Professional studio condenser microphone for recording high-resolution sound sources, with a wide bandwidth of 20 Hz to 50 kHz.
New condenser microphone for home studios, inheriting the high-quality sound harvesting technology cultivated in the C-800G and C-100 microphones.
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Create your own music videos and live stream concerts with ATEM Mini Pro! Simply connect up to 4 HDMI cameras or computers and start streaming. The buttons on the panel are used to switch video sources just like a professional broadcaster! You can add titles, picture in picture effects and more! Plus the built in Fairlight audio mixer has EQ, compressor, limiter and noise gate effects on all inputs!
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WELCOME TO THE 65TH ANNUAL GRAMMY AWARDS®, a night dedicated to honoring musical excellence, witnessing amazing performances, and celebrating the miracle of music.
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The General Field is a prestigious highlight of every GRAMMY season, encompassing Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist. Here, explore every artist nominated in the General Field at the 65th Annual GRAMMY Awards.
Listen to our official 65th Annual GRAMMY Awards playlist
Talk about a satisfying return for a band that seemed to never go away — even though ABBA did for a whopping 40 years. And what a comeback, by way of their new album, Voyage. The LP reminded the world of why legions of fans fell in love with ABBA and their timeless pop anthems like “Dancing Queen” and “Mamma Mia,” with 10 tracks that could have been beamed from 1975 — like “Don’t Shut Me Down,” which was nominated for a GRAMMY for Record Of The Year in 2022, and “I Have Faith in You,” which was nominated in the same Category last year. ABBA have declared that this is their last hurrah, but if so, what a magical finale.
Because Voyage hits just like the… well, hits.
— Morgan Enos
Looking at a new Adele album, with titles like “Cry Your Heart Out,” “Oh My God” and “I Drink Wine,” casual onlookers might envision a soundtrack to an extended ugly-crying session. Well, it can be that if you want it to be. But Adele is no one-dimensional artist — far from it. And her latest, 30, is a stunning cornucopia of wildly variable moods, production styles, and flavors of ear candy — as typified by “Easy on Me,” which has been nominated for Song Of The Year and Record Of The Year. Adele has long been a steady presence at the GRAMMYs, earning 15 golden gramophones and 25 nominations, including seven this year alone. — Morgan Enos
In 2022, J Balvin interviewed Anitta, calling the singer/songwriter “one of the greatest artists of history in Brazil.” Indeed, she recently set a Guinness World Record as the first Latin solo artist to reach No. 1 on Spotify with her 2021 hit “Envolver.” But rather than revel in her achievements, the artist born Larissa de Macedo Machado struck a note of humility. “Most times I’m very worried about everyone, caring about everyone, thinking about my family and making sure everyone is good,” she told Balvin in their chat for Interview. “I’m actually very much the opposite of this powerful, invincible person that I sell as an artist.” This dichotomy of bravado and vulnerability is central to Anitta’s artistry. Onstage, she can seem larger than life — and in some ways, she is. But the sensitivity and resilience in her voice reminds us of her profound humanity. — Morgan Enos
Bad Bunny may have issued one of the hottest pop albums of the year — of any regional genre or national origin — with Un Verano Sin Ti It’s the sort of work that bridges international markets, sells out Yankee Stadium two nights in a row, and debuts atop the Billboard 200 (becoming only the second Spanish-language album to do so). It’s also the kind of album that makes GRAMMY history, as Un Verano Sin Ti is the first-ever all-Spanish-language album to be nominated for Album Of The Year. Loosened-up, tropical-inflected tunes like “Me Porto Bonito,” “Yo No Soy Celoso” and “Aguacero” don’t chew the scenery to impress you; they seem as natural as breathing, which belies the level of craft involved in each song’s construction, and the subtle emotional incisiveness of his messaging. Un Verano Sin Ti is a summer dream — and an unforgettable one. — Morgan Enos
The engine of RENAISSANCE, Beyoncé’s first album in six and a half years, is the eternal power of the dance floor — both in sound and spirit. Of course, this has been a through line of her past work, for which she’s picked up an astounding 28 GRAMMYs (the most of any performing artist in GRAMMY history). But never before has it been contained and consolidated on one album like this. This aesthetic doesn’t render RENAISSANCE a mere throwback, but a future-forward addition to the dance/pop lineage. “BREAK MY SOUL,” which is nominated for Song Of The Year and Record Of The Year, speaks to radical self-acceptance; “PLASTIC OFF THE SOFA” is cinematic and immersive. RENAISSANCE is the first in a three-part installment, but it’s anyone’s guess as to where this boundarybreaker will venture next. Until then, this dance party is forever. — Morgan Enos
Fifty-two years after Bonnie Raitt released her self-titled debut album, the 10-time GRAMMY winner’s 18th LP, Just Like That, demonstrates how her craft is as vivacious and daring as ever. Complemented by the flicking strings of Raitt’s signature acoustic guitar, the album’s title track — which marks her first career Song Of The Year nomination — vividly unspools a powerful story of a surprise visitor a woman greets at her door. “When I was writing ‘Just Like That,’ I pitched it in a key that would have been too low for me,” Raitt revealed to NPR, detailing how she embodied the song’s fictional protagonist. “I wanted to take on that character’s voice of imagining a woman that had been really beaten up by life.” — Rob LeDonne
As We Are Family Foundation’s Founder and composer of our namesake, you have given a lifetime of joy and hope to the world from your soul...and we are all honored to be part of your global family
After revisiting the past in her bestselling memoir, Broken Horses, Brandi Carlile returned to her pen and paper to conjure her seventh album, In These Silent Days. The sophisticated, inviting album opens strikingly with Carlile’s 2022 GRAMMYnominated hit, “Right On Time,” before easing into “You and Me on the Rock,” which is nominated for Record Of The Year at the 65th GRAMMY Awards. Deeply personal and quietly romantic, “You and Me on the Rock” reflects on the solid foundation of Carlile’s home life with her wife, Catherine, and their two daughters. The song also features Jess Wolfe and Holly Laessig of indiepop group Lucius on backing vocals. As Carlile described it to Stereogum, “The song just felt really feminine to me.”
— Jack Tregoning
The world first fell in love with Coldplay for their clear-eyed, intimate tales about romantic insecurity and longing. Now, their songs are about everything, literally — their 2021 set, Music of the Spheres, lyrically transcends the concerns of terra firma and bounds through the celestials. Everything about the album is a wild swing, which befits a band who sells out stadiums around the globe. Perhaps what’s most remarkable about the group’s ninth LP is that, despite becoming so colossal, they haven’t sacrificed their core identity. “Humankind” is a Kubrickian update on their anthemic mold, and “Let Somebody Go,” featuring Selena Gomez, feels as pared-down as their intimate, beloved debut, Parachutes. On top of Music of the Spheres’ GRAMMY nominations for Album Of The Year and Best Pop Vocal Album, the BTS collab “My Universe” is nominated in the Best Pop Duo/Group Performance Category. — Morgan Enos
On her GRAMMY-nominated third album, Planet Her, Doja Cat invited listeners into a world entirely of her own creation. After seeing success with the album’s first three singles — the GRAMMY-winning SZA collab “Kiss Me More,” the Weekndfeaturing hit “You Right” and the top-10 jam “Need To Know” — Doja kept the momentum alive (and earned another GRAMMY nod) with “Woman.” To craft the song’s distinctive, Afrobeats-inspired sound, Doja turned to a brain trust of producers who are practiced in dancehall, reggae, pop, and R&B: Crate Classics, Linden Jay, Aynzli Jones, and Yeti Beats. For all the sleekness of the production, Doja holds center stage, stepping lithely between singing and rapping on the theme of female empowerment. Top it all off with her immaculately choreographed dancing in the song’s GRAMMY-nominated music video, and consider Doja Cat a triple threat.
— Jack Tregoning
DJ Khaled stayed true to his reputation as the ringmaster of superstars on his 2022 album, GOD DID. Among the album’s 18 star-studded songs, Khaled
Rick Ross, Lil Wayne, JAY-Z, John
and Fridayy
on power — and the power of being grateful. With an eight-minute runtime, the momentous song is held up by a pillar of a chorus, which resolutely proclaims, “They counted us out/ They didn’t think that we would make it/ Oh, they didn’t believe in us/ Oh, but I know God did, God did.”
the title track, an
Jazz has always experienced crossover hits, but DOMi & JD Beck are a brand-new kind — plugging jazz virtuosity into the zoomer sphere of memes, TikTok soundbites and all-caps song titles. But Beck’s partnership with French-born keyboardist DOMi is ultimately art-forward, despite the abundant silliness within their act. Both youngsters are virtuosos in every sense; even more profoundly, they’re on a mission to make virtuosity cool again. Despite their extreme technical facility, the duo’s 2022 debut album, NOT TIGHT, is eminently catchy and listenable. As such, it could get kids who don’t know Herbie Hancock from Kurt Rosenwinkel into America’s Music — at the very least, because both legends appear on the album. If jazz lives or dies based on whether younger generations embrace it, then this is the future of the music. Now that’s tight. — Morgan Enos
An irreverent proclamation became a forceful anthem and catapulted GAYLE as one of 2022’s brightest breakouts. Flipping the alphabet into a telloff breakup anthem, “abcdefu” effectively lodged itself into the ears of listeners largely thanks to its frankness, with legions of fans relating to the 18-year-old Texas native as one of pop’s newest, brutally honest truthtellers. GAYLE’s cathartic singalong chorus and power-pop production enabled “abcdefu” to first explode into viral infamy before topping both of Billboard’s global charts. Now, it enjoys a victory lap by nabbing a nomination for Song Of The Year.
— Rob LeDonne
RONNIE CUBER
JACK HARLOW
CHRISTIAN NODAL
BECCA STEVENS
MATT BENSON DAHI CORY HENRY
DAVE PITTENGER
FEDERICO VINDVER
DIXSON GABY MORENO
HILLARY SCOTT
ROBERT GLASPER
ADELE
BIG THIEF BLXST
BURNA BOY
PJ MORTON
SNARKY PUPPY
With his 2017 self-titled debut and follow-up, 2019’s Fine Line, Harry Styles had already catapulted himself far past the purview of One Direction, his former band. But his third album, Harry’s House, ups the ante in a new way; it presents a totally livable, self-contained domicile. Within the LP, one can take a load off on the couch, pontificate in the kitchen, or brood on the edge of the bed. How did Styles make an album with all of those qualities? By imbuing every song with that charm — a totally inhabitable kind. Especially “As it Was,” a whiplash helping of pop pleasure that’s been nominated for four GRAMMYs, including for Song Of The Year and Record Of The Year. Fans worldwide set up camp at Harry’s House, and have no plans to vacate anytime soon. Because kicking back in there is just too much fun. — Morgan
In the years following his gritty, explosive DAMN., Kendrick Lamar went off the grid and into a period of profound selfexamination. “I spend most of my days with fleeting thoughts. Writing. Listening,” Lamar wrote in an August 2021 blog post. “Love, loss, and grief have disturbed my comfort zone, but the glimmers of God speak through my music and family. While the world around me evolves, I reflect on what matters the most.” Mr. Morale & the Big Steppers, Lamar’s fifth album, is foremost about fatherhood, fidelity, and obliterating old attitudes by fire. The album was foreshadowed by “The Heart Part 5,” an exploration of perspective with an unforgettable, deepfake video. In the ambitious, transcendent album proper, Lamar also ruthlessly interrogates his ingrained attitudes about fatherhood (“Father Time”), relationships with women (“We Cry Together”), and transgender relatives (“Auntie Diaries”). — Morgan Enos
Since young Atlanta rapper Latto broke out in 2020 with “B**** from the Souf,” she’s been clear that navigating the music industry as a woman has been challenging — to say the least. “Female rappers are being silenced in the industry and bullied behind closed doors,” the MC born Alyssa Michelle Stephens told Complex in 2022, just before releasing her watershed album, 777. No matter whoever’s assailed Latto in her career, she’ll inarguably have the last laugh: 777 is a beast of a hip-hop, pop and R&B album, boasting bangers like the GRAMMY-nominated “Big Energy.” 777 is an extremely effective calling card for this emerging talent, who has already played arenas as the opening act on Lizzo’s 2022 tour — and seems to be just getting started. — Morgan Enos
As Lizzo was nearing completion on her fourth album, Special, the three-time GRAMMY winner got the feeling something was missing. Eager to channel the uplifting confidence of her 2019 hit, “Good As Hell,” Lizzo created “About Damn Time” — and found that positivity and then some. With a viral TikTok dance to boot, “About Damn Time” hit its stride as summer warmed up and landed Lizzo her second No. 1 hit. After the “major traumas and hard experiences” of recent years, Lizzo told Audacy she “wanted to write a song that allowed us to take a moment and celebrate our survival, and celebrate how far we’ve come.” The rest of Special is just as celebratory for both Lizzo and her fans, from the uplifting title track to the introspective single “2 Be Loved (Am I Ready).” — Jack Tregoning
Måneskin may have brought a 55-year-old song, Frankie Valli and the Four Seasons’ “Beggin’,” to the TikTok generation — but that’s just one part of the story when it comes to this thrillingly weird glam-rock sensation. In many ways, they represent the “return to rock” that so many have longed for amid the domination of trap hats and autotune. But they don’t sound or look like the return of Led Zeppelin or Black Sabbath. The Italian band (whose name is Danish for “moonlight”) sounds more like 2000s indie bands like Franz Ferdinand or the Bravery than Soundgarden or Aerosmith. For more entryways into Måneskin’s universe, check out the snotty “I Wanna Be Your Slave” and the outrageously horny “Mammamia.” Really, any direction you come at this flamboyant, genderbending band is bound to be rewarding, as they play by nobody’s rules but their own. —
Morgan Enos
The Queen of Hip-Hop Soul returned in 2022 in multiple surprising ways. In February, she released Good Morning Gorgeous, a work of emotional depth with a surprising bite to it. Thirty years after the release of her debut album, What’s The 411, the ninetime GRAMMY winner hasn’t lost one iota of her clarity of creative vision or cachet as an R&B innovator. This is reflected in the bold, brassy sound throughout Good Morning Gorgeous — including the title track, which is nominated for Record Of The Year — as well as the presence of other high-profile guests, like DJ Khaled on “Amazing,” Anderson .Paak on “Here With Me,” Dave East on “Rent Money,” and Usher on “Need Love.” Clearly, the Queen’s reign continues unabated. — Morgan Enos
Representing the Newport Folk-adjacent pantheon — the world that includes strummers and pickers from the indie-folk, bluegrass and Americana communities — is Molly Tuttle. As a child, Tuttle initially played violin, but swiftly fell in love with the guitar, soaking up the bluegrass records that filled the air at home. Her tutelage at Berklee College of Music led her to Nashville in 2015, and she landed a record deal with indie label Compass Records two years later. After two studio albums on Compass (2019’s When You’re Ready and 2020’s But I’d Rather Be With You), Tuttle became a Nonesuch signee with her new album, 2022’s rootsy, enveloping Crooked Tree — a breakthrough that helped her become a Best New Artist nominee. In a way, as a bearer of the bluegrass flame, the whole tradition has led to her. — Morgan Enos
Muni Long was once behind the curtain as a songwriter — for the likes of Rihanna, Fifth Harmony and Ariana Grande — under the name Priscilla Renea (her biological first and middle name). In fact, she received a GRAMMY nomination for her co-writing work on H.E.R.’s Back of My Mind — which was up for Album Of The Year at the 2022 GRAMMYs. Along the way, she developed her craft as a singer, adopting the name Muni Long in 2019. Now, Long has consolidated her decade-plus of stellar work on 2022’s Public Displays of Affection, which solidified that she can be a star in her own right — with a Best New Artist nod to show for it.
