at the time. What is it about Edmonds’ songs that could fuel such widespread radio play and boundless record sales? As evidenced by pop-infused hits like the Whispers’ “Rock Steady” and Bobby Brown’s “Every Little Step,” Edmonds’ uptempo songs reconcile the danceability of disco with the earworm melodiousness of classic R&B. His heady and alluring ballads established new standards for harmonic lushness. Among the first to introduce flamenco-like acoustic guitar to R&B, Edmonds’ six-string innovations were so pioneering, the famed C.F. Martin Company manufactured a limited-edition signature guitar model in his honor — an extremely rare

distinction for an R&B artist. Edmonds’ leadership skills were instrumental in catapulting LaFace Records into the pantheon of great music labels. Due partly to Babyface’s tutelage, LaFace artist TLC sold more than 60 million albums worldwide, with a combined total of 75 million records. Toni Braxton’s first two LaFace albums — including her self-titled 1993 debut and its 1996 follow-up Secrets — would sell a combined total of over 10 million copies in America alone, largely thanks to the powerful combination of Braxton’s sensuous mezzo-soprano voice and Edmond’s captivating songwriting and production. In 2015, Babyface relaunched his solo career, issuing a collection of penthouse ballads titled Return of the Tender Lover. That same year, Edmonds collaborated with Ty Dolla $ign on “Solid,” a rap-tinged R&B tune that bears the producer’s unmistakable creative stamp. Today, Edmonds’ mantelpiece is veritably buried beneath a heap of laudatory trophies. Along with his 11 GRAMMYs, he’s won more than 50 BMI Awards, five Soul Train Music Awards, two American Music Awards, an NAACP Image Award and a BET Walk of Fame Award. He received a star on the Hollywood Walk of Fame in 2013, and was inducted into the Songwriter’s Hall of Fame in 2017. His impact has even hit the highway: In his native Indianapolis, a 25-mile stretch of Interstate 65 is named in his honor. With a legacy measured in gold, platinum and commemorative asphalt, Kenneth “Babyface” Edmonds’ is in the ranks of the rarest of musical artists. And to think it all started with him in the background. — Bruce Britt

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TRUSTEES

TECHNICAL GRAMMY Daniel Weiss

If you’ve made or enjoyed a world-class album in the past 35 years, chances are, that record was touched by one of Daniel Weiss’ inventions. Daniel Weiss is a true pioneer in digital audio technology for music mastering. A lifelong musician with a deep scientific streak, Weiss develops tools that have continually elevated digital audio productions and processes, driving the state of the art forward in a relentless pursuit of the sonic ideal. Weiss joined legendary audio equipment maker Studer in 1979, just as the company — renowned for its tape machines and consoles — began exploring the nascent world of digital audio. There, in Studer’s “PCM Laboratory,” he and a maverick team of engineers took on the formidable task of pioneering digital technologies that could fit into a largely analog world. When the CD arrived in 1984, it ushered in a new demand for digital audio processing tools. The early 1980s were wild times for digital studio technologies, as machines were built around proprietary formats and interfaces, and couldn’t communicate with each other. So when Ben Bernfeld, the owner of German mastering studio Harmonia Mundi Acustica, asked Weiss to develop an interface that could link two digital recorders, Weiss knew he was on to something big. Together, Weiss and Bernfeld embarked on creating a modular digital audio system to interface and process digital audio. That same year, Weiss Engineering was born. That first product, the BW102, was an instant game changer for mastering engineers: The revolutionary system offered a range of modules for processing and interfacing digital audio, in a flexible, configurable format that let engineers customize their tools for their needs. This technology breakthrough converted mastering engineers to the advantages of digital. Soon, Weiss’ processors became fixtures in top mastering studios around the world, playing a role in revolutionizing the sound of recorded music. Over the years, Weiss developed more than 70 modules for the BW102 and went on to develop a console version of the system, the IBIS, which was installed at Sony Music New York and other

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JOSCHKA WEISS

How Daniel Weiss Revolutionized Music Mastering

“A lifelong musician with a deep scientific streak, Weiss develops tools that have continually elevated digital audio productions and processes, driving the state of the art forward in a relentless pursuit of the sonic ideal.” leading studios. Later, Weiss’ Gambit Series of processors brought digital sonic quality to yet another level, and have become prized by mastering engineers for their ergonomics as well as their algorithms. In 2000, Weiss turned his focus to the audiophile world, launching a range of hi-fi products, putting him in the unique position of touching both music production and playback with his technology innovations. Today, Weiss creates products for both professional music creators and audiophile enthusiasts, reinforcing an end-to-end path of quality and clarity.

Weiss’ career is marked by a series of firsts — not just because he pioneered digital tools, but because those tools elevated digital technologies and processes. They modernized old concepts, showed equipment makers that there can be freedom in digital design, and proved that digital audio can both sound incredible and have soul. His design ethos is simple: Offer the highestquality digital signal processing, with the ultimate goal of serving music — specifically, presenting music precisely as the artist intended, without compromise. — Sarah Jones

MUSIC EDUCATOR Stephen Cox

My Philosophies & Strategies For Teaching The Music Educator Award recognizes current educators who have made a significant and lasting contribution to the music education field and demonstrate a commitment to the broader cause of maintaining music education in the schools. Below, 2022 Music Educator Award recipient Stephen Cox, who is the band director at Eastland High School in Eastland, Texas, shares tried-and-true philosophies and strategies for reaching and nurturing his students. Teaching today, in 2022, is relationship teaching. You have to get to know the students, you have to get to know what they’re interested in, and you have to relate to them. I think people had this sense for a long time that being there — being the teacher, the authority person — meant that everyone would listen to what you said. That may have been true 50 or 70 years ago, but now, more than ever, connection and relevance are far more important than authority. You can’t stop a student that wants to learn and you can’t teach one that doesn’t. It’s important to take an interest in what students care about. A lot of times, kids bring me music they like. And it may not be music I like, but if there’s any way we can incorporate it in the class, we do it. You have high expectations, and you have to have high expectations. Whatever the expectations are for your students, it sets a standard in their mind for what is possible. By setting high expectations for performance, attendance and all these different things, the students will do it because that’s the expectation. But while you have those expectations, you also need to have fun with them. An example: We programmed a concert once at a historic theater here in town. This is when Star Wars: The Force Awakens was coming out. It coincided with a holiday concert. We did a mix of holiday music and Star Wars music at the theater and performed at the local premiere of the movie.

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The kids had a great time going to the movie together, but we also got to nerd out about the music of Star Wars leading up to that. Try to find ways to tie in relevance to things they’re interested in and program it. It’s really important that we get students outside of the campus. Most school concerts are held at school auditoriums, gymnasiums or cafetoriums, but we try to get the students out around town, performing at nearby venues. Performing at the park, nursing homes or

anywhere where the students and community can interact in a way they might not have expected to opens doors for the students. In any community — especially when it’s small like ours — there’s going to be people that would really love and be excited about the music programs as soon as it’s brought to them. But they’re never going to show up for a concert on campus because it never crosses their radar. We try to tie specific performances to the history of the town. Sometimes, we’ll find people who have been in the band program before or were connected to it and learn about them. Then, when we program our regular concerts, we’ll dedicate a piece to them: former students, directors, local musicians, or businesses. That’s been a lot of fun. It creates an extra layer of relevance to everything we’re doing. Teaching in a small town can feel really limiting. You don’t have the same access to resources and culture. By engaging the community, you open up the door to the resources you do have: human resources. Small town people are incredible and an engaged community can amplify the educational opportunities for students. One benefit of band is that it requires a lot of help. Especially in marching band — there’s loading up trucks and all these things you have to do. There’s a lot of people, and therefore, a lot of work. We try to get the students to take over — if not the whole process — every single part of it that they can. I think that really, really matters: letting the students have some of the control. This can feel terrifying for the educator, but it can be life-altering for the students. Students need to know you care, they need to know what’s possible, and they need the resources to accomplish it. It’s our job to provide this to them. This next generation has to be better than us, that’s the only way that humanity progresses. — As told to Morgan Enos

To our Friend, Kenny “Babyface” Edmonds Your songs are our gift. Your love and artistry is beyond measure. We are proud to call you our friend and look forward to the incredible journey ahead. Congratulations on receiving this year’s Recording Academy® Trustees Award! Shelli, Irving & Jeffrey Azoff & Susan Markheim & everyone at Full Stop Management and the Azoff Company

Photography: Randee St. Nicholas

GRAMMY AWARDS® WE PROUDLY CELEBRATE OUR CLIENTS RECORDING ACADEMY® LIFETIME ACHIEVEMENT AWARD

SALT-N-PEPA RECORDING ACADEMY® TRUSTEES AWARD

BEST RAP ALBUM The Off-Season

J COLE

KENNETH BABYFACE EDMONDS

BEST R&B PERFORMANCE Leave the Door Open – Silk Sonic. Bruno Mars &

RECORD OF THE YEAR Leave the Door Open – Silk Sonic. Bruno Mars &

BEST R&B SONG Leave the Door Open – Silk Sonic. Bruno Mars &

ANDERSON.PAAK

SONG OF THE YEAR Leave the Door Open – Silk Sonic. Bruno Mars &

BEST MUSIC FILM David Byrne’s American Utopia

ANDERSON.PAAK ALBUM OF THE YEAR We Are - Jon Batiste

MAVIS STAPLES Justice (Triple Chucks Deluxe) - Justin Bieber

KHALID, QUAVO, JON BELLION, SKRILLEX, TAYLA PARX Planet Her (Deluxe) - Doja Cat JID Montero - Lil Nas X

JACK HARLOW Donda - Kanye West

FIVIO FOREIGN, LIL YACHTY, CORY HENRY BEST AMERICAN ROOTS SONG Diamond Studded Shoes

DAN AUERBACH

, Natalie Hemby, Aaron Lee Tasjan & Yola, songwriters (Yola) BEST AMERICANA ALBUM Leftover Feelings

JOHN HIATT

with The Jerry Douglas Band BEST CONTEMPORARY BLUES ALBUM

THE BLACK KEYS

Delta Kream – ft. Eric Deaton & Kenny Brown 662 –

ANDERSON.PAAK

DAVID BYRNE & SPIKE LEE BEST RAP PERFORMANCE MY. LIFE

J C OL E

ft. 21 Savage & Morray

BEST RAP SONG MY. LIFE

J C OL E

ft. 21 Savage & Morray

BEST ROCK SONG The Bandit - Caleb Followill, Jared Followill, Matthew Followill & Nathan Followill, songwriters

KINGS OF LEON BEST MELODIC RAP PERFORMANCE PRIDE. IS. THE. DEVIL

J COLE ft. Lil Baby Industry Baby – Lil Nas X ft.

JACK HARLOW BEST PROGRESSIVE R&B ALBUM Something To Say

CORY HENRY Dinner Party: Dessert – Terrance Martin,

ROBERT GLASPER, 9th Wonder & KAMASI WASHINGTON BEST R&B TRADITIONAL PERFORMANCE Born Again - Leon Bridges ft.

CHRISTONE “KINGFISH” INGRAM ROBERT GLASPER

THE EVOLUTION OF MUSIC: AS TOLD THROUGH THE 2021 GRAMMY HALL OF FAME RECIPIENTS By Jim Beaugez Every GRAMMY Award recipient has proven the merit of their artistry to their peers. Since 1973, more than 1,100 recordings have also been elevated to the GRAMMY Hall Of Fame, a designation honoring single and album recordings at least 25 years old that have achieved lasting significance. While the GRAMMY Hall Of Fame is currently on hiatus, we wanted to continue the celebration of our last inducted class by bringing you this comprehensive look at these masterful works. These inductees go all the way back to the beginning of recorded music with the induction of “Au Clair de la Lune” as performed by Édouard-Léon Scott De Martinville in 1860, a recording that predates the invention of the phonograph by two decades. We also celebrate the marriage of jazz and soul through seminal works by Cannonball Adderley and Billie Holiday to Isaac Hayes and A Tribe Called Quest, as well as the rise and transformation of the blues by Elizabeth Cotten, Kansas Joe and Memphis Minnie into the anthemic rock of Journey and Pearl Jam. To celebrate these GRAMMY Hall Of Fame recordings, we’re exploring the sonic connections among artists and how music has evolved over time in the dynamic timeline attached.