—
Morgan EnosCongratulations to all the GRAMMY ® winners and nominees.
Using your talent to inspire the next generation,
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Born to Mexican parents and reared in Indiana, Omar Apollo began charting his course to the music industry by working a day job and uploading music to SoundCloud. All the while — true to his generation who grew up in the iPod era — he soaked up the wildly variable sounds of Prince, Rick James, Paul Simon, the Internet, and beyond. Back in 2019, while planting the seeds for his debut album, 2022’s IVORY, the bilingual singer/ songwriter hinted that future music would be as multifarious as his influences. “I love dancing, and I love funk. But I don’t think it will ever be just one thing,” he told the website Lyrical Lemonade, while also expressing a desire to incorporate rapping Spanish lyrics. “I think the album will have a lot of elements, and be really diverse.” He wasn’t kidding: The labored-over IVORY was a swing for the fences, and Apollo connected. — Morgan Enos
Young jazz singer Samara Joy arrived on the map proudly wearing two primary influences on her sleeve: Sarah Vaughan and Ella Fitzgerald. Sure, Joy might take direct inspiration from the approaches of Vaughan, Fitzgerald, Carmen McRae, and the rest, from phrasing to vocalese. But it only takes one listen to prove that Joy’s art is new, possessing a fresh flair and communication style. Joy’s 2021 self-titled debut was suffused with buoyant charm and technical facility; her 2022 follow-up for Verve, Linger Awhile, only ups the ante. Therein, she tackles tunes like Nancy Wilson’s “Guess Who I Saw Today,” a reimagined version of Ronnell Bright’s “Sweet Pumpkin,” and the Frank Sinatra- and Nina Simonepopularized “Can’t Get Out of This Mood.”
Honors independent artists and the companies who support them worldwide!Saticöy Jay Ham
Every aspect of Steve Lacy’s “Bad Habit” conveys an unwavering uniqueness — whether through its multiple adventurous melodies, its seemingly stream-of-consciousness lyrics, or unflinching delivery. Concocted for his sophomore album, Gemini Rights, “Bad Habit” was the result of Lacy producing over 300 songs before whittling it down to the album’s 10 tracks. “Bad Habit” became the 24-year-old Los Angeles native’s first chart-topping single in the wake of earning a GRAMMY nomination for Best Urban Contemporary Album for his 2019 debut Apollo XXI. In an interview with GRAMMY.com, Lacy said, “That’s the biggest thing that I learned about myself on this album: trusting my instincts.” — Jack Tregoning
Throughout the years, when Taylor Swift would invariably hint at a longer version of 2012’s “All Too Well” during interviews, her die-hard army of Swifties took notice. And when it finally arrived upon the release of the re-recorded Red (Taylor’s Version), it took the song from fan-favorite to magnum opus. In a fresh and poetic style — backed by subtle, acoustic production — “All Too Well (10 Minute Version)” depicts the exuberance and ruminative sadness of falling in and out of love. The extended version of the track became a cultural touchstone, from an acclaimed (and now GRAMMY-nominated) music video to its call-to-action lyrics (“f— the patriarchy!”), and was ripe for endless speculation about possible inspirations. Yet it’s the song’s craft that shows that exemplary music always lies on the other side of heartbreak. — Rob LeDonne
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The past decade and change has seen Nigerian artists even further elevated on the world stage. The West African country has not only been heralded by Afrobeats artists like Wizkid and Burna Boy, but also by straight-up hiphop — and the Houston MC Tobe Nwigwe is a prime example. In 2009, a foot injury diverted Nwigwe’s life path from football to music. Amid starting a nonprofit for Houston youth, Nwigwe caught attention on social media after posting videos of himself rapping with his kids and wife. One thing led to another, and Nwigwe hit the ground running as a recording artist, releasing a whopping nine EPs between 2017 and 2021. His breakout project, 2022’s moMINTS, exudes love for Houston through tunes that stick in the brain, like “DESTRUCTION,” “LORD FORGIVE ME” and “CATFISH BLACKENED.”
— Morgan Enos
The witty, lusty, needle-sharp duo of Rhian Teasdale and Hester Chambers was impossible to ignore in 2022; their self-titled debut landed in the industry like a water balloon. “I went to school and I got the Big D!” the post-punkers announced in their breakout single, “Chaise Longue,” a song everybody seemed to have some extreme reaction to — chief among them, jaw-dropping relief that wackadoo fun was back in indie rock. Rarely have deadpan non sequiturs added up to something this catchy, infectious and fresh. And wherever Wet Leg goes next, you can’t say it won’t be interesting — so it goes with this deeply satirical, always catchy, very welcome anomaly of a rock band.
— Morgan Enos
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Nearly half of this year’s leading nominees are women and more than half are people of color
HARRY STYLES HAS THREE NOMINATIONS IN THE GENERAL FIELD CATEGORIES
THIS YEAR: RECORD OF THE YEAR, ALBUM OF THE YEAR AND SONG OF THE YEAR
6 of 10 songs nominated for Record Of The Year and Song Of The Year are by solo female artists
FUTURE HAS 10 CAREER NOMINATIONS, INCLUDING THIS YEAR’S SIX, AND ONE WIN IN 2019. THESE ARE HIS FIRST NOMINATIONS IN THE BEST MELODIC RAP SONG AND BEST RAP ALBUM CATEGORIES.
5 of 10 albums nominated for Album Of The Year are by solo female artists BAD BUNNY’S UN VERANO SIN TI IS THE FIRST-EVER ALL-SPANISHLANGUAGE ALBUM TO BE NOMINATED FOR ALBUM OF THE YEAR IN GRAMMY HISTORY
MARY J. BLIGE HAS SIX NOMINATIONS THIS YEAR; SHE WAS FIRST NOMINATED 27 YEARS AGO AT THE 38TH GRAMMY AWARDS
LAST YEAR WITH MY BROTHER JON BATISTE WAS A TRUE HONOR AND I’M EXCITED TO SEE WHO WINS THIS YEARS “BIG ONE”.
Special congratulations are in order as we celebrate this years well deserved Trustees Award winner the great Ellis Marsalis;
A jazz pianist, educator and mentor who in his own words “doesn’t teach jazz but teaches students”. His ability to unlock a musician’s deepest and truest musical identity through his teaching has influenced some of the greatest musicians today.
“Your music collapses all languages evoking one global transcendent feeling that can only be described as undeniably Ellis Marsalis.
Your legacy will continue to inspire and delight listeners for generations to come”.
With deep appreciation and respect,
(back)
CITY OF ANGELS TEE ABIGAIL, MARKETING (front) 65TH CREW NECK SHIRT ANNABELLE, FRIEND OF ABIGAIL
GRAMMY MINIMALIST BEANIE
65TH GOTHIC WAIST PACK
CHRIS, DIGITAL TEAM
GRAMMY MINIMALIST CAP
GNOCCHI, MODEL DOG
FOR RECORDINGS RELEASED DURING THE ELIGIBILITY YEAR OCT. 1, 2021 THROUGH SEPT. 30, 2022
NOTE: GREATER OR FEWER THAN 5 NOMINATIONS IN A CATEGORY IS THE RESULT OF TIES.
(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.)
Benny Andersson, producer; Benny Andersson & Bernard Löhr, engineers/mixers; Björn Engelmann, mastering engineer
Greg Kurstin, producer; Julian Burg, Tom Elmhirst & Greg Kurstin, engineers/mixers; Randy Merrill, mastering engineer
Beyoncé, Terius “The-Dream” Gesteelde-Diamant, Jens Christian Isaksen & Christopher “Tricky” Stewart, producers; Brandon Harding, Chris McLaughlin & Stuart White, engineers/mixers; Colin Leonard, mastering engineer
D’Mile & H.E.R., producers; Bryce Bordone, Serban Ghenea & Pat Kelly, engineers/mixers
Dave Cobb & Shooter Jennings, producers; Brandon Bell, Tom Elmhirst & Michael Harris, engineers/mixers; Pete Lyman, mastering engineer
Crate Classics, Linden Jay, Aynzli Jones & Yeti Beats, producers; Jesse Ray Ernster, Rian Lewis, Tyler Sheppard & Kalani Thompson, engineers/mixers; Mike Bozzi, mastering engineer
Steve Lacy, producer; Neal Pogue & Karl Wingate, engineers/mixers; Mike Bozzi, mastering engineer
Beach Noise, producer; Beach Noise, Rob Bisel, Ray Charles Brown Jr., James Hunt, Johnny Kosich, Matt Schaeffer & Johnathan Turner, engineers/mixers; Emerson Mancini, mastering engineer
Ricky Reed & Blake Slatkin, producers; Patrick Kehrier, Bill Malina & Manny Marroquin, engineers/mixers; Emerson Mancini, mastering engineer
Kid Harpoon & Tyler Johnson, producers; Jeremy Hatcher & Spike Stent, engineers/mixers; Randy Merrill, mastering engineer
(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).)
Benny Andersson, producer; Benny Andersson & Bernard Löhr, engineers/mixers; Benny Andersson & Björn Ulvaeus, songwriters; Björn Engelmann, mastering engineer
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Shawn Everett, Ludwig Göransson, Inflo, Tobias Jesso, Jr., Greg Kurstin, Max Martin, Joey Pecoraro & Shellback, producers; Julian Burg, Steve Churchyard, Tom Elmhirst, Shawn Everett, Serban Ghenea, John Hanes, Sam Holland, Michael Ilbert, Inflo, Greg Kurstin, Riley Mackin & Lasse Mårtén, engineers/mixers; Adele Adkins, Ludwig Göransson, Dean Josiah Cover, Tobias Jesso, Jr., Greg Kurstin, Max Martin & Shellback, songwriters; Randy Merrill, mastering engineer
Rauw Alejandro, Bomba Estéreo, Buscabulla, Chencho Corleone, Jhay Cortez, Tony Dize & The Marías, featured artists; BYRD, De La Cruz, Demy & Clipz, Elikai, Hassi, HAZE, Albert Hype, La Paciencia, Cheo Legendary, Richi Lopez, MAG, MagicEnElBeat, Masis, MICK, Jesus Alberto Molina, Mora, Jota Rosa, SCOTT, Subelo Neo, TAINY & ZULIA, producers; Josh Gudwin & Roberto Rosado, engineers/mixers; Raul Alejandro Ocasio Ruiz, Kamil Assad, Benito Antonio Martinez Ocasio, Julian Quiles Betancourt, Leutrim Bequiri, Raquel Berrios, Abner Jose Cordero Boria, Marco Daniel Borrero, Joaquin Calderon Bravo, Harry Alexis Ramos Cabrera, Joshua Conway, Martin Coogan, Kaled Elikai Cordova, Orlando Javier Valle Vega, Jesus Nieves Cortes, Jose Cruz, Misael De La Cruz, Luis Del Valle, Scott Dittrich, Etienne Gagnon, Jason Garcia, Juan Diego Linares Gonzalez, Nicolas Jara, Ritchie Lopez, Steve Martinez-Funes, Marcos Masis, Michael Masis, Adrian McKinnon, Alberto Carlos Melendez, Jesus Alberto Molina, Freddy Montalvo, Gabriel Mora, Hector Pagan, Darwin Cordale Quinn, Tony Felician Rivera, Jose Raphael Arce Rodriguez, Joel Hernandez Rodriguez, Egbert Rosa, Roberto Rosado, Joselly Rosario, Elena Rose, Liliana Margarita Saumet & Maria Zardoya, songwriters; Colin Leonard, mastering engineer
Beam, Grace Jones & Tems, featured artists; Jameil Aossey, Bah, Beam, Syd, Beyoncé, Bloodpop, Boi-1Da, Cadenza, Al Cres, Mike Dean, Kelman Duran, Harry Edwards, Terius “The-Dream” Gesteelde-Diamant, Ivor Guest, Guiltybeatz, Hit-Boy, Honey Dijon, Jens Christian Isaksen, Leven Kali, Lil Ju, MeLo-X, No I.D., NovaWav, Chris Penny, P2J, Rissi, Raphael Saadiq, Neenyo, Skrillex, Luke Solomon, S1A0, Christopher “Tricky” Stewart, Jahaan Sweet, Sevn Thomas, Sol Was & Stuart White, producers; Chi Coney, Russell Graham, Guiltybeatz, Brandon Harding, Hotae Alexander Jang, Chris McLaughlin, Delroy “Phatta” Pottinger, Andrea Roberts, Steve Rusch, Jabbar Stevens & Stuart White, engineers/mixers; Denisia “@Blu June” Andrews, Tyshane Thompson, Kevin Marquis Bellmon, Sydney Bennett, Beyoncé, Michael Tucker, Atia Boggs p/k/a Ink, Matthew Samuels, Dustin Bowie, Oliver Rodigan, Nija Charles, Sabrina Claudio, Solomon Fagenson Cole, Brittany “@Chi_Coney” Coney, Alexander Guy Cook, Lavar Coppin, Almando Cresso, Mike Dean, Saliou Diagne, Darius Dixson, Jocelyn Donald, Jordan Douglas, Aubrey Drake Graham, Kelman Duran, Terius “The-Dream” Gesteelde-Diamant, Dave Giles II, Derrick Carrington Gray, Nick Green, Larry Griffin Jr, Ronald Banful, Dave Hamelin, Aviel Calev Hirschfield, Chauncey Hollis, Jr., Honey Redmond, Ariowa Irosogie, S. Carter, Leven Kali, Ricky Lawson, David Debrandon Brown, Tizita Makuria, Julian Martrel Mason, Daniel Memmi, Cherdericka Nichols, Ernest “No I.D.” Wilson, Danielle Balbuena, Patrick Paige II, Christopher Lawrence Penny, Michael Pollack, Richard Isong, Derek Renfroe, Morten Ristorp, Nile Rodgers, Raphael Saadiq, Sean Seaton, Skrillex, Corece Smith, Luke Francis Matthew Solomon, Jabbar Stevens, Christopher A. Stewart, Jahaan Sweet, Temilade Openiyi, Rupert Thomas, Jr. & Jesse Wilson, songwriters; Colin Leonard, mastering engineer
Dave East, DJ Khaled, Fabolous, Fivio Foreign, Griselda, H.E.R., Jadakiss, Moneybagg Yo, Ne-Yo, Anderson .Paak, Remy Ma & Usher, featured artists; Alissia, Tarik Azzouz, Bengineer, Blacka Din Me, Rogét Chahayed, Cool & Dre, Ben Billions, DJ Cassidy, DJ Khaled, Wonda, Bongo Bytheway, D’Mile, H.E.R., Hostile Beats, Eric Hudson, London On Da Track, Leon Michels, Nova Wav, Anderson.Paak, Sl!Mwav, Streetrunner, Swizz Beatz & J White Did It, producers; Derek Ali, Ben Chang, Luis Bordeaux, Bryce Bordone, Lauren D’Elia, Chris Galland, Serban Ghenea, Akeel Henry, Jaycen Joshua, Pat Kelly, Jhair Lazo, Shamele Mackie, Manny Marroquin, Dave Medrano, Ari Morris, Parks, Juan Peña, Ben Sedano, Kev Spencer, Julio Ulloa & Jodie Grayson Williams, engineers/ mixers; Alissia Beneviste, Denisia “Blu June” Andrews, Archer, Bianca Atterberry, Tarik Azzouz, Mary J. Blige, David Brewster, Shawn Butler, Rogét Chahayed, Ant Clemons, Brittany “Chi” Coney, Demond “Conway The Machine” Price, Benjamin Diehl, DJ Cassidy, Khaled Khaled, Jocelyn Donald, Jerry Duplessis, Uforo Ebong, Dernst Emile II, John Jackson, Gabriella Wilson, Shawn Hibbler, Charles A. Hinshaw, Jamie Hurton, Eric Hudson, Jason Phillips, Kim Owens, London Holmes, David Brown, Andre “Dre” Christopher Lyon, Leon Michels, Shaffer Smith, Brandon Anderson, Jeremie “Benny The Butcher” Pennick, Reminisce Mackie, Peter Skellern, Jerome Monroe, Jr., Nicholas Warwar, Kasseem Dean, Deforrest Taylor, Tiara Thomas, Marcello “Cool” Valenzano, Alvin “Westside Gunn” Worthy, Anthony Jermaine White & Leon Youngblood, songwriters
Lucius, featured artist; Dave Cobb & Shooter Jennings, producers; Brandon Bell, Dave Cobb, Tom Elmhirst, Michael Harris & Shooter Jennings, engineers/mixers; Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters; Pete Lyman, mastering engineer
BTS, Jacob Collier, Selena Gomez & We Are KING, featured artists; Jacob Collier, Daniel Green, Oscar Holter, Jon Hopkins, Max Martin, Metro Boomin, Kang Hyo-Won, Bill Rahko, Bart Schoudel, Rik Simpson, Paris Strother & We Are KING, producers; Guy Berryman, Jonny Buckland, Will Champion, Jacob Collier, The Dream Team, Duncan Fuller, Serban Ghenea, Daniel Green, John Hanes, Jon Hopkins, Michael Ilbert, Max Martin, Bill Rahko, Bart Schoudel, Rik Simpson & Paris Strother, engineers/mixers; Guy Berryman, Jonny Buckland, Denise Carite, Will Champion, Jacob Collier, Derek Dixie, Sam Falson, Stephen Fry, Daniel Green, Oscar Holter, Jon Hopkins, Jung Ho-Seok, Chris Martin, Max Martin, John Metcalfe, Leland Tyler Wayne, Bill Rahko, Kim Nam-Joon, Jesse Rogg, Davide Rossi, Rik Simpson, Amber Strother, Paris Strother, Min Yoon-Gi, Federico Vindver & Olivia Waithe, songwriters; Randy Merrill, mastering engineer
Baby Keem, Blxst, Sam Dew, Ghostface Killah, Beth Gibbons, Kodak Black, Tanna Leone, Taylour Paige, Amanda Reifer, Sampha & Summer Walker, featured artists; The Alchemist, Baby Keem, Craig Balmoris, Beach Noise, Bekon, Boi-1da, Cardo, Dahi, DJ Khalil, FNZ, Frano, Sergiu Gherman, Emile Haynie, J.LBS, Johnny Juliano, Mario Luciano, Timothy Maxey, OKLAMA, Rascal, Tyler Reese, Sounwave, Jahaan Sweet, Tae Beast, Duval Timothy & Pharrell Williams, producers; Derek Ali, Matt Anthony, Beach Noise, Rob Bisel, David Bishop, Troy Bourgeois, Andrew Boyd, Ray Charles Brown Jr., Derek Garcia, Chad Gordon, James Hunt, Johnny Kosich, Mike Larson, Manny Marroquin, Erwing Olivares, Raymond J Scavo III, Matt Schaeffer, Cyrus Taghipour, Johnathan Turner & Joe Visciano, engineers/mixers; Daniel Alan Maman, Hykeem Carter, Craig Balmoris, Beach Noise, Daniel Tannenbaum, Matthew Burdette, Matthew Samuels, Ronald LaTour, D. Natche, Isaac John De Boni, Sam Dew, Anthony Dixon, Khalil Abdul-Rahman, Victor Ekpo, Frano Huett, Sergiu Gherman, Dennis Coles, Beth Gibbons, Jason Pounds, Stuart Johnson, John Julian, Bill K. Kapri, Jake Kosich, Johnny Kosich, Daniel Krieger, Kendrick Lamar, Avante Santana, Mario Luciano, Timothy Maxey, Danny McKinnon, Michael John Mulé, OKLAMA, Rascal, Tyler Mehlenbacher, Amanda Reifer, Ely Rise, Matt Schaeffer, Sampha Sisay, Mark Spears, Homer Steinweiss, Jahaan Akil Sweet, Donte Lamar Perkins, Stephen Lee Bruner, Duval Timothy, Summer Walker & Pharrell Williams, songwriters; Emerson Mancini, mastering engineer
Benny Blanco, Daoud, Omer Fedi, Kid Harpoon, Ian Kirkpatrick, Max Martin, Nate Mercereau, The Monsters & Strangerz, Phoelix, Ricky Reed, Mark Ronson, ILYA, Blake Slatkin, Quelle Chris & Pop Wansel, producers; Benny Blanco, Bryce Bordone, Jeff Chestek, Jacob Ferguson, Serban Ghenea, Jeremy Hatcher, Andrew Hey, Sam Holland, Stefan Johnson, Jens Jungkurth, Patrick Kehrier, Ian Kirkpatrick, Damien Lewis, Bill Malina, Manny Marroquin, Ricky Reed & ILYA, engineers/mixers; Amy Allen, Jonathan Bellion, Benjamin Levin, Thomas Brenneck, Daoud Anthony, Christian Devivo, Omer Fedi, Kid Harpoon, Jordan K Johnson, Stefan Johnson, Ian Kirkpatrick, Savan Kotecha, Melissa Jefferson, Max Martin, Nate Mercereau, Leon Michels, Nick Movshon, Michael Neil, Michael Pollack, Eric Frederic, Mark Ronson, Ilya Salmanzadeh, Blake Slatkin, Peter Svensson, Gavin Chris Tennille, Theron Makiel Thomas, Andrew Wansel & Emily Warren, songwriters; Emerson Mancini, mastering engineer
Kid Harpoon, Tyler Johnson & Sammy Witte, producers; Jeremy Hatcher, Oli Jacobs, Nick Lobel, Spike Stent & Sammy Witte, engineers/mixers; Amy Allen, Kid Harpoon, Tobias Jesso, Jr., Tyler Johnson, Mitch Rowland, Harry Styles & Sammy Witte, songwriters; Randy Merrill, mastering engineer
(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.)
abcdefu Sara Davis, GAYLE & Dave Pittenger, songwriters (GAYLE)
About Damn Time
Melissa “Lizzo” Jefferson, Eric Frederic, Blake Slatkin & Theron Makiel Thomas, songwriters (Lizzo)
All Too Well (10 Minute Version) (The Short Film) Liz Rose & Taylor Swift, songwriters (Taylor Swift)
As It Was Kid Harpoon, Tyler Johnson & Harry Styles, songwriters (Harry Styles)
Bad Habit
Matthew Castellanos, Britanny Fousheé, Diana Gordon, John Carroll Kirby & Steve Lacy, songwriters (Steve Lacy)
BREAK MY SOUL Beyoncé, Terius “The-Dream” Gesteelde-Diamant, S. Carter & Christopher A. Stewart, songwriters (Beyoncé)
Adele Adkins & Greg Kurstin, songwriters (Adele)
GOD DID Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)
The Heart Part 5 Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)
Just Like That Bonnie Raitt, songwriter (Bonnie Raitt)
(This Category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.)