This Influenced: Just a few years after Jimmy Page produced a session for John Mayall and the Blues Breakers, he applied his hard-rock vision to electrified blues on Led Zeppelin’s 1969 self-titled debut. The Allman Brothers Band recast Clapton’s blues riffing with slide guitar and jazz influences on their eponymous debut that same year, and ZZ Top took inspiration for its swamp boogie on ZZ Top’s First Album in 1971.

THE CARS

CANCIONES DE MI PADRE

Linda Ronstadt

1987

The success of Linda Ronstadt’s first Spanish-language album in 1987 — including television appearances in which she performed songs in Spanish — signaled to many Mexican Americans that their heritage was respected in mainstream American culture. The collection of mariachis and rancheros, whose title translates to Songs of My Father, has sold more than 2 million copies in the U.S.

The Cars

Clapton got his first break as a member of the Yardbirds, but this 1966 album of electrified blues standards is where his legend took flight. And rightfully so — Blues Breakers blazed a trail for blues rock that artists still follow today.

This Influenced: Ronstadt’s Canciones de Mi Padre arrived as Miami Sound Machine and Gloria Estefan landed on the charts with Cubaninfluenced pop. By mainstreaming Latin sounds in American music, Ricky Martin scored a major hit with “Livin’ La Vida Loca” in 1999, followed by Shakira, who has recorded several Spanishlanguage albums. Bad Bunny carries on the lineage through his marriage of Latin trap and pop.

1978

BLUES BREAKERS

John Mayall with Eric Clapton

The Holy Grail of audio recording arrived in 1857, two decades before Thomas Edison invented the phonograph. Scott, a printer by trade, meant for the visual sound waves captured by his phonautogram to be read as text. But a 2008 rediscovery led to the digitization and first audio playback of a 20-second snippet of “Au Clair de la Lune” from 1860. This is where it all began.

1966

AU CLAIR DE LA LUNE

Édouard-Léon Scott De Martinville

1860

This Influenced: Edison’s 1877 phonograph, which could record and play back audio, debuted with the inventor singing a verse of “Mary Had a Little Lamb.” Improvements on the concept arrived over the next few decades, including the wax cylinder and gramophone. The latter is the basis for the GRAMMY Award to this day.

The Cars arrived on a pop music scene awash in highly produced disco with a debut album loaded with deceptively simple arrangements. “Just What I Needed” and “My Best Friend’s Girl” brought power-pop hooks and new-wave synths to the pop charts, priming audiences for the new wave craze that led into the 1980s.

This Influenced: In 1989, the Pixies picked up on the Cars’ pop sensibilities on their Doolittle standout “Here Comes Your Man,” which bears resemblance to “My Best Friend’s Girl.” On Weezer’s 1994 debut album — produced by the Cars’ Ric Ocasek — the band nailed the “Just What I Needed” vibe. In 2004, the Killers infused their new-millennium rock with synths on Hot Fuss.

This Influenced: If Benny Goodman was the “King of Swing,” then Fletcher Henderson, as his arranger, was the architect. Henderson’s influence spread further through musicians he hired, like Louis Armstrong and saxophonist Benny Carter.

FREIGHT TRAIN

ELIZABETH COTTEN

Journey

1981

Fletcher Henderson was a pioneering big-band jazz and swing composer, arranger and bandleader in the 1920s and ‘30s. With his recording of the jumpy “Copenhagen,” he gave Louis Armstrong one of his first recorded solos as the young cornetist worked his way through the ranks to become a star. Because of recordings like “Copenhagen,” the focal point of the jazz scene followed Armstrong from Chicago to New York.

By the time Journey recorded “Don’t Stop Believin’” for their 1981 album Escape, they had already written several power ballads — but this song perfected the form. Opening with a sentimental piano progression, building on muscular bass and guitar riffs, and rising to a crescendo via Steve Perry’s majestic vocals, “Don’t Stop Believin’” created a template that countless rockers followed in the 1980s.

1958

COPENHAGEN

Betty Wright’s 1971 hit reached the Top 10 and sold half a million copies on the strength of its Meters-meets-Motown swing and 17-yearold Wright’s youthful confidence on the mic. Wright went on to win a GRAMMY for Best R&B Performance in 1976 and remained a force in the genre on her own albums and as a backup singer until her 2020 death.

Fletcher Henderson and His Orchestra

CLEAN UP WOMAN 1924

Betty Wright

1971

This Influenced: If influence can be measured in samples, then Wright is in good company. “Clean Up Woman” has been sampled dozens of times, most notably by Chance the Rapper, Mary J. Blige and Sublime. She also mentored the generation of singers that followed by working with Gloria Estefan, Jennifer Lopez, Erykah Badu, and Joss Stone.

DON’T STOP BELIEVIN’

This Influenced: Bon Jovi, Whitesnake and Def Leppard are three of the biggest rock bands to borrow liberally from this song’s anthemic appeal by layering soft synths underneath hard-rock guitar riffs, and they all rode power ballads to arenas and stadiums.

Elizabeth Cotten wrote “Freight Train” in 1904 when she was 11 years old, but no one heard it until the 1950s, when she befriended Ruth Seeger and folksingers Pete and Peggy Seeger. Cotten, a left-handed guitar player, developed her own fingerstyle technique while playing an upside-down guitar with the strings in reverse order. This Influenced: Cotten’s most famous song influenced generations of musicians, many of whom covered “Freight Train” in their own performances. Bluegrass master Doc Watson, acoustic-guitar virtuoso Tommy Emmanuel and Jerry Garcia of the Grateful Dead made the song their own.

This Influenced: The long shadow cast by Greetings can be heard in the blue-collar storytelling of Tom Petty and the Heartbreakers’ 1976 self-titled debut; John Mellencamp’s 1982 album American Fool (released as John Cougar); and in Pearl Jam’s marathon, unpredictable live shows.

HORSES

The collaborator on Memphis soul label Stax’s biggest hits not only saved his own career on his second album, 1969’s Hot Buttered Soul; he also helped save his label, which was in dire need of a hit following the death of Otis Redding and a split with Atlantic Records. Hayes blew past the boundaries of soul music at the time with slow-building orchestral arrangements that stretched into 20-minute excursions, selling a million albums in the process.

Patti Smith

To some, Springsteen’s verbose storytelling was an attempt to channel Bob Dylan, and that’s certainly how Columbia Records wanted to market him. But the working man’s poet laureate wasn’t an acoustic guitar-strumming troubadour — he was a rocker at heart, as the electrified songs on Greetings From Asbury Park, N.J. attest.

HOT BUTTERED SOUL

Isaac Hayes

1969

This Influenced: The lush string arrangements of “Walk On By” influenced the use of orchestral sounds in the disco movement of the next decade, while the album’s deep funk grooves have been sampled hundreds of times for songs by Beyoncé, the Notorious B.I.G. and Public Enemy.

1975

Bruce Springsteen

GREETINGS FROM ASBURY PARK, N.J.

THE GAMBLER

1973

Kenny Rogers

1981

This Influenced: When Rogers adopted the “Gambler” persona, young fans took notice. One of those was Eric Church, who assumes his “Chief” alter ego when he dons his shades and grabs the microphone. Chris Stapleton follows Rogers’ lineage for storytelling, and his legacy is still felt through artists like Lee Brice and Dustin Lynch. The genius of Kenny Rogers was his ability to keep just enough country in his music to please Nashville while simultaneously climbing the pop charts. “The Gambler,” a metaphorin-song about how we live our lives, scaled those very heights in 1978 and made Rogers a household name — and led to a series of movies inspired by the song.

Delivered at the forefront of the punk rock movement in 1975, Patti Smith’s masterpiece is art-rock charged with poetry and played by garage musicians. It was a case of success measured by influence, which proved exponential to the album’s actual sales.

This Influenced: R.E.M.’s Michael Stipe cites Horses as the album that made him want to be a musician, and the rise in popularity of spoken-word music and artfully confrontational musicians like PJ Harvey and Henry Rollins can be traced back here. Courtney Love has cited Smith as one of her biggest influences.

This Influenced: His contributions to L.A. session legends the Wrecking Crew aside, Dr. John achieved artistic and commercial heights of his own on In the Right Place. His gumbo-pot approach to instrumentation found a home with funk-minded artists in the jam-band scene such as Phish, Widespread Panic and the Revivalists.

MAD DOGS & ENGLISHMEN

1970

A Tribe Called Quest

THE LOW END THEORY

New Orleans musician Mac Rebennack adopted his “Dr. John, the Night Tripper” persona in the 1960s and peppered his live sets with voodoo imagery to match his swampy soul sound. But when he dropped the second half of his moniker and hired the Meters as his backing band, the rest came together. His commercial breakthrough, In the Right Place, made him a star and shined a light on the Big Easy sound, reaffirming its role in creating funk.

1991

Beastie Boys

LICENSED TO ILL

1986

Dr. John

Just a few months after Run-DMC landed the first top-10 hip-hop album in 1986, Beastie Boys blew the doors open with Licensed To Ill, the first hip-hop album to hit No. 1, eventually selling 10 million copies in the U.S. The album opened the genre to a new audience — namely, suburban white kids — and anticipated the rock/rap fusion that became a phenomenon in the decade that followed.

IN THE RIGHT PLACE

1973

This Influenced: The Beasties’ deft use of hard-rock guitars and Led Zeppelin samples shot hip-hop into millions of American homes in 1986, inspiring MCs like Eminem as well as influential rap-rock crossovers Rage Against the Machine and the Judgment Night soundtrack, which famously paired rock bands with hip-hop acts.

Joe Cocker

This Influenced: Bob Dylan’s collaborative and freewheeling 1975 Rolling Thunder Revue tour and star-studded one-off concerts like The Band’s 1976 farewell, The Last Waltz — both which resulted in acclaimed live recordings and Martin Scorsese-directed films — link back to Cocker’s Mad Dogs & Englishmen. More recent tours by hiphop collectives Wu-Tang Clan and Odd Future are rooted in the same spirit.

Joe Cocker assembled a ripping band in a matter of days before his rushed 48city 1970 U.S. tour rolled to its opening night in Detroit. The tapes were certainly rolling when the rock and roll revue reached New York, capturing their performances at the Fillmore East for this essential live document.

At the dawn of the 1990s, hip-hop was largely split between pop stars like MC Hammer and West Coast gangsta rap pioneers N.W.A. Enter A Tribe Called Quest, a Queens, New York crew that weaved rhymes over elastic jazz grooves and heavily influenced the alternative rap movement.

This Influenced: The Tribe’s penchant for crate diving for samples directly influenced Kanye West’s 2004 album The College Dropout and broadened the mainstream rap scene for innovators like OutKast, The Roots and Fugees.

Alto saxophonist Julian Edwin “Cannonball” Adderley played with Miles Davis and John Coltrane before forming his own group and releasing this landmark album in 1967. The title track, the soulful “Mercy, Mercy, Mercy,” gave Adderley a surprise hit, as it peaked at No. 11 on the Billboard Hot 100 singles chart. This Influenced: Adderley blurred genre boundaries by bringing soul and R&B influences to jazz. A generation later, hip-hop artists Rakim, Brand Nubian and The Pharcyde rediscovered his work and sampled “Mercy, Mercy, Mercy” in their music.

SOLITUDE

Billie Holiday

1941 SO

The Kolisch String Quartet recorded their interpretation of Arnold Schoenberg’s works as The Four String Quartets under supervision of the composer in 1936. Their association with Schoenberg, who had been banned in Nazi Germany, led the group to relocate from Vienna to Paris after the Nazis annexed Austria in 1938.

Peter Gabriel

SCHOENBERG: THE FOUR STRING QUARTETS

Kolisch String Quartet

1949

This Influenced: Nina Simone recorded her own version of “Solitude” in 1961, two years after Holiday passed away and as the music world began to rediscover her talents. Norah Jones channels Holiday’s performance on “Solitude” with her own understated emoting on “Come Away With Me,” a standout from her 2002 debut album of the same name.

This Influenced: The direct collaboration of Schoenberg with the Kolisch String Quartet anticipated popular artists working with orchestras to interpret their music, including Deep Purple with the Royal Philharmonic Orchestra in 1969; Nico Muhly’s 2012 collaboration with Usher on “Climax”; and Metallica’s S&M and S&M2 albums, recorded live with the San Francisco Orchestra in 1999 and 2019, respectively.