(For new vocal or instrumental pop recordings. Singles or Tracks only.)
Adele
Moscow Mule Bad Bunny Woman Doja Cat Bad Habit Steve Lacy
About Damn Time Lizzo
As It Was Harry Styles
Steve Lacy
(For solo, duo, group, or collaborative performances. Vocal or Instrumental. Singles or Tracks only.)
BREAK MY SOUL
Beyoncé Beyoncé, Terius “The-Dream” Gesteelde-Diamant, Jens Christian Isaksen & Christopher “Tricky” Stewart, producers; Stuart White, mixer
Rosewood Bonobo
Simon Green, producer; Simon Green, mixer
Don’t Forget My Love Diplo & Miguel Diplo & Maximilian Jaeger, producers; Luca Pretolesi, mixer
I’m Good (Blue)
David Guetta & Bebe Rexha David Guetta & Timofey Reznikov, producers; Serban Ghenea, mixer
Intimidated KAYTRANADA
Featuring H.E.R. H.E.R. & KAYTRANADA, producers; KAYTRANADA, mixer
RÜFÜS DU SOL
Jason Evigan & RÜFÜS DU SOL, producers; Cassian Stewart-Kasimba, mixer
(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.)
Black Summer Flea, John Frusciante, Anthony Kiedis & Chad Smith, songwriters (Red Hot Chili Peppers)
Blackout Brady Ebert, Daniel Fang, Franz Lyons, Pat McCrory & Brendan Yates, songwriters (Turnstile)
Broken Horses Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)
Harmonia’s Dream Robbie Bennett & Adam Granduciel, songwriters (The War On Drugs)
Patient Number 9 John Osbourne, Chad Smith, Ali Tamposi, Robert Trujillo & Andrew Wotman, songwriters (Ozzy Osbourne Featuring Jeff Beck)
(For new vocal or instrumental R&B recordings.)
VIRGO’S GROOVE
Beyoncé
Here With Me
Mary J. Blige Featuring Anderson .Paak
Hrs & Hrs
Muni Long Over Lucky Daye
Hurt Me So Good Jazmine Sullivan
R&B
(For new vocal or instrumental traditional R&B recordings.)
Do 4 Love
Snoh Aalegra
Keeps On Fallin’
Babyface Featuring Ella Mai
PLASTIC OFF THE SOFA Beyoncé
‘Round Midnight
Adam Blackstone Featuring Jazmine Sullivan
Good Morning Gorgeous Mary J. Blige
(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.)
Denisia “Blu June” Andrews, Beyoncé, Brittany “Chi” Coney, Terius “The-Dream”
Gesteelde-Diamant, Morten Ristorp, Nile Rodgers & Raphael Saadiq, songwriters (Beyoncé)
Good Morning Gorgeous Mary J. Blige, Dernst Emile II, Gabriella Wilson, David Brown & Tiara Thomas, songwriters (Mary J. Blige)
Hrs & Hrs
Dylan Graham, Priscilla Renea, Thaddis “Kuk” Harrell, Brandon John-Baptiste, Isaac Wriston, Hamadi Zaabi & Justin Nathaniel Zim, songwriters (Muni Long)
Hurt Me So Good Akeel Henry, Michael Holmes, Luca Mauti, Jazmine Sullivan & Elliott Trent, songwriters (Jazmine Sullivan)
Please Don’t Walk Away
PJ Morton, songwriter (PJ Morton)
(For albums containing greater than 50% playing time of newly recorded progressive vocal tracks derivative of R&B.)
Operation Funk
Cory Henry Gemini Rights
Steve Lacy Drones Terrace Martin Starfruit Moonchild
Red Balloon Tank And The Bangas
R&B
(For albums containing greater than 50% playing time of new R&B recordings.)
Good Morning
Gorgeous (Deluxe) Mary J. Blige
Breezy (Deluxe) Chris Brown
Black Radio III Robert Glasper
Candydrip Lucky Daye
Watch The Sun PJ Morton
(For a rap performance. Singles or Tracks only.)
GOD DID
DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy Vegas Doja Cat
pushin P Gunna & Future Featuring Young Thug F.N.F. (Let’s Go) Hitkidd & GloRilla
The Heart Part 5 Kendrick Lamar
Rap
(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.)
Churchill Downs
Alex Ernewein, Tahrence Brown, Ryan Bakalarczyk, Matthew Samuels, Aubrey Graham & Jack Harlow, songwriters (Jack Harlow Featuring Drake)
GOD DID Tarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)
(For albums containing greater than 50% playing time of new rap recordings.)
GOD DID DJ Khaled
I NEVER LIKED YOU Future
Come Home The Kids Miss You Jack Harlow
Mr. Morale & The Big Steppers Kendrick Lamar
It’s Almost Dry Pusha T
(For new vocal or instrumental solo country recordings.)
Heartfirst Kelsea Ballerini
(For a solo or collaborative performance containing both elements of R&B melodies and rap.)
DJ Khaled Featuring Future & SZA
WAIT FOR U
Future Featuring Drake & Tems
First Class Jack Harlow
Die Hard Kendrick Lamar Featuring Blxst & Amanda Reifer
Big Energy (Live) Latto
The Heart Part 5 Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)
pushin P Lucas Depante, Nayvadius Wilburn, Sergio Kitchens, Wesley Tyler Glass & Jeffery Lamar Williams, songwriters (Gunna & Future Featuring Young Thug)
WAIT FOR U
Tejiri Akpoghene, Floyd E. Bentley III, Jacob Canady, Isaac De Boni, Aubrey Graham, Israel Ayomide Fowobaje, Nayvadius Wilburn, Michael Mule, Oluwatoroti Oke & Temilade Openiyi, songwriters (Future Featuring Drake & Tems)
Something In The Orange Zach Bryan In His Arms Miranda Lambert Circles Around This Town Maren Morris Live Forever Willie Nelson Kelsea Ballerini Jack Harlow
(For new vocal or instrumental duo/group or collaborative country recordings.)
Wishful Drinking Ingrid Andress & Sam Hunt
Midnight Rider’s Prayer Brothers Osborne
Outrunnin’ Your Memory Luke Combs & Miranda Lambert
Does He Love You - Revisited Reba McEntire & Dolly Parton
Never Wanted To Be That Girl Carly Pearce & Ashley McBryde
Going Where The Lonely Go Robert Plant & Alison Krauss
(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.)
Circles Around This Town Ryan Hurd, Julia Michaels, Maren Morris & Jimmy Robbins, songwriters (Maren Morris)
Doin’ This Luke Combs, Drew Parker & Robert Williford, songwriters (Luke Combs)
I Bet You Think About Me (Taylor’s Version) (From The Vault) Lori McKenna & Taylor Swift, songwriters (Taylor Swift Featuring Chris Stapleton)
If I Was A Cowboy Jesse Frasure & Miranda Lambert, songwriters (Miranda Lambert)
I’ll Love You Till The Day I Die Rodney Crowell & Chris Stapleton, songwriters (Willie Nelson)
‘Til You Can’t Matt Rogers & Ben Stennis, songwriters (Cody Johnson)
(For albums containing greater than 50% playing time of new country recordings.)
Growin’ Up Luke Combs
Palomino Miranda Lambert Ashley McBryde Presents: Lindeville Ashley McBryde Humble Quest Maren Morris
A Beautiful Time Willie Nelson
New Age, Ambient, or Chant
(For albums containing greater than 50% playing time of new vocal or instrumental New Age recordings.)
Positano Songs Will Ackerman Joy Paul Avgerinos Mantra Americana Madi Das & Dave Stringer With Bhakti Without Borders
The Passenger Cheryl B. Engelhardt Mystic Mirror White Sun
(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 parentheses for identification. Singles or Tracks only.)
Rounds (Live)
Ambrose Akinmusire, soloist
Keep Holding On Gerald Albright, soloist Falling Melissa Aldana, soloist
Call Of The Drum Marcus Baylor, soloist
Cherokee/Koko John Beasley, soloist
Wayne Shorter & Leo Genovese, soloists
(For albums containing greater than 50% playing time of new vocal jazz recordings.)
The Evening : Live At APPARATUS
The Baylor Project Linger Awhile Samara Joy
Fade To Black Carmen Lundy Fifty
The Manhattan Transfer With The WDR Funkhausorchester Ghost Song Cécile McLorin Salvant
(For albums containing greater than 50% playing time of new instrumental jazz recordings.)
New Standards Vol. 1 Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens
Live In Italy Peter Erskine Trio LongGone Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade
Live At The Detroit Jazz Festival Wayne Shorter, Terri Lyne Carrington, Leo Genovese & esperanza spalding
Parallel Motion Yellowjackets
(For albums containing greater than 50% playing time of new ensemble jazz recordings.)
Bird Lives John Beasley, Magnus Lindgren & SWR Big Band
Ron Carter & The Jazzaar Festival Big Band Directed By Christian Jacob
Generation Gap Jazz Orchestra
Steven Feifke, Bijon Watson, Generation Gap Jazz Orchestra
Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted By Michael Abene
Architecture Of Storms Remy Le Boeuf’s Assembly Of Shadows
(For vocal or instrumental albums containing greater than 50% 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.)
Fandango At The Wall In New York
Arturo O’Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective
Crisálida
Danilo Pérez Featuring The Global Messengers
If You Will Flora Purim
Rhythm & Soul Arturo Sandoval
Música De Las Américas Miguel Zenón
(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.)
Positive Erica Campbell; Erica Campbell, Warryn Campbell & Juan Winans, songwriters
When I Pray DOE; Dominique Jones & Dewitt Jones IV, songwriters
Kingdom
Maverick City Music & Kirk Franklin; Kirk Franklin, Jonathan Jay, Chandler Moore & Jacob Poole, songwriters
The Better Benediction PJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls; PJ Morton, songwriter
Tye Tribbett; Brandon Jones, Christopher Michael Stevens, Thaddaeus Tribbett & Tye Tribbett, songwriters
(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.))
God Really Loves Us (Radio Version)
Crowder Featuring Dante Bowe and Maverick City Music; Dante Bowe, David Crowder, Ben Glover & Jeff Sojka, songwriters
So Good DOE; Chuck Butler, Dominique Jones & Ethan Hulse, songwriters
For God Is With Us for KING & COUNTRY & Hillary Scott; Josh Kerr, Jordan Reynolds, Joel Smallbone & Luke Smallbone, songwriters
Fear Is Not My Future Maverick City Music & Kirk Franklin; Kirk Franklin, Nicole Hannel, Jonathan Jay, Brandon Lake & Hannah Shackelford, songwriters
Holy Forever
Chris Tomlin; Jason Ingram, Brian Johnson, Jenn Johnson, Chris Tomlin & Phil Wickham, songwriters
(Radio Version)
Phil Wickham; Chris Davenport, Bill Johnson, Brian Johnson & Phil Wickham, songwriters
(For albums containing greater than 50% playing time of newly recorded, vocal, traditional or contemporary/ R&B gospel music recordings.)
Die To Live Maranda Curtis
Breakthrough: The Exodus (Live) Ricky Dillard
Clarity DOE
Kingdom Book One (Deluxe) Maverick City Music & Kirk Franklin
All Things New Tye Tribbett
(For albums containing greater than 50% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/ hip-hop, Latin, or rock recordings.) Lion Elevation Worship Breathe Maverick City Music Life After Death TobyMac Always Chris Tomlin My Jesus Anne Wilson
(For albums containing greater than 50% playing time of newly recorded, vocal, traditional/ roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.) Let’s Just Praise The Lord Gaither Vocal Band Confessio - Irish American Roots Keith & Kristyn Getty The Willie Nelson Family Willie Nelson 2:22 Karen Peck & New River The Urban Hymnal Tennessee State University Marching Band
(For albums containing greater than 50% playing time of new Latin rock or alternative recordings.) El Alimento Cimafunk Tinta y Tiempo Jorge Drexler 1940 Carmen Mon Laferte Alegoría Gaby Moreno Los Años Salvajes Fito Páez MOTOMAMI Rosalía Fito Páez Christina Aguilera
(For albums containing greater than 50% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera, and Tejano) recordings.)
Abeja Reina Chiquis
Un Canto por MéxicoEl Musical Natalia Lafourcade
La Reunión (Deluxe) Los Tigres Del Norte
EP #1 Forajido Christian Nodal
Qué Ganas de Verte (Deluxe) Marco Antonio Solís
(For albums containing greater than 50% playing time of new tropical Latin recordings.)