1986

The Cannonball Adderley Quintet

Not merely a conductor (although he was one of the best), Bernstein was also an accomplished pianist and composer who worked across musical genres. His 1946 recording of Ravel’s Piano Concerto in G Major is an example of Bernstein filling the roles of conductor and musician.

MERCY, MERCY, MERCY! LIVE AT ‘THE CLUB’

RAVEL: PIANO CONCERTO IN G MAJOR 1967

Leonard Bernstein with the Philharmonic Orchestra of London

1946

This Influenced: Leonard Bernstein was a titanic presence in conducting, but he considered himself a musician first. Among his devotees are Marin Alsop — who thought of Bernstein as a mentor — as well as Michael Tilson Thomas, Kent Nagano and Robert Spano.

When Billie Holiday released her version of the Duke Ellington-penned “Solitude” in 1952, it was so successful her label re-released the album Billie Holiday Sings as Solitude four years later. Holiday’s gentle phrasing made the jazz standard one of her signature songs.

With an assist from producer Daniel Lanois, art rocker Peter Gabriel stepped into the spotlight on So, the most successful solo album from the former Genesis frontman. Elements of soul, funk and African rhythms imbued the hits “Sledgehammer” and “In Your Eyes” with a forwardlooking pop edge.

This Influenced: Gabriel’s sense of musical adventure has endured in pop music through artists such as Björk and Lady Gaga — who, along with Madonna, Karen O of the Yeah Yeah Yeahs and others — also dove into his early-career penchant for the visual side of performance art in music.

This Influenced: The Rolling Stones issued their version of “Time is On My Side” — a direct reading of Thomas’ version — mere months after she released hers. In later years, Wilson Pickett, Michael Bolton, Cat Power, and Blondie cut their own versions, but Thomas arguably recorded the definitive version.

TEXAS FLOOD

1983 “WE ARE THE WORLD”

USA for Africa

1985

Irma Thomas

Irma Thomas was fired twice for singing on the job before recording her debut 1960 hit, “You Can Have My Husband (But Don’t Mess With My Man).” But her enduring rendition of “Time Is On My Side,” first released in 1964 as the B-side to “Anyone Who Knows What Love Is (Will Understand),” has inspired a fanbase of its own.

Stevie Ray Vaughan and Double Trouble

This Influenced: Blues-influenced frontmen who followed, such as Jonny Lang, Kenny Wayne Shepherd and Joe Bonamassa, owe a sizable debt to Mr. Vaughan.

Pearl Jam’s 1991 debut was so big — with hits “Alive,” “Evenflow” and “Jeremy” pushing their popularity ever higher — the band stopped making videos for MTV and still sold a million copies of the follow-up, Vs., in one week. Crucially, Ten built a bridge from punk and alternative rock to classic rockers like the Who, carving a mainstream channel through flannel grunge while inspiring the next generation of rock vocalists.

“TIME IS ON MY SIDE”

TEN 1964

Pearl Jam

1991

This Influenced: One of the most enduring legacies of Ten is the vocal style of Eddie Vedder, whose weathered croon was famously adopted by singers like Scott Stapp of Creed. Next-generation vocalists like Julian Casablancas of the Strokes also cite the album as a major influence, and St. Vincent learned to sing to this album and has covered the emotive ballad “Black” at concerts.

Contemporary blues was never the same after Texas Flood. Led by Stevie Ray Vaughan’s distinctively brash guitar work and vocal bark, his power trio’s debut album cut to the heart of the blues in 10 songs recorded live over two days, and sold 2 million copies.

When superstars Michael Jackson, Tina Turner, Stevie Wonder, and more came together in 1985 to record “We Are the World,” a charity single to aid famine victims in Ethiopia, the song became the fastest-selling single in U.S. history, helping to earn more than $50 million for aid. Since then, artists have followed their lead in using their music to raise money in support of a myriad of philanthropies and causes. This Influenced: The outpowering of goodwill generated by “We Are the World” led organizations like Red Hot to produce charity albums, such as Red Hot + Blue, which benefited HIV and AIDs relief and awareness, and Hope, an album from War Child that featured Paul McCartney, Avril Lavigne and David Bowie.

This Influenced: As an early adopter of the electric guitar, Memphis Minnie’s influence spread far and wide. Country star Bob Wills covered her song “Frankie Jean”; Bonnie Raitt paid for her tombstone. In the hands of Led Zeppelin, “When the Levee Breaks” became a hypnotic heavy blues, and John Bonham’s cavernous drums have been sampled by Beastie Boys, Björk and more than 200 other artists.

“WRECK OF THE OLD 97”

Vernon Dalhart

“Y.M.C.A.”

1924

This Influenced: The success of “Wreck of the Old 97” led directly to the famed 1927 Bristol, Tennessee, recording sessions and the discovery of Jimmie Rodgers and the Carter Family — two defining architects of country music — and informed Johnny Cash’s lyrical fascination with locomotives, both metaphorical and material.

Village People released one of the biggest disco anthems with “Y.M.C.A.,” a tongue-incheek celebration of the gay cruising lifestyle that broke down barriers for LGBTQ+ people in pop music. The song also inspired a dance craze of the same name, paving the way for songThis Influenced: and-dance combos like Village People’s enduring hit softened Los Del Rios’ 1993 smash radio and MTV to androgynous new “Macarena” and Cupid’s wave icon Boy George, whose band 2007 hit “Cupid Shuffle.” Culture Club made a lasting mark in the 1980s. George Michael and his early ‘80s group, Wham!, and Pet Shop Boys also carried on their dance-pop legacy.

Village People

The Great Mississippi River Flood of 1927 submerged 27,000 square miles primarily in Mississippi, Arkansas and Louisiana, devastating one of the most fertile regions in the world and sending its people scrambling for the higher ground of levees. Memphis Minnie witnessed the devastation and co-wrote “When the Levee Breaks” after the waters receded.

Country music’s first million-selling single, which Vernon Dalhart recorded in 1924, did a lot more for the genre than give generations of artists, including Johnny Cash, Woody Guthrie, Charlie Louvin, and Flatt and Scruggs, a built-in crowd pleaser.

1978

“WHEN THE LEVEE BREAKS”

Three of country and pop music’s legendary stars attempted to release an album together in the 1970s, but it never materialized. When they finally made it happen in 1987 with Trio, fans got an album full of powerhouse cuts from singers at the top of their game.

Kansas Joe and Memphis Minnie

TRIO

Dolly Parton, Linda Ronstadt, Emmylou Harris

1929

1987

This Influenced: A decade after Trio, the Chicks followed a similar path and earned two diamond certifications for mega-hit albums Wide Open Spaces and Fly. In 2019, four established country and Americana singers — Maren Morris, Amanda Shires, Brandi Carlile, and Natalie Hemby — joined forces as the Highwomen, and released an acclaimed “supergroup” album of their own.

Congratulations to all the 64th annual GRAMMY® nominees.

www.KASHWERE.com

NEW ERA, NEW VISION,

DANIEL MENDOZA/THE RECORDING ACADEMY

ONE ACADEMY

AS THE RECORDING ACADEMY WELCOMES A NEW, MODERNIZED LEADERSHIP TEAM, THE ORGANIZATION IS MOVING TOWARD A BRIGHT FUTURE DEFINED BY INNOVATION AND ACCOUNTABILITY. THE REAL WORK ADVANCING CHANGE IS HAPPENING WITHIN THE ACADEMY’S WALLS. By Morgan Enos

The 63rd Annual GRAMMY Awards in March 2021 may have been the only ceremony in the Recording Academy’s history where function dictated form. It was all out of necessity: to combat a deadly pandemic. In order to keep the ceremony safe during the ongoing COVID-19 era, the show pivoted from the usual mega-production and instead presented intimate performances from today’s biggest artists; the audience was hardly in sight. The reimagined presentation did not diminish the show whatsoever, but rather gave it more weight and dignity — and the critics noticed. “Last night was the best GRAMMY show ever, by an absurd margin,” Rolling Stone glowed. “Let’s never go back.” Last year’s reconstituted GRAMMYs show may have been the Recording Academy’s most visible change in recent memory, but it proved to be only the tip of the iceberg. Lately, the leaders of the long-running organization have been proclaiming that the Recording Academy is entering a “new day.” But how, exactly? “That’ll take up the whole interview — we don’t have time for all the positive developments!” Recording Academy CEO Harvey Mason jr. exclaims. That said, if one were to pinpoint the many ways the Recording Academy

From Left to Right: Recording Academy Co-President Valeisha Butterfield Jones, CEO Harvey Mason jr. and Co-President Panos A. Panay

fundamentally evolved throughout 2021, three components come to mind: new executive leadership; a renewed focus on Diversity, Equity and Inclusion (DEI) values; and a redefined global company vision. The first seismic shift in the Recording Academy’s leadership in 2021 came when Mason jr. — then serving as Chair of the Academy’s Board of Trustees and Interim President/CEO — was officially appointed as the new President/ CEO. While he accepted the role graciously, he immediately knew those roles THE 64 GRAMMYS

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should be divided. “When I was asked to fill in the role on a more permanent basis, I thought, ‘How can we restructure things to make sure they’re set up for success?’” he says. “It’s the way that I like to work and the way I think the Academy can really thrive going forward.” Mason jr. is an accomplished producer/songwriter in his own right: He’s written and produced songs for industry legends and today’s biggest superstars, including Whitney Houston, Beyoncé, Elton John, Justin Timberlake, Aretha Franklin, Ariana Grande, and many more. An athlete at heart, he also played guard for the basketball team of his alma mater, the University of Arizona, helping them get to the Final Four. His hoops days shaped his winner’s mentality and killer instinct. “I happened to play for some great coaches,” he remembers. “They taught me the value of reaching for excellence and always pushing for greatness and never settling for mediocrity — or for less than what you perceive as your best.” Mason jr. found these same qualities in Valeisha Butterfield Jones and Panos A. Panay, who were appointed Co-Presidents of the Recording Academy last June. “They both have experiences in their past that I was really, really excited about. But what it really came down to was: They were winners,” Mason reflects. “They were people that got things done. They were people that were great collaborators. People that were hustlers and innovative and thinking ahead and thinking, ‘How can we be better?’” As the “numbers guy” with a global vision, Panay, who originally hails from the Mediterranean island country of Cyprus, is an entrepreneur by background with a twofold vision for the Recording Academy: to diversify its revenue stream and, ultimately, take it global. As the founder and former CEO of Sonicbids, an online platform for musicians to connect with music promoters, and the former senior vice president for global strategy and innovation at Berklee College of Music in Boston, Panay, who doubles as the Recording Academy’s Chief Revenue Officer, brings his business acumen and experience in

international growth to his new role. “I like to say that talent is evenly distributed around the world; opportunity is not,” he remarks. “And we believe that we have a responsibility at the Academy to expand our mission in what we do, who we serve, and the access that we give to music people around the planet.” As a genuine leader, a warrior for equity, and an eminent woman of color in a largely male-dominant industry, Butterfield Jones has constructed a singular legacy in the DEI and music spaces. Her robust résumé says it all: She was the global head of inclusion for Google, Inc; deputy director of public affairs for international trade at the U.S. Department of Commerce in the Obama Administration; co-founder of the Women in Entertainment Empowerment Network; national executive director and senior VP of the Hip-Hop Summit Action Network. In her first job in music, she even worked for the Wu-Tang Clan. How do those two threads intertwine? “For me, it’s really understanding how to analyze data and make data-driven decisions, but not at the expense of the human experience,” Butterfield Jones says. “How do we make business decisions with our hearts, and with data at its core?” The recent moves in leadership reflect a new era of change, accountability and evolution within the Recording Academy, one the organization aims to effect across the music industry at-large. To get there, the Academy is hyper-focused on the real work happening behind the scenes. The first tangible step unfolds at the 64th Annual GRAMMY Awards this month via the GRAMMY Awards Inclusion Rider.