Pa’lla Voy Marc Anthony Quiero Verte Feliz La Santa Cecilia
Lado A Lado B Víctor Manuelle
Legendario Tito Nieves Imágenes Latinas Spanish Harlem Orchestra Cumbiana II Carlos Vives
(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 bluegrass, blues, folk, or regional roots. Award to the artist(s).)
Someday It’ll All Make Sense (Bluegrass Version) Bill Anderson Featuring Dolly Parton
Life According To Raechel Madison Cunningham
Oh Betty Fantastic Negrito Stompin’ Ground Aaron Neville With The Dirty Dozen Brass Band
Prodigal Daughter Aoife O’Donovan & Allison Russell
(For new vocal or instrumental Americana performance. Award to the artist(s).)
Silver Moon [A Tribute To Michael Nesmith] Eric Alexandrakis
There
Asleep At The Wheel Featuring Lyle Lovett
The Message Blind Boys Of Alabama Featuring Black Violin
You And Me On The Rock Brandi Carlile Featuring Lucius
Made Up Mind Bonnie Raitt
(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.)
Bright Star Anaïs Mitchell, songwriter (Anaïs Mitchell)
Forever Sheryl Crow & Jeff Trott, songwriters (Sheryl Crow)
T Bone Burnett & Robert Plant, songwriters (Robert Plant & Alison Krauss)
Just Like That Bonnie Raitt, songwriter (Bonnie Raitt)
Prodigal Daughter
Tim O’Brien & Aoife O’Donovan, songwriters (Aoife O’Donovan & Allison Russell)
You And Me On The Rock
Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile Featuring Lucius)
(For albums containing greater than 50% playing time of new vocal or instrumental Americana recordings.)
In These Silent Days
Brandi Carlile
Things Happen That Way
Dr. John
Good To Be... Keb’ Mo’
Raise The Roof
Robert Plant & Alison Krauss
Just Like That... Bonnie Raitt
American Roots Music 51 BEST BLUEGRASS ALBUM
(For albums containing greater than 50% playing time of new vocal or instrumental bluegrass recordings.)
Toward The Fray
The Infamous Stringdusters
Almost Proud
The Del McCoury Band
Calling You From My Mountain
Peter Rowan
Crooked Tree
Molly Tuttle & Golden Highway
Get Yourself Outside Yonder Mountain String Band
(For albums containing greater than 50% playing time of new vocal or instrumental traditional blues recordings.)
Heavy Load Blues
Gov’t Mule
The Blues Don’t Lie Buddy Guy
Get On Board
Taj Mahal & Ry Cooder
The Sun Is Shining Down John Mayall Mississippi Son Charlie Musselwhite
American Roots Music 53 BEST CONTEMPORARY
(For albums containing greater than 50% playing time of new vocal or instrumental contemporary blues recordings.)
Done Come Too Far Shemekia Copeland
Crown
Eric Gales
Bloodline Maintenance
Ben Harper
Set Sail
North Mississippi Allstars
Brother Johnny Edgar Winter
(For albums containing greater than 50% playing time of new vocal or instrumental folk recordings.)
Spellbound Judy Collins
Revealer Madison Cunningham
The Light At The End Of The Line Janis Ian
Age Of Apathy Aoife O’Donovan
Hell On Church Street Punch Brothers
(For albums containing greater than 50% playing time of new vocal or instrumental regional roots music recordings.)
Full Circle
Sean Ardoin And Kreole Rock And Soul Featuring LSU Golden Band From Tigerland
Natalie Noelani Natalie Ai Kamauu
Halau Hula Keali’i O NalaniLive At The Getty Center Halau Hula Keali’i O Nalani
Lucky Man Nathan & The Zydeco Cha Chas
Live At The 2022 New Orleans Jazz & Heritage Festival Ranky Tanky
(For albums containing greater than 50% playing time of new reggae recordings.)
The Kalling Kabaka Pyramid Gifted Koffee Scorcha Sean Paul Third Time’s The Charm Protoje
Com Fly Wid Mi Shaggy
(For new vocal or instrumental global music recordings.)
Udhero Na Arooj Aftab Featuring Anoushka Shankar
Gimme Love Matt B Featuring Eddy Kenzo
Last Last Burna Boy Neva Bow Down Rocky Dawuni Featuring Blvk H3ro Bayethe Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode
Global Music
Sean Ardoin
(For albums containing greater than 50% playing time of new vocal or instrumental global music recordings.)
Shuruaat Berklee Indian Ensemble
Love, Damini Burna Boy
Queen Of Sheba Angélique Kidjo & Ibrahim Maalouf
Between Us... (Live) Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago
Sakura Masa Takumi
(For albums containing greater than 50% playing time of new musical or spoken word recordings that are created and intended specifically for children.)
Into The Little Blue House Wendy And DB
Los Fabulosos Lucky Diaz And The Family Jam Band
The Movement Alphabet Rockers
Ready Set Go! Divinity Roxx Space Cadet Justin Roberts Divinity Roxx
Act Like You Got Some Sense
Jamie Foxx
All About Me!: My Remarkable Life In Show Business
By Mel Brooks Mel Brooks
Aristotle And Dante Dive Into The Waters Of The World Lin-Manuel Miranda
Finding Me Viola Davis
Music Is History Questlove
(For albums containing greater than 50% playing time of new spoken word poetry recordings.)
Black Men Are Precious Ethelbert Miller
Call Us What We Carry: Poems Amanda Gorman Hiding In Plain View Malcolm-Jamal Warner
The Poet Who Sat By The Door J. Ivy
You Will Be Someone’s Ancestor. Act Accordingly. Amir Sulaiman
(For albums containing greater than 50% playing time of new recordings.)
The Closer Dave Chappelle
Comedy Monster Jim Gaffigan
A Little Brains, A Little Talent
Randy Rainbow
Sorry Louis CK We All Scream Patton Oswalt
(For albums containing greater than 51% playing time of new recordings. Award to the principal vocalist(s), and the album producer(s) of 50% or more playing time of the album. The lyricist(s) and composer(s) of 50% or more of a score of a new recording are eligible for an Award if any previous recording of said score has not been nominated in this Category.)
John Cariani, Sharon D Clarke, Caissie Levy & Samantha Williams, principal vocalists; Van Dean, Nigel Lilley, Lawrence Manchester, Elliot Scheiner & Jeanine Tesori, producers; Jeanine Tesori, composer; Tony Kushner, lyricist (New Broadway Cast)
Into The Woods (2022 Broadway Cast Recording) Sara Bareilles, Brian d’Arcy James, Patina Miller & Phillipa Soo, principal vocalists; Rob Berman & Sean Patrick Flahaven, producers (Stephen Sondheim, composer & lyricist) (2022 Broadway Cast)
MJ The Musical Myles Frost & Tavon Olds-Sample, principal vocalists; David Holcenberg, Derik Lee & Jason Michael Webb, producers (Original Broadway Cast)
Shoshana Bean, Billy Crystal, Randy Graff & David Paymer, principal vocalists; Jason Robert Brown, Sean Patrick Flahaven & Jeffrey Lesser, producers; Jason Robert Brown, composer; Amanda Green, lyricist (Original Broadway Cast)
Joe Beighton, Tom Curran, Sam Featherstone, Paul Gatehouse, Toby Marlow & Lucy Moss, producers; Toby Marlow & Lucy Moss, composers/ lyricists (Original Broadway Cast)
Jaquel Spivey, principal vocalist; Michael Croiter, Michael R. Jackson, Charlie Rosen & Rona Siddiqui, producers; Michael R. Jackson, composer & lyricist (Original Broadway Cast)
(Award to the principal 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).)
(Various Artists)
Dave Cobb, Baz Luhrmann, Jamieson Shaw & Elliott Wheeler, compilation producers; Anton Monsted, music supervisor
Encanto (Various Artists)
Mike Elizondo, Tom MacDougall & Lin-Manuel Miranda, compilation producers
Stranger Things: Soundtrack from the Netflix Series, Season 4 (Vol 2) (Various Artists)
Matt Duffer & Ross Duffer, compilation producers; Nora Felder, music supervisor
Top Gun: Maverick Harold Faltermeyer, Lady Gaga, Hans Zimmer & Lorne Balfe
Lorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer, compilation producers
West Side Story (Various Artists)
David Newman, Matt Sullivan & Jeanine Tesori, compilation producers
(Award to the Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, or other visual media.)
The Batman Michael Giacchino, composer Encanto Germaine Franco, composer
No Time To Die Hans Zimmer, composer
The Power Of The Dog Jonny Greenwood, composer
Succession: Season 3 Nicholas Britell, composer
(Award to Composer(s) for an original score created specifically for, or as a companion to, video games and other interactive media.)
Aliens: Fireteam Elite Austin Wintory, composer
Assassin’s Creed Valhalla: Dawn Of Ragnarök Stephanie Economou, composer
Call Of Duty®: Vanguard Bear McCreary, composer Marvel’s Guardians Of The Galaxy Richard Jacques, composer Old World Christopher Tin, composer
(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.)
Be Alive [From King Richard] Beyoncé & Darius Scott Dixson, songwriters (Beyoncé)
Carolina [From Where The Crawdads Sing] Taylor Swift, songwriter (Taylor Swift)
Hold My Hand [From Top Gun: Maverick] Bloodpop® & Stefani Germanotta, songwriters (Lady Gaga)
Keep Rising (The Woman King) [From The Woman King] Angélique Kidjo, Jeremy Lutito & Jessy Wilson, songwriters (Jessy Wilson Featuring Angélique Kidjo)
Nobody Like U [From Turning Red]
Billie Eilish & Finneas O’Connell, songwriters (4*Town, Jordan Fisher, Finneas O’Connell, Josh Levi, Topher Ngo, Grayson Villanueva)
We Don’t Talk About Bruno [From Encanto]
Lin-Manuel Miranda, songwriter (Carolina GaitánLa Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto - Cast)
(A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.)
Paquito D’Rivera, composer (Tasha Warren & Dave Eggar)
El País Invisible
Miguel Zenón, composer (Miguel Zenón, José Antonio Zayas Cabán, Ryan Smith & Casey Rafn)
Fronteras (Borders) Suite: Al-Musafir Blues Danilo Pérez, composer (Danilo Pérez Featuring The Global Messengers)
Geoffrey Keezer, composer (Geoffrey Keezer)
Pascal Le Boeuf, composer (Tasha Warren & Dave Eggar)
Composing/Arranging
(An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.)
As Days Go By (An Arrangement Of The Family Matters Theme Song) Armand Hutton, arranger (Armand Hutton Featuring Terrell Hunt & Just 6)
How
Matt Cusson, arranger (Kings Return)
Main Titles (Doctor Strange In The Multiverse Of Madness) Danny Elfman, arranger (Danny Elfman)
Minnesota, WI Remy Le Boeuf, arranger (Remy Le Boeuf)
Scrapple From The Apple John Beasley, arranger (Magnus Lindgren, John Beasley & The SWR Big Band Featuring Martin Auer)
(An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.)
Let It Happen Louis Cole, arranger (Louis Cole)
Never Gonna Be Alone Jacob Collier, arranger (Jacob Collier Featuring Lizzy McAlpine & John Mayer)
Optimistic Voices / No Love Dying Sullivan Fortner, arranger (Cécile McLorin Salvant)
Songbird (Orchestral Version) Vince Mendoza, arranger (Christine McVie)
2 + 2 = 5 (Arr. Nathan Schram) Nathan Schram & Becca Stevens, arrangers (Becca Stevens & Attacca Quartet)
Package, Notes, and Historical
Beginningless Beginning
Chun-Tien Hsiao & Qing-Yang Xiao, art directors (Tamsui-Kavalan Chinese Orchestra)
Divers William Stichter, art director (Soporus)
Everything Was Beautiful Mark Farrow & Jason Pierce, art directors (Spiritualized)
Telos
Ming Liu, art director (Fann) Voyeurist Joel Cook, Brandon Rike & Nate Utesch, art directors (Underoath)
Package, Notes, and Historical
Artists Inspired By Music: Interscope Reimagined Josh Abraham, Steve Berman, Jimmy Iovine, John Janick & Jason Sangerman, art directors (Various Artists)
Big Mess
Berit Gwendolyn Gilma, art director (Danny Elfman)
Black Pumas (Collector’s Edition Box Set) Jenna Krackenberger & Anna McCaleb, art directors (Black Pumas)
John Flansburgh, Brian Karlsson, John Linnell & Paul Sahre, art directors (They Might Be Giants)
In And Out Of The Garden: Madison Square Garden ’81 ’82 ’83
Lisa Glines, Doran Tyson & Dave Van Patten, art directors (The Grateful Dead)
Package, Notes, and Historical
The American Clavé Recordings
Fernando González, album notes writer (Astor Piazzolla)
Andy Irvine & Paul Brady Gareth Murphy, album notes writer (Andy Irvine & Paul Brady)
Harry Partch, 1942 John Schneider, album notes writer (Harry Partch)
Life’s Work: A Retrospective Ted Olson, album notes writer (Doc Watson)
Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) Bob Mehr, album notes writer (Wilco)
Against The Odds: 1974-1982
Tommy Manzi, Steve Rosenthal & Ken Shipley, compilation producers; Michael Graves, mastering engineer; Tom Camuso, restoration engineer (Blondie)
The Goldberg VariationsThe Complete Unreleased 1981 Studio Sessions Robert Russ, compilation producer; Martin Kistner, mastering engineer (Glenn Gould)
Life’s Work: A Retrospective Scott Billington, Ted Olson & Mason Williams, compilation producers; Paul Blakemore, mastering engineer (Doc Watson)
To Whom It May Concern... Jonathan Sklute, compilation producer; Kevin Marques Moo, mastering engineer; Lucas MacFadden, restoration engineer (Freestyle Fellowship)
Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) Cheryl Pawelski & Jeff Tweedy, compilation producers; Bob Ludwig, mastering engineer (Wilco)
(A Songwriter’s Award. (Artists names appear in parentheses.))