BUILDING BRIDGES & PROGRESSING THE MUSIC COMMUNITY

Instituted in 2021 and presented by the Recording Academy, Color Of Change and Cohen Milstein, the Inclusion Rider is a contract addendum designed to ensure equity and inclusion at every level during the production of the 64th Annual GRAMMY Awards. Moreover, it aims to hold the Recording Academy accountable for providing equal opportunities and fostering an environment of inclusion. As such, the GRAMMYs become the first major music awards show production to publicly commit to using such a contract. In the big picture, the Inclusion Rider expands on the Recording Academy’s years-long, multifaceted efforts to strengthen DEI principles and equal representation at the GRAMMY Awards and the wider music industry. These ongoing DEI developments include the 2020 launch of the Recording Academy’s Black Music Collective, a group of prominent Black music creators and professionals dedicated to amplifying Black voices within the Academy and the music community. Equally of note is the Women In The Mix® Study, launched last September by the Recording Academy, Berklee College of Music Institute for Creative Entrepreneurship and Arizona State University, which surveys women and genderexpansive people working in the American music

Our goals include affirming our commitment to serving and lifting up the entire music ecosystem. Over the next five years, we’ll continue to diversify, expand and level up everything we do in order to find new ways to serve our music community so we can utilize the power of music to better the world.” HARVEY MASON JR.

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industry to better understand their roles and realities within the field and progresses women’s representation across music. For Co-President Butterfield Jones, all of these positive developments set the Recording Academy toward an environment where DEI is a value permeating all aspects of the organization and the music industry. “Diversity, Equity and Inclusion is core to our mission and fundamental to everything that we do,” she says. “In every single meeting, DEI is considered a business imperative and a part of the strategy and the focus. To me, that signals progress, real change and a real commitment to the work ahead. DEI shouldn’t fall on one person — it’s everyone’s job.”

SUPPORTING MUSIC PEOPLE YEAR-ROUND

As the only peer-recognized award in music, the GRAMMY is the music industry’s highest honor. Of course, the GRAMMYs are just the outward expression of the Recording Academy, the multifaceted, music-first organization behind the annual awards show. But the Academy’s work to enrich and support music professionals doesn’t end when the GRAMMYs are over. Rather, it’s a nonstop mission the organization amplifies and evolves 365 days a year through its expansive services and affiliates. The Academy’s inclusive, service-minded spirit fueled the third annual Behind The Record™ initiative, a global social media activation spotlighting all music creators who contribute to the music recording process. Taking place last October, the 2021 Behind The Record campaign saw independent artists and superstars like Billie Eilish, BTS, Jonas Brothers, and Jennifer Hudson take to social media to give creators behind the curtain the credit and recognition they deserve. Last year also saw the launch of Behind The Record Advocacy, a new, coinciding

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virtual advocacy program, presented by the Recording Academy’s Advocacy department, in which Academy members met virtually with members of Congress to champion the rights of creators and discuss the key issues impacting the music community. The Advocacy team also continued to advance the Help Independent Tracks Succeed Act (#HITSAct), a bill aimed at aiding and supporting artists and producers struggling with the economic fallout of COVID, and ensured that the American Rescue Plan, a historic $1.9 trillion package passed by Congress, included key provisions for the music community. 2021 also marked significant changes within the inner mechanics of the Recording Academy — including the GRAMMY voting process. Most notably, the Recording Academy eliminated Nominations Review Committees in General and Genre Fields, which will now be determined by a majority, peer-to-peer vote of Recording Academy voting members. While these changes, informed by real-time insights and driven by action, aim to refine and protect the integrity of the GRAMMY Awards process, they also serve the Recording Academy’s most valuable asset: its members. Indeed, the Recording Academy’s membership network is the driving force behind everything the Academy strives to accomplish and remains the heart of the company. Membership outreach proved more fruitful than ever in 2021: Last June, the Recording Academy extended membership invitations to 2,710 established music professionals from wide-ranging backgrounds, genres and disciplines. In keeping with the Academy’s DEI vision, the 2021 class of invitees comprised a diverse pool of music professionals: 48 percent female, 32 percent Black or African American+, 13 percent Hispanic or Latino/a/x+, and 4 percent Asian or Pacific Islander+. (The Recording Academy’s goal is to add 2,500 women voting members by 2025.) “The beautiful thing about the Recording Academy is that we are a membership organization and the GRAMMY Award is a peer-voted award,” Butterfield Jones says. “The new changes that you’ve seen with our rules reflect the transparency that you’ve seen around our awards process. The changes are a direct result of hearing from our members that they wanted to see a change. We are always listening and responding to the feedback from our members, and that’s what you’ve seen through these awards changes.”

Elsewhere, the Recording Academy’s affiliates served as lifelines and change agents for the music industry throughout 2021. MusiCares, the leading music charity, distributed more than $28 million directly to more than 38,000 music professionals since launching its MusiCares COVID-19 Relief effort in March 2020, while the GRAMMY Museum awarded $220,000 in grants to 12 recipients in the U.S. to support music research and sound archiving and preservation programs. Via its new Songwriters & Composers Wing™, launched at the 63rd Annual GRAMMY Awards last March, the Recording Academy is fostering recognition of all genres of songwriters and composers and amplifying their unique role in policy discussions that seek fair compensation for creators. The S&C Wing also spotlights emerging opportunities for song and scoring achievement within a variety of media on a global basis. The Recording Academy is also building bridges for the next generation of music creators and executives. Last year, the Black Music Collective, in partnership with Amazon Music, awarded $10,000 scholarships to three students from Historically Black Colleges and Universities (HBCUs) via the “Your Future Is Now” mentorship and scholarship program. Last June, in celebration of Black Music Month, the GRAMMY Museum and the Recording Academy announced the Quinn Coleman Scholarship, a multi-year financial scholarship and comprehensive internship program beginning this year that aims to elevate a new generation of Black music creators through a career development program for college students.

THE FUTURE OF THE RECORDING ACADEMY & THE ROAD AHEAD

As the Recording Academy looks inward as it blazes a new path forward, it’s also setting its sights toward global expansion. That’s where Co-President Panos A. Panay steps into the picture. Panay joined the Recording Academy with a primary focus on driving business growth and fostering a culture of innovation. With these goals in mind, he is committed to evolving the Academy from a nationally celebrated institution to an international business. And while it’s no easy feat, he’s done it before. An established tech entrepreneur, Panay played an integral role in the global expansion of Berklee College of Music, a local Boston

We live in an increasingly globalized world and the Academy has both the moral imperative and the permission to expand what it does globally. We believe that the Academy, with the global recognition and reverence that it has, has a lot of opportunity to expand what it does to markets outside the United States.” PANOS A. PANAY

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music school turned international education hub for the study of music. He oversaw Berklee’s campuses in New York City, Valencia, Spain, and Abu Dhabi and led the college’s expansion to China and the K-12 sector. He now brings that same global mindset to the Recording Academy. “Our primary focus would be to look outside the U.S. borders and look at the Recording Academy’s brand and the GRAMMY brand,” Panay says. “We’re one of the most recognizable brands in the world — period. Not just in music, but around the world. This gives us a lot of permission to expand into new areas, whether that’s education, new content creation, taking the awards global, or looking at select partnerships and licensing opportunities that may exist for us around the world.” With Panay onboard, the Recording Academy is already moving into the future. Last November, the organization announced the firstever GRAMMYs non-fungible token (NFT) collection, in partnership with the Quincy-Jones-backed green NFT marketplace OneOf. This exclusive partnership sees the release of GRAMMYs-themed NFTs commemorating the GRAMMY Awards from 2022 to 2024. The NFTs will be released as collectibles and experiences celebrating the GRAMMY Awards, nominees and recipients, including tokens designed by world-renowned crypto artists using the iconic GRAMMY Award itself. This year, the GRAMMYs are also amplifying their digital presence using innovative artificial intelligence (AI) technology. On GRAMMY night, the Recording Academy, in partnership with IBM, is using AI to analyze millions of articles about past and current GRAMMYnominated artists using GRAMMY Insights with IBM Watson. IBM

Watson transforms millions of data points into interesting, bitesized insights about each artist, which are then made available during the GRAMMY Live Pre-Show and on the artist pages across GRAMMY.com, ultimately bringing music fans closer to the artists they love. Panay, who helped forge the NFT partnership, along with Recording Academy Senior Vice President of Partnerships & Business Development Adam Roth, sees these developments as the first step of many toward a forward-looking, globally minded future for the Recording Academy. “We live in an increasingly globalized world and the Academy has both the moral imperative and the permission to expand what it does globally,” he says. “We believe that the Academy, with the global recognition and reverence that it has, has a lot of opportunity to expand what it does to markets outside the United States.” As the Recording Academy steps into the future — one where hopefully COVID-19 will be a thing of the past — the organization’s leaders are acutely aware that while major progress has been made, there is much left to accomplish. Still, the road ahead remains clear. “Our goals include affirming our commitment to serving and lifting up the entire music ecosystem,” Academy CEO Harvey Mason jr. says. “Over the next five years, we’ll continue to diversify, expand and level up everything we do in order to find new ways to serve our music community so we can utilize the power of music to better the world.” With all this in mind, the Recording Academy of tomorrow looks less like a company that simply “hands out awards” and more like a worldwide musical family. And after 64 GRAMMY Awards shows, it’s increasingly clear that its finest hour lies ahead. LEARN MORE AT RECORDINGACADEMY.COM

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From left: Recording Academy Co-President Valeisha Butterfield Jones, CEO Harvey Mason jr. and Co-President Panos A. Panay

MAKE CHANGE TOGETHER

A group of inspired music leaders sat down in 1957 with a singular goal: to form an organization that would fight for and celebrate the artistry of musicians, songwriters, producers, engineers, and all other music professionals. These leaders hoped to form an elite society of music’s best and brightest. And thus, the Recording Academy was born. More than 60 years later, the Academy now advocates for creators’ rights in Washington, D.C., promotes preservation initiatives and music education, assists music people in need, represents our thousands of members around the country across our 12 regional Chapters, and recognizes artistic excellence with the annual GRAMMY Awards – the music industry’s only peer-recognized accolade and music’s highest honor. The Academy underwent several major changes in 2021 and continues to evolve to reflect today’s greater music community. The first of these transitions was in top leadership, including the Board of Trustees appointing Harvey Mason jr. our new CEO. We also appointed two new Co-Presidents: Valeisha Butterfield Jones and Panos A. Panay. To ensure transparency and equity, the Recording Academy also implemented a major overhaul of the GRAMMY Awards process. We eliminated Nominations Review Committees, updated Categories, and initiated rule changes. The Academy also applied an Inclusion Rider this year to guarantee equity and inclusion at every level of the GRAMMY Awards production. Lastly, we are proud to announce our 2021 membership class is more diverse than ever. The invitees this year are 48 percent female, 32 percent Black or African American+, 13 percent Hispanic or Latino/a/x+, and 4 percent Asian or Pacific Islander+. We look to the future in the coming year and we’ll continue to fight for lasting, impactful change in the Recording Academy and the music community at-large.

Diversity, Equity & Inclusion The Recording Academy is dedicated to becoming the most inclusive organization in music and the world. Tremendous advancement has been made over the last two years with a focus on measuring and accelerating progress for underrepresented communities. Our goal is to ensure equitable outcomes for everyone while also reflecting the diverse music community that we’re a part of and so proudly represent. Over the last year, we delivered measurable results with our strategic partner Color Of Change, the largest online racial justice organization in the world. Together, we launched the #ChangeMusic Roadmap and implemented an Inclusion Rider to ensure representation, equity and inclusion at every level of this year’s GRAMMY Awards production. We didn’t stop there: In January, we announced a partnership with GLAAD to double down on our commitment to ensure that the LGBTQIA+ community in music is respected, represented and valued. We also published a groundbreaking Women In The Mix study highlighting the experiences of women working in the American music industry with a clear call-to-action and investment in organizations with a shared gender equity mission, while also achieving 60 percent of our goal to double women’s representation in our voting membership by 2025. The Recording Academy will continue to leverage our platform to use our voice, take a stand, and always put creators first with a focus on accessibility, creators with disabilities and more.

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Advocacy & Public Policy

Recording Academy CEO Harvey Mason jr. and members of the Los Angeles Chapter meet with Rep. Brad Sherman during the 2019 District Advocate Day

The Advocacy & Public Policy team works year-round to keep music makers, fans and policymakers informed and engaged in support of creators’ rights.

District Advocate Day District Advocate Day is the single largest nationwide grassroots lobbying campaign for music and its creators. On this day, thousands of Recording Academy members take time to visit the local district offices of their congressional representatives to discuss issues that are most important in the music community.

GRAMMYs On The Hill® Every spring, GRAMMY nominees and winners go to the nation’s capital to advocate

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for pro-creator policies. Meanwhile, thousands of Recording Academy members around the nation take up the fight online.