• For My Friends (King Princess) (S)
• The Hardest Part (Alexander23) (S)
• If We Were A Party (Alexander23) (S)
• If You Love Me (Lizzo) (T)
• Magic Wand (Alexander23) (T)
• Matilda (Harry Styles) (T)
• Move Me (Charli XCX) (T)
• Too Bad (King Princess) (S)
• Vicious (Sabrina Carpenter) (S)
• Cozy (Beyoncé) (T)
• Ex For A Reason (Summer Walker With JT From City Girls) (T)
• Good Love (City Girls Featuring Usher) (S)
• Iykyk (Lil Durk Featuring Ella Mai & A Boogie Wit Da Hoodie) (T)
• Lobby (Anitta & Missy Elliott) (S)
• Ride For You (Meek Mill Featuring Kehlani) (T)
• Sweetest Pie (Megan Thee Stallion & Dua Lipa) (S)
• Tangerine (Kehlani) (T)
• Throw It Away (Summer Walker) (T)
• Boyfriends (Harry Styles) (T)
• Can I Get It (Adele) (T)
• Careless (FKA Twigs Featuring Daniel Caesar) (T)
• C’mon Baby Cry (Orville Peck) (T)
• Dotted Lines (King Princess) (T)
• Let You Go (Diplo & TSHA) (S)
• No Good Reason (Omar Apollo) (T)
• Thank You Song (FKA Twigs) (T)
• To Be Loved (Adele) (T)
• Break My Soul (Beyoncé) (S)
• Church Girl (Beyoncé) (T)
• Energy (Beyoncé) (T)
• I’m That Girl (Beyoncé) (T)
• Mercedes (Brent Faiyaz) (S)
• Rock N Roll (Pusha T Featuring Kanye West and Kid Cudi) (T)
• Rolling Stone (Brent Faiyaz) (T)
• Summer Renaissance (Beyoncé) (T)
• Thique (Beyoncé) (T)
• Background Music (Maren Morris) (T)
• Feed (Demi Lovato) (T)
• Humble Quest (Maren Morris) (T)
• Pain (Ingrid Andress) (T)
• 29 (Demi Lovato) (T)
(An Engineer’s Award. (Artists names appear in parentheses.))
Yonatan (Yoni) Ayal, Jock Nowell-Usticke, Maxwell Byrne, Patrick Liney, Tim Nelson, George Nicholas, Aidan Peterson, Pierre Luc Rioux, Ike Schultz, Ryan Schwabe & Rutger Van Woudenberg, engineers; Ryan Schwabe, mastering engineer (Baynk)
Daniel Farris, Tiffany Gouché, Qmillion, Musiq Soulchild, Reginald Nicholas, Q-Tip, Amir Sulaiman, Michael Law Thomas & Jon Zacks, engineers; Chris Athens, mastering engineer (Robert Glasper)
Dave Cerminara & Jonathan Wilson, engineers; Adam Ayan, mastering engineer (Father John Misty)
Jeremy Hatcher, Oli Jacobs, Nick Lobel, Mark “Spike” Stent & Sammy Witte, engineers; Randy Merrill, mastering engineer (Harry Styles)
Jon McMullen, Joshua Mobaraki, Alan Moulder & Alexis Smith, engineers; Matt Colton, mastering engineer (Wet Leg)
(A Producer’s Award. (Artists names appear in parentheses.))
• All Too Well (10 Minute Version) (Taylor’s Version) (From The Vault) (Taylor Swift) (T)
• Dance Fever (Florence + The Machine) (A)
• I Still Believe (Diana Ross) (T)
• Minions: The Rise Of Gru (Various Artists) (A)
• Part Of The Band (The 1975) (S)
• Dropout Boogie (The Black Keys) (A)
• El Bueno Y El Malo (Hermanos Gutiérrez) (T)
• Nightmare Daydream (The Velveteers) (A)
• Rich White Honky Blues (Hank Williams Jr.) (A)
• Something Borrowed, Something New: A Tribute To John Anderson (Various Artists) (A)
• Strange Time To Be Alive (Early James) (A)
• Sweet Unknown (Ceramic Animal) (A)
• Tres Hermanos (Hermanos Gutiérrez) (T)
• Young Blood (Marcus King) (A)
• Chronicles (Cordae Featuring H.E.R. & Lil Durk) (T)
• Churchill Downs (Jack Harlow Featuring Drake) (T)
• Heated (Beyoncé) (T)
• Mafia (Travis Scott) (S)
• N95 (Kendrick Lamar) (T)
• Nail Tech (Jack Harlow) (T)
• Not Another Love Song (Album Version) (Ella Mai) (T)
• Scarred (Giveon) (T)
• Silent Hill (Kendrick Lamar Featuring Kodak Black) (T)
• Buttons (Steve Lacy) (T)
• Count Me Out (Kendrick Lamar) (T)
• Die Hard (Kendrick Lamar) (T)
• DJ Quik (Vince Staples) (T)
• Father Time (Kendrick Lamar Featuring Sampha) (T)
• Give You The World (Steve Lacy) (T)
• Mercury (Steve Lacy) (T)
• Mirror (Kendrick Lamar) (T)
• Rich Spirit (Kendrick Lamar) (T)
Dernst “D’mile” Emile II
• Candydrip (Lucky Daye) (A)
• An Evening With Silk Sonic (Bruno Mars, Anderson .Paak And Silk Sonic) (A)
• Good Morning Gorgeous (Mary J. Blige) (S)
• Sometimes I Feel Like A Motherless Child (Jazmine Sullivan) (S)
(A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.)
About Damn Time (Purple Disco Machine Remix) Purple Disco Machine, remixer (Lizzo)
BREAK MY SOUL (Terry Hunter Remix) Terry Hunter, remixer (Beyoncé)
Easy Lover (Four Tet Remix) Four Tet, remixer (Ellie Goulding)
Slow Song (Paul Woolford Remix)
Paul Woolford, remixer (The Knocks & Dragonette)
Too Late Now (Soulwax Remix)
Soulwax, remixers (Wet Leg)
(For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned downloadonly/streaming-only copies and must provide a new immersive mix of four or more channels. Award to the immersive mix engineer, immersive producer (if any) and immersive mastering engineer (if any).)
Jaycen Joshua & Mike Seaberg, immersive mix engineers; Jaycen Joshua & Mike Seaberg, immersive mastering engineers (Christina Aguilera)
Eric Schilling, immersive mix engineer; Stewart Copeland, Ricky Kej & Herbert Waltl, immersive producers (Stewart Copeland & Ricky Kej)
Memories...Do Not Open
Mike Piacentini, immersive mix engineer; Mike Piacentini, immersive mastering engineer; Adam Alpert, Alex Pall, Jordan Stilwell & Andrew Taggart, immersive producers (The Chainsmokers)
Picturing The Invisible - Focus 1
Jim Anderson, immersive mix engineer; Morten Lindberg & Ulrike Schwarz, immersive mastering engineers; Jane Ira Bloom & Ulrike Schwarz, immersive producers (Jane Ira Bloom)
Tuvayhun — Beatitudes
For A Wounded World Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Nidarosdomens Jentekor & Trondheimsolistene)
Production 80 BEST ENGINEERED ALBUM, CLASSICAL
(An Engineer’s Award. (Artist names appear in parentheses.))
Bates: Philharmonia Fantastique - The Making Of The Orchestra Shawn Murphy, Charlie Post & Gary Rydstrom, engineers; Michael Romanowski, mastering engineer (Edwin Outwater & Chicago Symphony Orchestra)
Beethoven: Symphony No. 6; Stucky: Silent Spring Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Perspectives
Mark Alletag, Jonathan Lackey, Bill Maylone & Dan Nichols, engineers; Joe Lambert, mastering engineer (Third Coast Percussion)
Tuvayhun - Beatitudes
For A Wounded World Morten Lindberg, engineer; Morten Lindberg, mastering engineer (Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene)
Williams: Violin Concerto No. 2 & Selected Film Themes
Bernhard Güttler, Shawn Murphy & Nick Squire, engineers; Christoph Stickel, mastering engineer (Anne-Sophie Mutter, John Williams & Boston Symphony Orchestra)
(A Producer’s Award. (Artist names appear in parentheses.))
• Aspire (Seunghee Lee, JP Jofre, Enrico Fagone & London Symphony Orchestra) (A)
• Cooper: Continuum (Jessica Cottis, Adjoah Andoh, Clio Gould & The Oculus Ensemble) (A)
• Muse (Sheku Kanneh-Mason & Isata Kanneh-Mason) (A)
• Origins (Lucie Horsch) (A)
• Saudade (Plinio Fernandes) (A)
• Schubert: Winterreise (Benjamin Appl) (A)
• Secret Love Letters (Lisa Batiashvili, Yannik Nézet-Séguin & Philadelphia Orchestra) (A)
• Song (Sheku Kanneh-Mason) (A)
• Brahms & Berg: Violin Concertos (Christian Tetzlaff, Robin Ticciati & Deutsches SymphonieOrchester Berlin) (A)
• John Willams - The Berlin Concert (John Williams & Berliner Philharmoniker) (A)
• Mendelssohn: Piano Concertos (Lars Vogt & Orchestre De Chambre De Paris) (A)
• Mozart: Complete Piano Sonatas (Elisabeth Leonskaja) (A)
• Mozart Y Mambo: Cuban Dances (Sarah Willis, José Antonio Méndez Padrón & Havana Lyceum Orchestra) (A)
• As We Are (Julian Velasco) (A)
• Avant L’Orage - French String Trios (Black Oak Ensemble) (A)
• Gems From Armenia (Aznavoorian Duo) (A)
• Stephenson: Symphony No. 3, ‘Visions’ (Vladimir Kulenovic & Lake Forest Symphony) (A)
• Trios From Contemporary Chicago (Lincoln Trio) (A)
• When There Are No WordsRevolutionary Works For Oboe And Piano (Alex Klein & Phillip Bush) (A)
• Beethoven: The Last Sonatas (Gerardo Teissonnière) (A)
• Big Things (Icarus Quartet) (A)
• Perspectives (Third Coast Percussion) (A)
• Schnittke: Concerto For Piano And Strings; Prokofiev: Symphony No. 2 (Yefim Bronfman, Franz Welser-Möst & The Cleveland Orchestra) (A)
• Strauss: Three Tone Poems (Franz Welser-Möst & The Cleveland Orchestra) (A)
• Upon Further Reflection (John Wilson) (A)
• Akiho: Oculus (Various Artists) (A)
• Bach, C.P.E.: Sonatas & Rondos (Marc-André Hamelin) (A)
• Bolcom: The Complete Rags (Marc-André Hamelin) (A)
• Felix & Fanny Mendelssohn: String Quartets (Takács Quartet) (A)
• Huang Ruo’s A Dust In Time (Del Sol Quartet) (A)
• It Feels Like (Eunbi Kim) (A)
• León: Teclas De Mi Piano (Adam Kent) (A)
• Violin Odyssey (Itamar Zorman & Ieva Jokubaviciute) (A)
• Works By Florence Price, Jessie Montgomery, Valerie Coleman (Michael Repper & New York Youth Symphony) (A)
(Award to the Conductor and to the Orchestra.)
Adams, John Luther: Sila - The Breath Of The World Doug Perkins, conductor (The Crossing, JACK Quartet, Musicians Of The University Of Michigan Department Of Chamber Music & University Of Michigan Percussion Ensemble)
Dvořák: Symphonies Nos. 7-9 Gustavo Dudamel, conductor (Los Angeles Philharmonic)
Eastman: Stay On It Christopher Rountree, conductor (Wild Up)
John WilliamsThe Berlin Concert John Williams, conductor (Berliner Philharmoniker)
Works By Florence Price, Jessie Montgomery, Valerie Coleman Michael Repper, conductor (New York Youth Symphony)
(Award to the Conductor, Album Producer(s) and Principal Soloists, and to the Composer and Librettist (if applicable) of a world premiere Opera recording only.)
Aucoin: Eurydice
Yannick Nézet-Séguin, conductor; Barry Banks, Nathan Berg, Joshua Hopkins, Erin Morley & Jakub Józef Orliński; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Blanchard: Fire Shut Up In My Bones
Yannick Nézet-Séguin, conductor; Angel Blue, Will Liverman, Latonia Moore & Walter Russell III; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Davis: X - The Life And Times Of Malcolm X Gil Rose, conductor; Joshua Conyers, Ronnita Miller, Whitney Morrison, Victor Robertson & Davóne Tines; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
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(Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.)
Bach: St. John Passion John Eliot Gardiner, conductor (English Baroque Soloists; Monteverdi Choir)
Born Donald Nally, conductor (Dominic German, Maren Montalbano, Rebecca Myers & James Reese; The Crossing)
Verdi: RequiemThe Met Remembers 9/11 Yannick Nézet-Séguin, conductor; Donald Palumbo, chorus master (Michelle DeYoung, Eric Owens, Ailyn Pérez & Matthew Polenzani; The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
(For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.)
Beethoven: Complete String Quartets, Volume 2 - The Middle Quartets Dover Quartet
Musical Remembrances Neave Trio
Perspectives Third Coast Percussion
Shaw: Evergreen Attacca Quartet
What Is American PUBLIQuartet
(Award to the Instrumental Soloist(s) and to the Conductor when applicable.)
Abels: Isolation Variation Hilary Hahn
Bach: The Art Of Life Daniil Trifonov
Beethoven: Diabelli Variations Mitsuko Uchida
Letters For The Future Time For Three; Xian Zhang, conductor (The Philadelphia Orchestra)
A Night In Upper TownThe Music Of Zoran Krajacic Mak Grgić
(Award to the Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with greater than 50% playing time of new material.)
Eden Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
How Do I Find You Sasha Cooke, soloist; Kirill Kuzmin, pianist
Okpebholo: Lord, How Come Me Here? Will Liverman, soloist; Paul Sánchez, pianist (J’Nai Bridges & Caen Thomason-Redus)
Stranger - Works For Tenor By Nico Muhly Nicholas Phan, soloist (Eric Jacobsen; Brooklyn Rider & The Knights; Reginald Mobley)
Voice Of NatureThe Anthropocene Renée Fleming, soloist; Yannick Nézet-Séguin, pianist
(Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 50% playing time of the album, and to the Composer and Librettist (if applicable) with over 50% playing time of a world premiere recording only.)
Starr Parodi & Kitt Wakeley; Jeff Fair, Starr Parodi & Kitt Wakeley, producers
JP Jofre & Seunghee Lee; Enrico Fagone, conductor; Jonathan Allen, producer
A Concert For Ukraine Yannick Nézet-Séguin, conductor; David Frost, producer
The Lost Birds
Voces8; Barnaby Smith & Christopher Tin, conductors; Sean Patrick Flahaven & Christopher Tin, producers
(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: Ligneous Suite Andy Akiho, composer (Ian Rosenbaum & Dover Quartet)
Bermel: Intonations Derek Bermel, composer (Jack Quartet)
Gubaidulina: The Wrath Of God Sofia Gubaidulina, composer (Andris Nelsons & Gewandhausorchester)
Puts: Contact Kevin Puts, composer (Xian Zhang, Time for Three & The Philadelphia Orchestra)
Carlos Simon, composer; Marco Pavé, librettist (Carlos Simon, MK Zulu, Marco Pavé & Hub New Music)
(Award to the artist, video director and video producer.)
Xavier Dolan, video director; Xavier Dolan, Nancy Grant & Jannie McInnes, video producers
Yong Seok Choi, video director; Tiffany Suh, video producer
Doja Cat
Child., video director; Missy Galanida, Sam Houston, Michelle Larkin & Isaac Rice, video producers
The Heart Part 5 Kendrick Lamar Dave Free & Kendrick Lamar, video directors; Jason Baum & Jamie Rabineau, video producers
Tanu Muino, video director; Frank Borin, Ivanna Borin, Fred Bonham Carter, Alexa Haywood & Bryan Younce, video producers
Taylor Swift
Taylor Swift, video director; Saul Germaine, video producer
(For concert/performance films or music documentaries. Award to the artist, video director and video producer.)
Paul Dugdale, video director; Raj Kapoor & Ben Winston, video producers
Justin Bieber
Michael D. Ratner, video director; Kfir Goldberg, Andy Mininger, Michael D. Ratner & Scott Ratner, video producers
Billie Eilish Live At The O2 Billie Eilish
Sam Wrench, video director; Michelle An, Tom Colbourne, Chelsea Dodson & Billie Eilish, video producers
Motomami (Rosalía Tiktok Live Performance)
Rosalía Ferrán Echegaray, Rosalía Vila Tobella & Stillz, video directors; Karen Saurí Marchán & Christy Alcaraz Moyer, video producers
Frank Marshall & Ryan Suffern, video directors; Frank Marshall, Sean Stuart & Ryan Suffern, video producers
Daryl Hannah, video director; Gary Ward, video producer
A stellar entertainment experience awaits artists and fans at Yaamava’ Theater in Southern California, located only 60 miles from Los Angeles. Our Theater provides a best-in-class evening for fans to connect with top artists in an intimate setting. With just over 2500 seats, 9 luxurious suites, and state-of-the-art in-house audio and video, every act is one you won’t want to miss. See upcoming shows at YaamavaTheatre.com.
creators and professionals who became Recording Academy members last year, our most diverse class ever
of Recording Academy members who voted during the GRAMMY Awards process, ensuring that the GRAMMY remains music’s only peer-driven award Founding purpose of the Recording Academy and its affiliates: to serve music and all the people who make it
held with congressional offices for District Advocate Day where members directly advocated for better treatment and legal protections for music creators The number of Public Programs held by the GRAMMY Museum
Exhibits, featuring more than 300 artifacts, hosted by the GRAMMY Museum
The greatest storyteller music has ever seen once said, “La Di Da Di, we like to party. We don’t cause trouble. We don’t bother nobody.”
For decades, your words have moved us. Your words have inspired us. Your words have pushed the culture forward. Slick Rick The Ruler, thank you for your brilliance and creativity. Thank you for pushing us to dream bigger. Thank you for all that you have done for all of us. Much, Much Love!
GRAMMY® Nominated Poet
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.
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.
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.
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.
My Dear Brothers Ellis & Bobby:
Ellis: Man, I wish you were here to experience this moment, but knowing that you are receiving this honor posthumously simply proves how much of an impact you made on music and beyond. It’s impossible to sum up how incredible of a person we all knew you to be, but I know this award is a beautiful addition to a life well lived. Thank you for everything and we will miss you always!
Bobby: Congratulations my long-time brother! It’s no wonder why you are receiving this honor, because if anyone deserves it, you are undoubtedly at the top of the list. I hope that you soak up every drop of this award and know how special your contributions to music have been—incomparable, yet worthy of every ounce of emulation! Keep on keepin’ on and congratulations!
BY LILY MOAYERI
Ann & Nancy Wilson of Heart are verging on the half-century mark since they formed their groundbreaking group in 1974. Through five decades of changing musical eras, their impact has not waned. From the ’70s, when Ann set the blueprint for rock frontwomen and Nancy established her oft-imitated and never-quite-duplicated guitar playing style, through the ’80s when the band dominated MTV, to 2019 when the sisters spearheaded the all-female “Love Alive” tour, the Wilsons broke barriers as musicians, singers and songwriters.
The two started early in music. Nancy showed marked virtuosity on the acoustic guitar at 9 years old. Ann, four years her senior, was already singing in the style of blues greats — albeit filtered through rock and roll.
Their 1976 debut album, Dreamboat Annie, spawned the hits “Magic Man” and “Crazy on You,” which remain staples on classic rock radio. “Barracuda” from 1977’s Little Queen followed suit. Drawing from folk, hard rock and the daring to not be pigeonholed by their gender, the Wilsons were among the few women
granted authority on a rock stage dominated by men.
By the time the sisters glammed up and became MTV staples and chart-toppers in the mid-‘80s, they were proven songwriters and already a multiplatinum-selling band. It was the GRAMMYnominated Billboard No.1 album Heart that catapulted Ann and Nancy into the musical stratosphere. The album’s hits were ubiquitous, all cracking the Top 10. Its flagship song, “These Dreams”— sung by Nancy — hit No.1 on the Billboard Hot 100. A year later, the band snagged that position again with “Alone” from their album Bad Animals, and with it, two more GRAMMY nominations. They continued their GRAMMY nomination streak with 1990’s Brigade
Over the course of 16 studio albums, the pair have sold 35 million records and had seven Top 10 albums. Ann and Nancy also charted on the New York Times bestsellers list with their 2013 memoir, Kicking & Dreaming: A Story of Heart, Soul and Rock & Roll. Ann and Nancy individually extended their musical reach to the silver screen. Ann through her iconic voice on the unforgettable songs “Almost Paradise,” “Best Man in the World” and “Surrender
to Me” on
timeless films Footloose, The Golden Child and Tequila Sunrise, respectively. Nancy through her essential, awardwinning scores for the box office smashes Say Anything, Almost Famous and Vanilla Sky.
Their abilities have continuously attracted accomplished musicians of all genders who speak with reverence about their skills and consider performing alongside as a distinct privilege. Their songs have been sampled by the likes of Eminem, Lil Wayne, G-Eazy, and Nas.
No matter how much they accomplish, the need to create is ever present with the Wilson sisters. In the last couple of years, they have both released solo albums. Nancy with her first album of original material in 2021 with You and Me, and Ann in 2022 with her third solo album, Fierce Bliss.
Honors and accolades abound for Ann and Nancy: the ASCAP Pop Music Awards Founders Award, a star on the Hollywood Walk of Fame, induction into the Rock & Roll Hall of Fame. But they remain active. As Nancy said in her Rock Hall acceptance speech: “We’re not finished rocking just yet.”
Coran, Bruce, Charlie, Ashley and Andrew
CHARLOTTESVILLE, NEW YORK, ATLANTA, LONDON, LOS ANGELES, NASHVILLE, SEATTLE, BRISTOL
Whenever Bobby McFerrin sings, freedom reigns. It twists and shouts; caresses and soothes; howls and coruscates. After racking up 10 GRAMMY Awards and worldwide acclaim, McFerrin said this when the National Endowment for the Arts inducted him into its 2020 Jazz Masters class: “My pursuit of music has always been about freedom and joy.”
The son of two incredible singers, Sara Cooper (a former vocal professor at Fullerton College) and Robert McFerrin (an operatic baritone who was the first Black American man to sing at New York City’s Metropolitan Opera), McFerrin seemed destined to become a star. He sang in church choirs while growing up in Los Angeles. He studied music at California State University at Sacramento and Cerritos College in Norwalk, California. Afterward,
he played piano and organ with the Ice Follies and in pop bands. And in 1980, he toured with the iconic jazz singer, Jon Hendricks.
McFerrin was 31 years old when he released his debut LP in 1982. But his artistry sounded fresh and fully developed. He contorted his four-octave voice in an array of colors, textures and improvisational shapes, liberating the role of a jazz singer.
McFerrin’s reputation as an ingenious and fearless virtuoso grew. His 1984 sophomore LP, The Voice, marked the first time a jazz singer recorded an entire album without any accompaniment or overdubbing. In addition to showcasing marvelous interpretations of songs by James Brown and Billy Strayhorn, it also revealed McFerrin to be an engaging composer through such infectious songs as “The Jump,” and “I’m My Own Walkman.”
A year later, his guest appearance on “Another Night In Tunisia” from the Manhattan Transfer’s LP, Vocalese, earned McFerrin his first two GRAMMY Awards. The following year, he won a GRAMMY for Best Jazz Vocal Performance, Male for his stunning rendition of “Round Midnight,” featuring pianist Herbie Hancock from the movie soundtrack, Round Midnight. His collaboration with Hancock also garnered McFerrin another GRAMMY win in 1987 for Best Jazz Vocal Performance, Male for “What Is This Thing Called Love?” from the LP, The Other Side Of Round Midnight.