GRAMMY® Fund For Music Creators This political action committee (PAC) is an opportunity for Recording Academy members to protect the rights of music creators by supporting music’s biggest congressional champions.

COVID-19 Relief As Congress responded to the COVID-19 pandemic, the Recording Academy stepped in to make sure creators weren’t forgotten. Academy members, in partnership with the Academy’s Washington, D.C., Advocacy

office, lobbied for the CARES Act and the American Rescue Plan. They pushed for important provisions and protections for music makers and small businesses, which included PPP loans, shuttered venue grants, arts funding, and unemployment programs for self-employed workers. The Advocacy office also started an Academy member helpline to aid members with these new pandemic assistance programs.

STAY INFORMED VISIT OUR ADVOCACY PAGE FOR POLICY UPDATES AND AN ACTION TOOL THAT CONNECTS YOU DIRECTLY TO LEGISLATORS. VISIT GRAMMY.COM/ADVOCACY

Membership & Industry Relations

WANT TO GET INVOLVED OR RECOMMEND SOMEONE FOR MEMBERSHIP? GO TO GRAMMY.COM/JOIN.

Recording Academy members champion various causes, including creators’ rights and diversity, equity and inclusion in music. Community drives Academy membership, which is peer-reviewed annually. Members are dedicated to helping transform the music industry and providing educational and mentorship opportunities for the next generation.

Members Both our Voting Members and Professional Members are integral to the Recording Academy and contribute to the GRAMMY Awards process. Our Voting Members vote for the GRAMMY Awards, music’s only peer-recognized accolade and the music industry’s highest honor. Our Professional Members offer cutting-edge expertise, perspective and insight on how to best move the music industry forward.

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Producers & Engineers Wing®

Songwriters & Composers Wing

Formed in 2001 specifically for producers, engineers, remixers, technologists, and other audio professionals, the Producers & Engineers Wing advises the Academy on crucial matters regarding the technical side of recording and the art and craft of music.

Recently launched during the 63rd Annual GRAMMY Awards in March 2021, and similar to the Producers & Engineers Wing, the Songwriters & Composers Wing is a home for songwriters and composers of all genres. Available offerings include policy discussions, educational panels, mixers, songwriter retreats, and mentorship.

GRAMMY U® GRAMMY U is the Academy’s membership program for college students pursuing a career in music. Through mentorship, panels and exclusive opportunities with music’s leading creators and professionals, GRAMMY U gives students the tools and knowledge they need to succeed in the industry.

The recording industry brings people together. So do animals.

Though very different, fellow Greater Los Angeles Zoo Association trustees and friends Slash and the late, great Betty White had one very important thing in common, aside from their GRAMMY® wins — a deep love of wildlife. Both have used their passion in support of the L.A. Zoo and its animals, and both have inspired the next generation of conservationists. We invite artists and animal lovers of all stripes to join them.

IN LOVING MEMORY OF BETTY WHITE, 1922-2021 TO LEARN MORE ABOUT THE NONPROFIT GREATER LOS ANGELES ZOO ASSOCIATION, ITS MISSION, AND HOW TO GET INVOLVED, VISIT LAZOO.ORG/GLAZA

2022 MusiCares Person of the Year, Joni Mitchell

MusiCares MusiCares helps the humans behind music because music gives so much to the world. Our organization protects the health and well-being of music people across the nation. One of our most imperative initiatives in 2021 was assisting the music community after the devastation left in the wake of Hurricane Ida. MusiCares provided nearly $300,000 to 50,000 music professionals and their families for necessities like food, prescription medications and gas.

COVID-19 Relief As the Delta and Omicron variants spread, many in the music community are still in dire financial situations. Since March 2020, MusiCares’ COVID-19 Relief has raised and donated more than $28 million directly to more than 38,000 music professionals affected by the pandemic. In an unprecedented show of generosity, hundreds of creators and corporations have donated funds and launched fundraisers to help the people behind music survive this global crisis.

Need-Based Grants MusiCares also offers funding for financial emergencies, such as insurance payments, rent, medical and dental bills, and more.

Mental Health & Addiction Recovery As an organization, we know the importance of prioritizing emotional well-being and sobriety in the music community. MusiCares delivers a variety of services, including free nationwide recovery and mental health support groups, MusiCares Sober Jams®, psychotherapy referrals, and assistance for inpatient and outpatient treatments.

HOW TO HELP WE ARE STILL COLLECTING DONATIONS FOR RELIEF EFFORTS. MAKE A DIRECT DONATION TO MUSICARES OR GET INVOLVED: • HOST A VIRTUAL FUNDRAISER • DONATE TICKET SALES PROCEEDS • DONATE RECORDING PROCEEDS • SPREAD THE WORD ON SOCIAL MEDIA LEARN MORE AT MUSICARES.ORG

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Preventive Care Preventive care is a crucial element to keep musicians and other music professionals from experiencing a major health crisis in the future. MusiCares offers a range of Healthy Essentials preventive services, like hearing clinics, medical and dental screenings, and health and wellness workshops.

Person Of The Year In 2022, we brought back our Person of the Year benefit gala. This year’s star-studded tribute concert honors the musical mastery and philanthropic spirit of songwriting extraordinaire, Joni Mitchell.

TIMOTHY NORRIS/GETTY IMAGES

GRAMMY Museum

The GRAMMY Museum is a philanthropic music organization and informal educational institution, aiming to celebrate and preserve the music we love. Having switched to a strictly digital presence during the pandemic, we are now pleased to once again offer in-person exhibits and events.

Exhibitions Open since 2008, the Museum features permanent and temporary exhibition galleries celebrating the achievements of the world’s biggest artists and music professionals.

Music Education One of the Museum’s top objectives is to deliver multidisciplinary music programs to students, schools and communities in need. We offer programs, such as GRAMMY Camp®, that build on students’ knowledge through music. The Music Educator Award, in partnership with the Recording Academy, recognizes inspiring instructors who utilize music to teach their students. The GRAMMY Museum® Grant Program provides funding to public school music programs that demonstrate a compelling need. Lastly, GRAMMY In The Schools® Fest is a free, four-day extravaganza, celebrating music and music education in the week prior to the annual GRAMMY Awards.

Public Programs We offer public programs all year long, including panels, live performances, film screenings, and intimate interviews with newcomers and legends in the music scene. Many of these programs are available on the Museum’s official streaming service, COLLECTION:live™.

VISIT COLLECTION:live STREAM PERFORAMNCES, INTERVIEWS, LIVESTREAMS, AND ARCHIVAL FOOTAGE FOR FREE ON COLLECTION:LIVE. WATCH.GRAMMYMUSEUM.ORG.

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Membership Our membership is composed of creators and other professionals, including musicians, songwriters, producers, and engineers, who specialize in all Latin genres. Currently, The Latin Academy boasts members from approximately 34 different countries around the world.

Honoring Excellence The Latin Academy serves to celebrate extraordinary achievements in the recording arts and sciences. We do

Nicki Nicole, Nathy Peluso, Christina Aguilera, and Becky G perform onstage during The 22nd Annual Latin GRAMMY Awards at MGM Grand Garden Arena on Nov. 18, 2021 in Las Vegas, Nevada. THE 64 GRAMMYS

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so through several marquee events, including the annual Latin GRAMMY Awards®. We also hold our annual Person of the Year Gala to honor notable Latin artists, and celebrate Latin music legends with our Lifetime Achievement and Trustees Awards. After a downsized show from Miami in 2020, the 22nd Annual Latin GRAMMY Awards returned to a full, in-person ceremony at the MGM Grand Garden Arena in Las Vegas in November 2021. Ana Brenda Contreras, Carlos Rivera and Roselyn Sánchez hosted The Biggest Night in Latin Music®, featuring show-stopping performances by Bad Bunny, Rubén Blades, Christina Aguilera, Ozuna, and more.

Latin GRAMMY Cultural Foundation® The Latin GRAMMY Cultural Foundation aims to promote appreciation and awareness of the significant contributions of Latin music to the world’s culture. To date, the Foundation has donated more than $6.5 million in grants, scholarships, educational events, and music instruments across the United States and Ibero-America.

PHOTO BY KEVIN WINTER/GETTY IMAGES FOR THE LATIN RECORDING ACADEMY

Originally conceived as the global authority on all things Latin music, The Latin Recording Academy now dedicates itself to nurturing, celebrating, honoring, and elevating Latin music and its creators.

GET BREAKING NEWS AND LEARN MORE ABOUT THE LATIN RECORDING ACADEMY AT LATINGRAMMY.COM

The Latin Recording Academy

GRAMMY Awards Process 84 Rules are reviewed

Entries are submitted across

and updated

Screening Committees

86 categories

Album Notes Historical Immersive Audio Package Remixed Recording

Composing/Arranging Engineering, Non-Classical Producer Of The Year, Non-Classical

organize entries into appropriate fields

Alternative American Roots Children’s Classical Comedy Contemporary Instrumental Country Dance/Electronic Global Music Gospel/CCM Jazz

Members vote on first-round ballot

Latin Music Video/Film Musical Theater New Age Pop R&B Rap Reggae Rock Spoken Word Traditional Pop Visual Media

Members vote on first-round ballot to determine final nominees

Craft Committees

determine final nominees

GRAMMY NOMINATIONS

Members vote on final ballot

GRAMMY AWARDS

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RECORDING ACADEMY E X E C U T I V E S TA F F Harvey Mason jr.

Valeisha Jones

President, CEO

Co-President

Branden Chapman Chief Operating Officer

Panos Panay Co-President & Chief Revenue Officer

Joanna Chu

Andie Cox

Todd Dupler

Ryan Butler

David Gregory

Vice President, Awards

Vice President, Communications

Acting Chief Advocacy and Public Policy Officer

Vice President, Diversity, Equity & Inclusion

Chief Information Officer

Jennifer Jones

Michael Kovac

John Loken

Ruby Marchand

Kelley Purcell

Chief People & Culture Officer

Executive Vice President, Legal Affairs

Chief Of Staff

Executive Vice President, Marketing

Chief Awards & Industry Officer

Vice President, Membership & Industry Relations

Adam Roth

Ray Starck

Sean Smith

Rex Supa

Wayne Zahner

Senior Vice President, Strategic Partnerships & Business Development

Vice President, Digital Media

Executive Vice President, Communications

Vice President, Production & Event Operations

Shonda Grant

Chief Financial Officer

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SONGS OF CONSCIENCE H.E.R. “I CAN’T BREATHE”

SOUNDS OF FREEDOM

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EXHIBIT OPEN JAN. 15–MAY 8 TICKETS AT GRAMMYMUSEUM.ORG

NATIONAL TRUSTEE OFFICERS & TRUSTEES TRUSTEE OFFICERS

TRUSTEES

Yolanda Adams

Cheche Alara

Maria Elisa Ayerbe

Texas

Los Angeles

Florida

Larry Batiste

Marcus Baylor

Evan Bogart

San Francisco

Philadelphia

Los Angeles

Claudia Brant

Ferddy Calderon

Terri Lyne Carrington

Los Angeles

Washington, D.C.

New York

Dave Cobb

Beth Cohen

Samantha Cox

Nashville

Florida

New York

Jimmy Douglass

Douglas Emery

George Flanigen

Florida

Nashville

Tammy Hurt Chair Of The Board

Rico Love Vice Chair

Om’Mas Keith Secretary/Treasurer

Christine Albert Chair Emerita

THE 64 GRAMMYS

145

NATIONAL TRUSTEE OFFICERS & TRUSTEES TRUSTEES

Fletcher Foster Nashville

Bernard “Bun B” Freeman

Anna Frick

Kennard Garrett

Tracy Gershon

San Francisco

Atlanta

Nashville

Texas

Chelsey Green

Dave Gross

Jennifer Hanson

David Harris

J. Ivy

Washington, D.C.

Pacific Northwest

Nashville

New York

Chicago

Leslie Jones

Andrew Joslyn

Lisa Kaplan

Thom Kidd

Angelique Kidjo

San Francisco

Pacific Northwest

Chicago

Atlanta

New York

John Legend

Carolyn Malachi

Susan Marshall

Julia Michels

Riggs Morales

Los Angeles

Washington, D.C.

Memphis

Los Angeles

New York

PJ Morton Memphis

Natalia Ramirez

Carol Riddick

Florida

Philadelphia

Michael Romanowski San Francisco

146 THE 64 GRAMMYS

Von Vargas Smith

Gebre Waddell

Washington, D.C.

Memphis

NATIONAL STAFF T H A N K Y O U T O T H E D E D I C AT E D S TA F F O F T H E R E C O R D I N G A C A D E M Y, M U S I C A R E S , T H E L AT I N R E C O R D I N G A C A D E M Y, A N D G R A M M Y M U S E U M

R E CORD IN G A CA DEMY Tracey Adlai Mazen Alawar Christee Albino Jessica Allen Michael Almanza James Arnall Lyn Aurelius Grace Baca Gaige Barahona Christina Bauer Kristen Baum Erin Baxter Janette Becerra Kate Blair Ceora Brown Lenworth Brown Ryan Butler Michele Caplinger Jose Cardenas Jr Shannon Casey Jamieson Chandler Anthony Chanes Branden Chapman Christopher Chhoeun Joanna Chu Marta Clark Brian Clasby Amy Cohen Uziel Colon Qiana Conley Kenny Cordova Andie Cox Laura Crawford Neil Crilly Nicholas Cucci Amanda Davenport Yasmin De Soiza Logan Delgado Ivan Diaz Timie Dolan

Erin Dubose Sierra Dudas Christina Dudash Todd Dupler Miranda Eggleston Moore Morgan Enos Patricia Eredia

Stephanie Lamond Leah Larocco Amanda Lee Michael Lewan Claudine Little Jenna Lizerbram John Loken

Esperanza Ramirez Moises Ramirez Jamesina Rammelkamp Aubrie Reimerink Naomi Reyes Hernandez Sean Riley Lewis Robertson

Ashley Ernst Carol Flores David Foley Juan Frausto Devaughn Frazier Rachel Freericks Kiara Geldis Lindsay Gingerich Jason Gino Abbey Gluck Lisa Goich-Andreadis Daniel Goodman Adam Gorelick Shonda Grant David Gregory Brian Haack Anngela Hanks Ryan Hanson Tera Healy Anthony Helguera Shannon Herber Erica Hernandez Jason Hines Jon Hornyak Casey Immoor Sharon Ingram Jennifer Jones Valeisha Jones Parichat Kaeowichien Maurice Kalous Michael Kepler Maureen Kessie

Lauren Loverde Nora Luna Ricky Lyon Paul Madeira Ashley Mapp Ruby Marchand Michelle Maree Harvey Mason jr. Alan Matkovic Christen Mcfarland Melanie Mcgrath Ann Meckelborg Yeri Medina Hillary Melin Daniel Mendoza Montana Miller Charles Mills Iv Esther Moon Alexis Mouer Sarah Mudler Jalyn Nelson Kiyumi Nishida Maria Nunez Hernandez John Ochoa Alina Ogle Ralph Olivarez Panos Panay Hannah Park Todd Parker Cameron Parsons Arielly Penalo Scott Petersen

Laura Rodriguez Adam Roth Rachel Ryding Taylor Saucedo Olivia Saunders Chantel Sausedo Luke Savage Mark Schulz Ella Sharp Ashley Sheehan Leilani Simmons Julie Smith Sean Smith Ray Starck Susan Stewart Kennelia Stradwick Rex Supa Michael Sustarsic Daniela Tellechea Ashley Thomas Shawn Thwaites Lauryn Tillery Alvarez Jonathan Tol Jessica Toon Yana Trofimova Clayton Upton Kevin Veiga Tanushree Verma Alicia Warwick Tim Whalen Courtney White Charles Wick

Jane Kim Abigail Kliebenstein Kristin Klimas Brian Klinsport Michael Kovac

Christopher Phengsisomboun Jessica Pickett Brittany Presley Kelley Purcell

Charlotte Williams Ashton Wilson Candice Yang Wayne Zahner

THE 64 GRAMMYS

147

NATIONAL STAFF MU SIC A RES EXECUTIVE STAFF

Laura Segura Executive Director

Lindsey Burris Managing Director of Development

Mikaela Freeman Stephanie Henderson Sol Iriarte Shireen Janti Monica Kim Erica Krusen Hannah Kulis Jennifer Leff Breana Phelps Debra Presley Anita Ramsarup Carie Salas Roger Tang Emanuel Tekle Jigar Thakarar Edwyna Wynn

MUSICARES BOARD OF DIRECTORS

Gabriel Abaroa Jr.

Sr. Vice President, Production

Javier Aguirre

Laura Dergal

Chief Financial Officer, Business Affairs

Vice President, Marketing & Content Development

STAFF

Chair Steve Boom Vice Chair Ambrosia Healy Secretary/Treasurer Jeffrey Harleston

Ryan Donahue Managing Director of Finance & Operations

Yvonne McNair Consulting Producer

Chair Emeritus Michael McDonald Gabriel Abaroa Jr. Christine Albert Tuma Basa Donna Caseine Phylicia Fant Ben Haggerty Ali Harnell Lalah Hathaway Tamara Hrivnak Tammy Hurt Jeff Jones Rob Light Carianne Marshall Harvey Mason jr. Paul “PJ” Morton Rita Wilson

Davina Aryeh Chief Business Development Officer

Luis Dousdebés Chief Awards, Membership & Preservation Officer

Managing Director of Marketing & Partnerships

LATIN RE CORDING ACADEMY

STAFF

EXECUTIVE STAFF

Angela Bilkic Lindsey Burris Stefanie Curtiss Ryan Donahue David Enos Virginia Faddy Kate Ferber

Aida Scorza

148

THE 64 GRAMMYS

Sr. Vice President, Communications

CEO

Javier Parra Ixamar Patiño Isabel Paz Jhanluis Peralta Laura Pieretti Rubí Ramos Juan C. Ricera Grace Santa-Ana Claudia Santos Angelica Veliz Victoria Villegas

LATIN RECORDING ACADEMY BOARD OF TRUSTEES EXECUTIVE COMMITTEE Chair Eduardo Hütt

Vice Chair Eva Cebrián

Secretary Aloysio Reis

Treasurer Eduardo Weise

Chair Emerita Laura Tesoriero Latin Recording Academy CEO Manuel Abud

Iveliesse Malavé

Manuel Abud

Nathalie Alberto Diana Alvarado Alejandria Artiles Livys Cerna Natalia de Ory Marcelo Figola Ayleen Figueras Melanie Galarce Adriano Haubenthal Andres López Eddaliz Martínez

Recording Academy CEO Harvey Mason jr. Sr. Vice President, Awards

Jigar Thakarar

Ayleen Figueras

President Emeritus

Trustees Carlos Alvarez Luis Alvarez-Fiol Luis Balaguer Eduardo Bergallo Paty Cantú Carla Estrada

Tammy Hurt Alexandra Lioutikoff Rico Love Rafa Sardina Manuel Tejada

Advisors Marcelo Castello Branco Bobby Rosenbloum Jorge Hernández-Toraño Gary Smith

LATIN GRAMMY CULTURAL FOUNDATION

STAFF

EXECUTIVE STAFF Jasen Emmons Chief Curator & Vice President of Curatorial Affairs

Becky Villaescusa Vice President, Strategic Planning & Corporate Development

STAFF Nannette Vélez Kevin Forte

LATIN GRAMMY CULTURAL FOUNDATION BOARD OF TRUSTEES

Hilary Fahlsing Vice President, Museum Business Affairs

Chair Luis Cobos Vice Chair Harvey Mason jr.

Rita George Chief Program Officer

Secretary/Treasurer Raúl Vázquez Director Manuel Abud Director Mireya Cisneros Director Manolo Díaz

Robert Santelli Founding Executive Director

Director Ginny Peirats Advisor Jorge Hernández-Toraño

G R AMMY M U SEU M FO U N D ATIO N

GRAMMY MUSEUM FOUNDATION BOARD OF DIRECTORS David Sears Vice President, Education for GRAMMY in the Schools

EXECUTIVE STAFF

President/CEO

* Executive Committee Member

GRAMMY MUSEUM AFFILIATES GRAMMY Museum Mississippi – Cleveland, Mississippi GRAMMY Museum Gallery at the Musicians Hall of Fame – Nashville, Tennessee GRAMMY Museum Experience Prudential Center – Newark, New Jersey GRAMMY Museum Gallery at the Anguilla Music Academy – Anguilla

Chair Tim Bucher* Vice Chair John Burk* Secretary/Treasurer Michal Katz*

Lynne Sheridan Michael Sticka

Alejandra Aceves Denise Behrens Shaun Carter Jonathan Castellanos Alex Cerrilla Kevin Choto Alisha Courtemanche Meredith Crabtree Warner Ana Estrada Eric Forcen Erlin Frausto Pablo Garces Kelsey Goelz Cynthia Gomez Ivan Gomez Kristen Jennings Kimberlea Kristy Maddy Lauritzen Daniel Lopez Jasmine Lywen-Dill Hillary Morimoto Kyle Morris John Morrison Wendy Murphy Julie Mutnansky Schyler O’Neal Yaritza Osuna Maria Pacheco Vivek Paul Michael Rohrbacher Adriana Saragosa Bryan Schiller Jodi Shapiro Derek Spencer Ashley Stagg Nicholas Vega Chen Yang Kevin Yang

Ken Ehrlich Linda Duncombe Giselle Fernandez Todd Goldstein Jon Harris Brian Hoesterey Tammy Hurt Jimmy Jam Joel Katz Terry Lickona Andra Liemandt Harvey Mason Jr.* Mattie Mcfadden-Lawson* Charles Ortner Carolyn Powers Brenda Robinson Brian Sheth Ray Sliva David Webster David Wu

Vice President, Museum Public Programs

Pamela Alexander Dan Beckerman* Traci Blackwell John Branca Branden Chapman THE 64 GRAMMYS

149

CHAPTER BOARDS & STAFF E A S T RE G I O N

Senior Director Tera Healy

Senior Project & Production Manager Ashley Sheehan

Administrative Assistant Arielly A. Peñalo

Administrative Assistant, East Region/New York Chapter Logan Delgado

CHICAGO

NEW YORK

PHILADELPHIA

WASHINGTON, D.C.

Dani Deahl

Jennifer Blakeman

Donn Thompson Morelli “Donn T”

Elise Perry

CHAPTER BOARD

CHAPTER STAFF

Trustees

CHAPTER BOARD

Trustees

Lisa Kaplan J. Ivy

Terri Lyne Carrington Samantha Cox David “Swagg” Harris Angelique Kidjo Riggs Morales

Executive Director Nick Cucci

Trustees Marcus Baylor Carol Riddick

Ferddy Calderon Chelsey Green Carolyn Malachi Von Vargas

President Dani Deahl

Vice President Susan Voelz

Secretary David Roberts

Governors Jeffrey Becker Alex E. Chávez Alison Chesley Shemekia Copeland Sima Cunningham Matt Hennessy Mark Hubbard Terry Hunter Daryl Jones Clara Lyon Elaine Martone Stacy McMichael Jonathan McReynolds Ugochi Nwaogwugwu Deborah Pae Karim Sulayman Tarrey Torae Ann Torralba Jamila Woods

Advisors Hugh Cleal Chris “Classick” Inumerable

CHAPTER STAFF Senior Executive Director Sarah Jansen

Project Manager Kristin Klimas

President Jennifer Blakeman

Vice President Torae Carr Secretary Nikisha Bailey Governors Nabil Ayers Linda Lorence Critelli Joe D’Ambrosio Lee Dannay Giancarlo de Trizio John Doelp Jerry “Wonda” Duplessis Erika Elliott David Frost Jazzmeia Horn Jose James Tracey Jordan Lucy Kalantari Dave Kutch Michael League Jeff Levenson Juan Losada Martha Mooke Mireya Ramos Maria Rice Kim Rosen Jenna Rubenstein Catherine Russell Falguni “Falu” Shah Hank Shocklee Matthew Stevens Sharon Tapper Angie Teo Ben Williams Miguel Zenon

Advisors Jeanine McLean Vanessa Reed

150 THE 64 GRAMMYS

Senior Project Manager Lauren Loverde

Coordinator, Chapter Administrative Operations Kristen Baum

CHAPTER BOARD

President Donn Thompson Morelli “Donn T”

President

Vice President Laurin Talese

Vice President Tamara Wellons

Secretary

Kaisha Blackstone

Anshia Crooms

Governors

Jean Baylor Mitch Beer Jahlil Beats Marcus “Rated Art” Bryant Matt Cappy Catherine Marie Charlton Andrea Clearfield Aliya Crawford Alexandra Cutler-Fetkewicz Ebony “Ebony Joi” Franklin Kosta Johnson Lori Landew Michael McArthur Ryan Moys Gordon “Gallo Locknez” Nance Stephanie Seiple Dana Sorey Gerald Veasley Richard Waller Dyana Williams

Cecily Deborah Bond Diane Blagman Priscilla Clarke Simone Eccleston Tom Goldfogle Jake Grotticelli Stephanie Kristina David Lindsey Tracey Lee Dan Merceruio Caleb Nei Dante Pope Pete Reiniger Monét Shelton Tia Smith Jeffrey Tribble Jr. Daniel Weatherspoon Wayna

Elise Perry

Advisors

Brandie Lane Quinelle “Coach Q” Holder

Harvey “Fryz” Daniels Octavius “Ted” Reid

CHAPTER STAFF

CHAPTER STAFF Senior Executive Director Mark Schulz

Project Manager Ashley Mapp

Executive Director Sharon Ingram

Project Manager Natalia Ortiz

CHAPTER BOARDS & STAFF S OU TH RE G I O N

Vice President Kelley Purcell

ATLANTA

FLORIDA

MEMPHIS

NASHVILLE

Matt Still

Milcho

Sean Ardoin

Ruby Amanfu

CHAPTER BOARD

CHAPTER STAFF

Trustees

Kennard Garrett Thom “TK” Kidd

Maria Elisa Ayerbe Beth Cohen Jimmy Douglass Doug Emery Natalia Ramirez

Susan Marshall PJ Morton Gebre Waddell

Senior Executive Director

Sean Ardoin

Dave Cobb George Flanigen Fletcher Foster Tracy Gershon Jennifer Hanson

President

Vice President

President

President Matt Still

Vice President Michael Burton

Secretary Brandon Bush

Governors Chantae Cann Melinda Dancil Mara Davis Diane Durrett Kat Graham Christopher Henderson Henny tha Bizness Ben Holst Melvin Jones Cannon Kent-Grant Tami LaTrell April Ledbetter Al “Butter” McLean Lecrae Moore William Murphy Amy Oraefo Daniela Rivera Quinton Robinson Peggy Still-Johnson Kris “Red” Tanner

Advisors Samuel ASH Delante Murphy

CHAPTER STAFF Senior Executive Director Michele Rhea Caplinger

Senior Project Manager Erin Baxter

Milcho

Vice President Alex Harris

Secretary Angel Zamora

Governors

President

Administrative Assistant

Secretary

Vice President

Mike Kepler

Tim Kappel

Dave Haywood

Governors

Secretary

Karin Bliznik Enrique Chi Alicia Cotabish Jeff DeLia Johnette Downing A.J. Haynes Kevin Houston Tikyra Jackson John Paul Keith Quiana Lynell Lawrence “Boo” Mitchell Oona Mitchell-Bean Adonis Rose Jamison Ross Matt Ross-Spang Kyle Roussel Ken Shepherd Tyrone “Tyke T” Stroble Doug Williams Pat Mitchell Worley

Chandra LaPlume

Governors

Betsy Brumley Elizabeth Cawein

Prince Royce Troy Sanders

CHAPTER STAFF

Senior Executive Director

Executive Director

Jon Hornyak

Kenny Cordova

Senior Project Manager Reid Wick

Advisors

Marta Clark

Courtney White

Ruby Amanfu

Advisors

Senior Project Manager

Carl Nappa

Chuck Ainlay Jimmie Allen Julie Boos Alison Brown Joanna Carter Jeremy Castro Brandy Clark Callie Cunningham Jessie Jo Dillon Leslie DiPiero Crystal Dishmon Cyndi Forman Leslie Fram Garth Fundis EJ Gaines Natalie Grant Sierra Hull Armand Hutton Sarah Jarosz Gena Johnson Alex Kline Gina Miller Derek Minor Gramps Morgan Piper Payne Shannon Sanders Michael Trotter Jr. Ben Vaughn Kristin Wilkinson

Marcella Araica Chad Bernstein Lena Burke Billy Chapin Etana Stephen Gibb Leslie Grace Marger Marianne Mijares Boris Milan Ms. Meka Nism Jeremy Norkin Aymee Nuviola Jean Rodriguez Jessica Roffe Ana Rosa Santiago Tony Succar Elsten Torres Tye Tribbett Tracy Young

Alicia Warwick

Advisors

Dave Audé Daru Jones

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151

CHAPTER BOARDS & STAFF WE S T RE G IO N

Senior Director Neil Crilly

Project Manager Jessica Pickett

Administrative Coordinator Luke Savage

Administrative Assistant, West Region/Los Angeles Chapter Samantha Takemori

LOS ANGELES

PACIFIC NORTHWEST

SAN FRANCISCO

TEXAS

Ledisi

Eric Lilavois

Jessica Thompson

Carlos Alvarez

CHAPTER BOARD

Trustees

Advisors

Trustees

Cheche Alara Evan Bogart Claudia Brant John Legend Julia Michels

Moogie Canazio Jeff “Gitty” Gitelman

Dave Gross Andrew Joslyn

Yolanda Adams Bernard “Bun B” Freeman

Eric Lilavois

Larry Batiste Anna Frick Leslie Ann Jones Michael Romanowski

Vice President

President

Vice President

President Ledisi

Vice President MarcLo

Secretary Loretta Muñoz

Governors Peter Asher Darrell Brown Bernie Cahill Kristin Chenoweth Ericka Coulter Alana Da Fonseca Jenn Decilveo Lynne Earls Maria Egan Phylicia Fant Gregg Field MAJOR. Sara Gazarek Michael Graves Jeff Greenberg Josh Gudwin Lalah Hathaway Randy Jackson Mike Knobloch Michelle Lewis Kev Nish Tayla Parx Nicole Plantin Patrice Rushen Amanda Samii Jordin Sparks Beka Tischker Dion “No I.D.” Wilson Katy Wolaver Jonathan Yip

152 THE 64 GRAMMYS

CHAPTER STAFF Executive Director

President

President Carlos Alvarez

Amy Dragon

Jessica Thompson

Qiana Conley

Secretary

Vice President

Senior Operations Manager

Chris Porter

Kev Choice

Secretary

Jamesina Rammelkamp

Governors Ethan Anderson Paula Boggs Jody Brotman Niffer Calderwood Victoria Wimer Contreras Sue Ennis Rachel Field Amy Hānaialiʻi Gilliom Adam Gonsalves David Jackson Kimié Miner Whitney Mongé Jovino Santos Neto Chris Pack Gen Rubin Molly Sides Andy Stokes Andy Stoller Michael “Wanz” Wansley Frankie Yaptinchay

Jumbo Kenya Autie Tony Brooke Nona Brown Freya Cellista Michael Denten Bonny Dolan Shaina Evoniuk Brian “BT” Gibbs Michelle Jacques Aaron Joseph Camilo Landau Lyz Luke Asha Madhukar Ann Moss Anton Patzner Reto Peter Michael Prommer Heidi Trefethen

Rodney Alejandro Arnaecia Alridge Chris Bell Tamera Bennett Gina Chavez Ruthie Foster Kam Franklin Ernest Gonzales Larry “S1” Griffin Erin Ivey Caren Kelleher Teresa LaBarbera Gene Moore Lisa Morales Nakia Reynoso Chris Shaw Paul Wall Slayton Tami Thomsen Kathy Valentine Gilbert Velasquez

Advisors

Sera Cahoone Eric Gilbert

Kate Lamont Mandolyn “Mystic” Ludlum

AJ Ahmed Mitch Ballard

CHAPTER STAFF

Governors

Taylor Hanson

Secretary Heather Wagner Reed

Governors

CHAPTER STAFF

Executive Director

CHAPTER STAFF

Jessica Toon

Executive Director

Christee Albino

Project Manager

Christen McFarland

Timie Dolan

Project Manager

Avi Minkoff

Stephanie Lamond

Executive Director

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PAST CHAIRS James B. Conkling

Paul Weston

Robert L. Yorke

Acting National Chairman 1957–1961

Chairman/President 1961–1962

Chairman/President 1962–1963

Nesuhi Ertegun

F.M. Scott III

George Avakian

Pete King

Chairman/President 1964–1965

Chairman/President 1965–1966

Chairman/President 1966–1967

Chairman/President 1967–1968

Mort L. Nasatir

Irving Townsend

Wesley H. Rose

Bill Lowery

Chairman/President 1968–1969

Chairman/President 1969–1971

Chairman/President 1971–1973

Chairman/President 1973–1975

Jay L. Cooper

J. William Denny

Jay S. Lowy

William Ivey

Chairman/President 1975–1977

Chairman/President 1977–1979

Chairman/President 1979–1981

Chairman/President 1981–1983, Chairman 1989-1991

Michael Melvoin

Michael Greene

Alfred Schlesinger

Ron Kramer

Chairman/President 1983–1985

Chairman/President 1985–1987

Chairman 1987–1989

Chairman 1991–1993

Hank Neuberger

Joel A. Katz

Phil Ramone

Leslie Ann Jones

Chairman 1993–1995

Chairman 1995–1997

Chairman 1997–1999

Chairwoman 1999–2001

Garth Fundis

Daniel Carlin

Terry Lickona

Jimmy Jam

Chairman 2003–2005

Chairman 2005–2007

Chair 2007–2009

George J. Flanigen IV

Christine Albert

John Poppo

Harvey Mason jr.

Chair 2009–2013

Chair 2013–2015

Chair 2015–2019

Chair 2020

Chairman 2001–2003

154 THE 64 GRAMMYS

John Scott Trotter Chairman/President 1963–1964

Bloom

Wildly

www.tubloom.com

THE 64 GRAMMYS

155

In Memoriam Tõnu Aare Virgil Abloh Jacob “Jake” Abrams Yves Aerts Farid Ahmed Hazra Tim Akers Georg Alexander Albrecht Robert “Rockin’ Rob” Aldridge Andrew “Drew” Alexander Keith Allison Adalberto Álvarez Nana Ampadu Ronald “Ron” Anderson Louis Andriessen Thoppil Anto Susan Anway Man Arai Jesse Aratow Karan Armstrong Ed Asner Rasie “Razzy” Bailey Carmen Balthrop Miguel “Meñique” Ángel Barcasnegras Andrew Barker Aria Baron Heber Bartolome Dmitri Bashkirov Franco “Süphan Barzani” Battiato Michel Baumann Gurmeet Bawa Carl Bean Esther Béjarano Joseph “Jo Jo” Bennett Byron Berline Jim Bessman Lieb Bester Vanraj Bhatia Maria “Milva” Biolcati Trevor Birdsong Michael Bishop Charlie Black Winona K. Blackburn Dewayne Blackwell Jerold “Jerry” Blair David “Jay Black” Blatt Walter C. Blount

156 THE 64 GRAMMYS

John “Tim” Bogert Claude Bolling Arthur E. “Juini” Booth Beatrice Bowles Connie Bradley Jack Bradley Sérgio Brandão Mārtiņš Brauns Lizzie Bravo Leslie Bricusse Mick Brigden Jonathon “Baby CEO” Brown Baron Browne Elliot Lawrence Broza Patsy Bruce William “Ed” Bruce Suzanne “Jane Powell” Burce Karla Burns Ron Bushy Sylvano Bussotti Darrell “Drakeo the Ruler” Caldwell Sudie Callaway José María Cámara Eulis Cathey Malcolm Cecil Franco Cerri Eulalio “Sax” Cervantes Galarza Joel Chadabe Enrique “Pil Trafa” Chalar Jeff Chambers Emmett Chapman Michael Chapman Prateek Chaudhuri Phillip “Phil” Chen Susan Palo Cherwien Jemal Chkuaseli Tatiana Chudova Mikey “Mao” Chung Alberto Ciurana Kevin Clark Sanford Clark Maureen Cleave Vincent “Slim 400” Cochran Richard Cole Harry Colomby Kalaimamani M. J. C. Comagan

Freddie Combs Bruce Conte Billy Conway Harry Coombs Kenneth Cooper Jason “Rowdy” Cope Gary Corbett Michel Corboz Ronald “Ron” Cornelius Jervis “Pete” Corum Norman Paul Cotton James “Jimmy” Cox John “Johnny” Crawford Shawn Cripps Stanley Crouch James Dee “J.D.” Crowe Ronald “Ron” Cuccia Jorge Cumbo Georgie Dann David Darling Sarah Dash Violeta Dávalos Lara Judith Davidoff Charlie Davis Jameon “Ketchy the Great” Davis John Davis Luis de Pablo Costales Tommy DeBarge Claire dela Fuente Constance Demby Lou Dennis Buddy Deppenschmidt Jacob Desvarieux Corey “Chucky Trill” Detiege B.B. Dickerson Alfredo Diez Nieto Carlos do Carmo Alix Dobkin Dorothy “Dottie” Dodgion Malcolm Dome Genival “Cassiano” dos Santos Donald Dowdy Ronald “Ronny” Drayton Veronica “Ronnie” Dunne Robert “Robb” Earls James Easter

Carol Easton Graeme Edge David Edwards Gary Edwards Thomas “Tommy” Edwards Haja El Hamdaouia Abdel Karim El Kabli Alfred “Pee Wee” Ellis Héctor “Perro” Emaides Robert “Les” Emmerson Roger Englander Anzor Erkomaishvili “John Miles” Errington Alemayehu Eshete Sergio Esquivel Barbara Ess Jeffrey “Deon” Estus Ian “Napolian” Evans Don Everly Margaret Everly John Fagot Sabah Fakhri Ronald “Ronnie” Falgout Olanrewaju “Sound Sultan” Fasasi Cathy Favaro-Maimone Vicente Feliú Shaun”Kangol Kid” Shiller Fequiere Vicente Fernández Robert “Bobby” Few Juraj Filas Michael “Mike” Finnigan Randy “Baja” Fletcher Carlisle Floyd Michael Fonfara Steve Bronski Forrest Carol Fran Howard “KingFish” Franklin George “Commander Cody” Frayne Arvil Freeman Nelson Freire David “Dave” Frishberg Curtis Fuller Pierce Fulton Dell Furano Ethel Gabriel Steve “Baba Zumbi” Gaines Ted Gardner Willie Garnett Rosalía Garrido Djivan Gasparyan Bruce Gaston Leonard “Doc” Gibbs Greg Gilbert Pietro Gilfucci Inge Ginsberg Raymond Gniewek

Henry Goldrich Nikolai Golyshev Gilberto Grácio Alexander Gradsky Gerald “Jerry” Granelli Courtney Granger Clifford Grant Renee Grant-Williams Earl “JT” Gray Thomas “Tom” Gray Burton Greene Nanci Griffith Mick Griffiths Allin Grigoryevich Vlasenko Douglas Grigsby Nils “Einár” Grönberg Sally Grossman Edita Gruberová Oscar Guitián Margo Guryan Laurence “Enzo” Gusman Jonas Gwangwa Urban Haglund Bernard Haitink Hayk “Hayko” Hakobyan Cleve Hall Marcel “Biz Markie” Hall Tom T. Hall Locksley “Slide” Hampton Kelli “K-HAND” Hand Mita Haque Sarah Harding Bill Harkin Barry Harris Leslie “Les” Harris Tam Harvey Jon Hassell Bruce Hawes Roger Hawkins Alan Hawkshaw Kerry Hay Billie Hayes Don Heffington Walter “Herbie” Herbert José Ángel “Flow La Movie” Hernández Skilyr Hicks Jerome “J.D.” Hill Joe “Dusty” Hill Billy Hinsche Jerome HJyde Chris “X’Ho” Ho Amanda Holden Bill Holden Søren Holm George Horn Mike Howe

Leonard “Hub” Hubbard Farhad Humayun Patrick “Pat Fish” Huntrods Nicole Hurst Hans-Erik “Hank von Hell” Husby John “J.D” Hutchison Chris “The Bear” Hutka Peter Ind Ralph Irizarry Paul Jackson Randy Jackson Stonewall Jackson Gregory “Shock G” Jacobs Jay Jacobs Sandra Jaffe Robert “Bob” James Rick Jarrard Jean-Paul Jeannotte Alan Jesperson Enriqueta “La Prieta Linda” Jiménez Prabhakar Jog Emani “Emani 22” Johnson Howard Johnson Paul Johnson Theuns Jordaan Nathan “Joey” Jonas Jordison Martin Kahan Lawrence “Larry Harlow” Kahn Ivor “Nick” Kamen Pearl Kaufman Jagjit Kaur Tebogo “Steve” Kekana Patricia Kennealy-Morrison Aleksandr Khrabunov Mzilikazi Khumalo Debby King John Kinsella Richard H. Kirk Lois Kirschenbaum Julie “Tawny” Kitaen Peter Klatzow Jim Knapp János “Mecky” Kóbor Robert “Bob” Koester James “Koz” Kozlowski Kenneth “Ken” Kragen Harvey Louis Krantz Francisco Kröpfl Angela Kukawski Jeffrey “Jeff” LaBar Alexi Laiho Rick Laird Alan Lancaster Anita Lane David Lasley Paul Laubin

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157

In Memoriam Mario Lavista Stephen J. Lawrence John Lawton Robin Le Mesurier Phil Leadbetter James Leary Alicia “Lisa” Lee Gary Leib Letieres Leite Ray Reyes Léon James Levine David Cutler Lewis Hugh X. Lewis Salvador Lizárraga David Longdon Uno Loop Oscar López Ruiz Guilia Lorimer Jeremy Lubbock Mark Lubotsky Alvin Lucier Christa Ludwig Jon “Woodenman” Lukas Roberto “Elio Roca” Macceialli Tony MacMahon Don Maddox James “Jim” Maher Kenny Malone Virginia “Ginny” Mancini Manikka Manikka Vinayagam Patricio Manns Doris “Rose Lee” Maphis Philip Margo Carlos Marin Jon Mark Donald “Don” Marquis Gerry Marsden Renée Martel Andrea Martin Yves “Lionel Leroy” Martin Pat Martino Lawrence Matshiza Lulendo “General Defao” Matumona Nobesuthu Mbadu Charlie McCardell Clarence “Mac” McDonald

158 THE 64 GRAMMYS

Phyllis McGuire Ellen McIlwaine George “Gay” McIntyre Leslie “Les” McKeown Robin McNamara Sylvia Medford Marília Mendonça Bhaskar Menon Linda Mensch Thomas “Mensi” Mensforth Andrea Meyer Matt “Money” Miller Wayne Miller Joyce Reeves Milsap Mike Mitchell Paul Mitchell Chi Modu Peer Mohammed Amarendra Mohanty Paddy Moloney Gloria Montes Bob Moore Jason Moore Thom Moore Roberta Morales Stan Moress Michael Morgan Misty Morgan Norma Morris Everett Morton Robin Morton George Mraz Jamillah “JAM” Muhammad “Mark Keds” Myers Juan Nelson Michael Nesmith Roger Newell Phi Nhung Jon “Doug” Nichols Spencer Nitchie Julia Nixon Christine Nofchissey McHorse Beverly Noga John Nolan Dennis “Denny” Nowak Denis O’Brien

Billa O’Connell Beldina “Heir of the Cursed” Odenyo Onassis Dick Odette Gared O’Donnell James “Jamie” O’Hara Igor Oistrakh Ruth Olay Michael “Mike” O’Reilly Sonny Osborne Lodewijk “Lou” Ottens Bill Owens “General” Jeff Page Joseph “Joe” Palmaccio Roberto “Palo” Pandolfo Dimitri “Dee Pop” Papadopoulos Melvin Parker Timothy J. “The Gift of Gab” Parker Winfield Parker Douglas “Doug” Parkinson Alvin ‘Seeco’ Patterson Mario Pavone Dennis Payne Glen Peart Raffaella Carrà Pelloni James “Jim” Pembroke Sunil Perera Lee “Scratch” Perry Bennie Pete Andre Petersen Lars-Göran “LG” Petrov Jay Jay Phillips Samuel “Wes” Phillips Thomas “Tommy West” Picardo Concha Márquez Piquer Vicente Zarzo Pitarch Arthur Pomposello Robert “Bob” Porter Ricky Powell Prem Pradhan Lloyd Price Ramasaamy “Pulavar Pulamaipithan Arnold “Arnie” Pustilnik Carmel Quinn Emil Ramsauer Shravon Rathod Rick Raybon

Freddie Redd Alto Reed Peter “Pita” Rehberg Mike Renzi Hillel Resner Rickie Lee Reynolds Ron “Snake” Reynolds Sam Riddle Dashawn “Lil Loaded” Robertson Louis “Lou” Robin Ruben Rodriguez Roberto Roena Brian Rohan David Romano Robert “Black Rob” Ross Lisa Roy Robert “Bob” Rudolph Gene Rumsey Bill Runkle Barry Ryan Frederic Rzewski Morton “Mort” Sahl Rudy Salas Samuel “Sam” Salter Phillip “Phil Naro” Sampognaro Daniel “Dan” Sartain Sirivennela Seetharama Sastry Philip “Phil” Schaap Al Schlesinger Al Schmitt Ralph Schuckett Peter Scolari Gary Scruggs Ken Seaman Thione Seck Robert “Robbie” Shakespeare William Shelby Joanne Shenandoah Lawrence “Larry” Sheridan Kenny Sidle Earl “DMX” Simmons Norman Simmons Sonny Simmons Joe Simon Mauri Louisa Skinfill Patrick Sky Allan Slaight Nikolai Slichenko Eugene “Gene” Smith Lonnie Smith Michael “Mick Rock” Smith John “Johnny” Solinger Stephen Sondheim Juan “Johnny Ventura” Soriano Alvin Speights Bryan St. Pere

Bill Staines Michael Stanley Pervis Staples Tom Starr Robert “Robby” Steinhardt James “Jim” Steinman Henry Stephen Geoffrey Stephens Allan Stephenson Yvonne Sterling Mimi Stern-Wolfe Obie Travis Stewart W. Stokes Warren Storm Matthew Strachan Franz Streitwieser Ike Stubblefield Francis Stueber Weerasak Sunthornsri David Surette Belinda Sykes Marc Tanner Sebastião Tapajós Jem Targal Mike Tarsia Ivan Tasovac Greg Tate Ralph Tavares Lindsay Tebbutt Michail “Mikis” Theodorakis Bichu Thirumala B.J. Thomas Dennis Thomas John Ashton Thomas Dearon “Deezer D” Thompson Mary Edna Thompson Sue Thompson Carl “Chucky” Thompson Jr. Jeff “Hitmaka Jeff” Thornton Adolph Robert Thornton Jr. Pauline Tinsley Brian Travers Kim Tribble Rosalie Trombley Tommy “TT” Truesdale Tsepo Tshola Nobuo Hara Tsukahara Glenn Douglas Tubb Ronald “Ron” Tutt Habeeb “Obama DMW” Uthman Benjamin Vallé Melvin Van Peebles Mark Varner Peter “Jack Terricloth” Ventantonio Graham Vick John Viers

Kaithapram Viswanathan Namboothiri Rob Vitale Eleonore “Lorli” von Trapp Campbell Apostolos “Tolis” Voskopoulos Yoshimasa “Yoshi” Wada Eric Wagner Jeff Wald Howard Wales Ed Ward Andy Warpigs Reggie Warren Fanny Waterman Charlie Watts Nick Weaver Gil Wechsler George Wein Charles “Chuck E.” Weiss Howard Weitzman Phillip Wells Lawrence “Maniac” West Leslie West Javunte “Squeak” Wheeler Betty White Scott Whitehead Ravindranath Lakshman Wijesekara Andy Williams Lee Williams Warner Williams Anthony “Muffman” Williams Lloyd ‘Gitsy’ Willis Larry Willoughby Ronnie Wilson Terence “Astro” Wilson Willie Winfield Victor Wood Kyle Wood Ian Worang Eugene Wright Martin Wright Jürg Wyttenbach Walter Yetnikoff Tsai Yi-fan Norman “Rusty” Young Wanda Young “Meor” Yusof Aziddin Meor Hassan Marsha Zazula Philip “Phil” Zimmerman Udo Zimmermann Peter Zinovieff Teresa Żylis-Gara Astroworld 2021 Piraisoodan (List through Dec. 31, 2021)

THE 64 GRAMMYS

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2022 GRAMMY® AWARDS NOMINEES

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