For all of McFerrin’s exhilarating virtuosity, he imbues it with vast emotional range, especially humor. He can infuse his improvisations with the madcap kinetic energy of a Tom and Jerry cartoon chase scene, then pull the amorous heartstrings with a tender ballad. Of course, the lyrics that McFerrin became most famous for are from his sanguine 1988 hit, “Don’t Worry Be Happy,” which catapulted him into superstardom. The song won three GRAMMY Awards — Song Of The Year, Record Of The Year and Best Pop Vocal Performance, Male.That enormous success didn’t impede McFerrin’s flair for adventure. He brought a quixotic spark to his records and projects that broke the conventions of jazz singing. He collaborated with classical music heavyweights such as cellist Yo-Yo Ma, pianist W.A. Mathieu and the St. Paul Chamber Orchestra; he has created elaborate vocal choirs such as 2010’s VOCAbuLarieS with composer Roger Treece; and delved deep into the Negro spiritual canon on his enthralling 2013 album, spirit you al
Nearly 40 years after winning his first GRAMMY, McFerrin’s continued boundless musicality is a true embodiment of artistic freedom.
production team of Brian and Eddie Holland and Lamont Dozier — had developed a nearly foolproof recipe for success that would shepherd the trio into the mainstream during a very divisive time: captivating three-part harmonies, glamorous styling, infectious melodies, and relatable, catchy lyrics.
As segregation nominally ended in 1964, the group began one of the most historic runs in pop-music history, releasing five consecutive No. 1 records from 1964–65: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” and “Back in My Arms Again.”
BY DESIREE BOWIEDuring times of significant cultural and political change, people often turn to music to process complicated feelings, briefly escape discomfort, or feel less alone. Sometimes, the music directly addresses social issues. Other times, it simply captures the spirit of the moment. Such was the case with the Supremes’ 1964 breakout single, “Where Did Our Love Go.” Released in 1964, two weeks before Lyndon B. Johnson signed the landmark Civil Rights Act into law, the single helped define the sound of young America, and more specifically, the sound of young Black America. “America was changing, and we were at the top of that change with
‘Where Did Our Love Go,’” Wilson said in a 2018 interview. “Martin Luther King was speaking about love, and so were we. It was a time when peace was needed; the civil rights movement was happening. The song … had a peaceful, soothing message, and it fit the times.”
But becoming the first all-female group to reach the top of the Billboard charts was only the beginning for Florence Ballard, Diana Ross and Mary Wilson of the Supremes — a trio who created the blueprint for future pop-R&B girl groups such as the Pointer Sisters, En Vogue, TLC, SWV, Destiny’s Child, and more.
A few years after signing with Motown Records in 1961, label chief Berry Gordy, the Supremes, and their songwriting/
The Supremes attracted listeners of all races with their simple message, catchy tunes, accessible choreography, and mesmerizing elegance, often playing to integrated audiences. Helping to unify a deeply divided America in the 1960s was a massive accomplishment in its own right, but their mere existence as a hitmaking trio of glamorous and talented Black female entertainers gave hope to a generation of young Black girls and women.
Today, you can hear the Supremes’ historic run of hits, including 12 total No. 1s, everywhere — streaming services, TV commercials, movies, and beyond — nearly 60 years later. The group’s impact is undeniable — their enchanting performances and melodic hits gave hope to the women of their time and paved the way for future generations of female entertainers in the industry. While the world has changed since “Where Did Our Love Go” was released in July 1962, Ballard, Ross and Wilson’s enduring message of hope continues to resonate as the fight for equality wages on.
According to the website WhoSampled, Slick Rick’s voice and music have been used more than 1,800 times, making him one of the most sampled hip-hop artists in history. Rick raps in a droll, leisurely cadence with a heavy British accent and an unforgettably nasal voice, and sometimes swerves into cartoony vocal tones. His classic single about a stick-up kid on the run, “Children’s Story,” swings between slapstick humor and unexpected tragedy. “Cops shot the kid, I can still hear him scream,” he raps. Then there’s “Hey Young World,” one of the most affecting and moving songs in the genre’s history, on which he dispenses wisdom to troubled youth with gentle yet firm verses. “Believe it or not, the Lord still shines on you.”
Born Ricky Walters in 1965 to a Jamaican family, he immigrated from London to the Bronx in 1976. His famed eyepatch is the result of a childhood accident. While attending Fiorella H. LaGuardia High School of Music & Art, he formed the Kangol Crew with Dana Dane.
Walters initially called himself Ricky D when he joined beatboxer and rapper Doug E. Fresh’s Get Fresh Crew in 1984. The group’s debut 12-inch, “The Show” b/w “LaDi-Da-Di,” was inescapable on Black music radio stations between 1985 and 1986. The single was eventually certified gold, a major accomplishment for a record that never cracked the Billboard Hot 100. Slick Rick signed with Def Jam as a solo artist and in 1988 released his debut masterwork, The Great Adventures Of Slick Rick, yielding breakout singles like “Children’s Story,” “Hey Young World” and “Teenage Love.”
BY MOSI REEVESFour decades after he dazzled hip-hop fans across the globe with “La-Di-Da-Di,” his witty and unapologetically raunchy solo showcase for Doug E. Fresh & the Get Fresh Crew, Slick Rick’s legacy as a masterful storyteller, pioneering melodic rapper, and style icon remains secure.
Slick Rick emerged during the early years of hip-hop’s vaunted golden age. He was a platinum-selling solo star in an era defined by world-conquering groups like Public Enemy and N.W.A. Just like his peers, Slick Rick created sounds mimicked in the decades since, whether it’s Snoop Dogg rewriting “La-Di-Da-Di” as “Lodi Dodi,” or Future, Young Thug and Lil Uzi Vert harmonizing in a flow reminiscent of Ricky D on Doug E. Fresh’s “The Show.”
At the height of his success, a dispute with a cousin led to violence and a prison sentence. Bailed out by Def Jam’s Russell Simmons, Rick recorded a second album, 1991’s The Ruler’s Back, highlighted by the rap hit “I Shouldn’t Have Done It” before being convicted and sentenced to years in prison. A third album, Behind Bars, was constructed from verses completed during furloughs and work-release programs. Its highlight is the title track, which boasts jazzy, contemplative production from Warren G and Rick’s softly poignant lyrics about life in the slammer.
Despite being a hip-hop elder statesman upon completion of his sentence, Slick Rick quickly appeared on Outkast’s “Da Art of Storytellin,’ Pt. 1.” A fourth album, 1999’s goldselling The Art of Storytelling, proved that interest in his work remained high. Unlike too many of his peers, Slick Rick has continued to score high-profile cameos in recent years, from JAY-Z’s hit “Girls, Girls, Girls” to collaborations with Mariah Carey, Mos Def, Black Eyed Peas, and Missy Elliott. His style seems ageless, and representative of a throughline between hip-hop’s mythic New York past and its global present.
You have put the work in, you have taken the creative risks, the musical risks, the fashion risks...in your own way and on your own terms - always with grace and style!
Your journey, while bumpy, has been beautiful and pure. Beautiful job sir. Your divine talent has changed the world infinitely....
I am super proud of you Mr. Walters!
With love, Your rib....
Mandy
Dear Slick Rick,
You are the consummate legend who can ignite a trend through your formidable lyrics and incredible style a poet who can personify a moment with a story, and with a sense of humor like no other.
You remain firm, creative and consistent. The orginator!
Thank you for allowing us to be a part of your journey.
Congratulations on your Lifetime Achievement Award.
Dwight, Jessica, Kerry, Julian, Tarrey, Byrdie, Harry, Steven, Jazz, Mike, Jacquie and Wendy
audiences while setting up an untenable paradox with which the band would ultimately have to wrestle. Their pop melodies played against guitar noise and boldly dynamic verse/chorus constructions led to unlikely chart and sales success. But that success fed their own backlash against the trappings of pop stardom, influenced in no small part by lead singer and songwriter Kurt Cobain’s drug addictions and mental illness. After Cobain’s suicide in 1994, Nirvana’s story would become tabloid fodder, but their legacy would prove out as instrumental in turning alternative rock into a ’90s phenomenon.
Cobain and bassist Krist Novoselic met while attending high school in the Seattle area. They kicked around for a few years under various band names and with a number of drummers. In 1989, their debut album Bleach hinted at how the noise, menace, melodies, and songcraft would distill into their fully formed sound just two years later. Drummer Dave Grohl would join permanently in 1990, and the band would sign with major label DGC for Nevermind, the breakthrough album that would set them on the course to unlikely superstardom. “Smells Like Teen Spirit” would become an MTV staple, ultimately affirmed in the pop-culture zeitgeist by a “Weird” Al Yankovic parody.
Their response to sudden fame was 1993’s follow-up In Utero, sometimes referred to as Cobain’s “suicide note,” a deliberately difficult and dour record whose attitude might have been best summed up by “Radio Friendly Unit Shifter,” on which Cobain sings “Use just once and destroy/ Invasion of our privacy.” Still, it was a stunning work of willful personal dissonance.
BY DAVID KONJOYANKurt Cobain, Dave Grohl and Krist Novoselic of Nirvana didn’t invent grunge, but they mainstreamed it in the early ’90s, arguably accidentally and maybe even regretfully. In the process, they almost overnight changed the tenor of rock from exuberant hair metal to a heavier, socially disaffected sound. They became the defining rock band of their era, but also the face of the many troubled musicians who emerged from the Northwest underground scene.
As a punk-rooted, pop-obsessed indie rock band that worshipped at the altar of metal progenitors Black Sabbath, Nirvana created a unique sound accessible to multiple
In April of 1994, Cobain was found dead from a self-inflicted gunshot wound. MTV Unplugged In New York would be released posthumously, winning a GRAMMY for Best Alternative Music Performance and clearly showing a band that was, like all great bands, growing and redefining its sound. Cobain’s suicide followed the overdose death of Mother Love Bone’s Andrew Wood and would be followed years later by fellow Seattle-scene rockers Layne Staley of Alice In Chains and Soundgarden’s Chris Cornell, sadly, seemingly preordained finales for musicians who sang authentically about such real-world trauma as social alienation, abuse, isolation, and addiction. Seldom has a genre of music so deeply reflected the raw emotions and turmoil of the artists.
In 2005, the Library of Congress added Nevermind to its National Recording Registry of culturally important recordings. Pitchfork called Nirvana “the greatest and most legendary band of the 1990s.” The band were first-ballot inductees into the Rock & Roll Hall of Fame in 2014.
If the mark of greatness is that your art changes the medium, then Nirvana’s greatness is unassailable.
Sledge (“We Are Family”) and Diana Ross (“I’m Coming Out”), among others. By 1983, Rodgers had teamed with David Bowie to produce the massive and not coincidentally titled Let’s Dance. The album contemporized Bowie’s love of American R&B and Rodgers’ undeniable dance pedigree, and it topped charts around the world.
After that, Rodgers found himself behind the Board on some of the era’s signature records: Madonna’s Like A Virgin, Duran Duran’s “The Reflex,” and ending the decade with the B-52’s Cosmic Thing and the inescapable “Love Shack.”
The next decade held some dark notes. The Rodgers-produced Vaughan Brothers debut Family Style was released just one month after Stevie Ray’s death. In 1996, Edwards, Rodger’s constant collaborator and friend, died. Still, Rodgers powered on, scoring numerous films, and by the early 2000s had dived into video game soundtracks. In 2013, Daft Punk’s “Get Lucky,” which owed no small debt to CHIC’S sound, earned Rodgers his first GRAMMYs, including Record Of The Year.
BY DAVID KONJOYANEven in the company of those who have been honored with Lifetime Achievement Awards, the breadth of Nile Rodgers’ musical accomplishments is difficult to fathom. Over the course of a nearly 50-year career, he has lived a number of professional lives. And over the course of those professional lives, he’s lived a number of actual lives. His triumph over several serious health scares now seems like it was destined as he continues to positively impact the culture.
By 19, Rodgers was playing guitar in the Apollo Theater house band backing
the likes of Aretha Franklin, and in a Sesame Street touring show, where he met Bernard Edwards.
Soon, he and Edwards had conceived CHIC. The band would become one of the defining groups of the disco era. They struck gold with their first single, 1977’s “Dance, Dance, Dance (Yowsah, Yowsah, Yowsah),” and followed it up with two No. 1s, “Le Freak” in 1978 and “Good Times” in 1979. But by the early ’80s, disco was done, and it would have been fair to think it would take Rodgers’ career with it.
But all along, Rodgers and Edwards were writing and producing for other artists, including huge hits for Sister
Rodgers has also dedicated his time and resources to helping others, founding the We Are Family Foundation in the wake of the Sept. 11 attack to inspire and educate people about mutual respect, understanding and appreciation of cultural diversity. Rodgers has also served several terms as a Recording Academy Trustee.
In 2018, he co-founded Hipgnosis Song Fund with his manager Merck Mercuriadis, which has become a leader in acquiring and representing song rights, with the goal of not just profits, but putting the songwriter in a more equitable position in the industry.
Despite heart issues and cancer diagnoses over the years, Rodgers’ numerous incarnations in music give him a unique standing in the industry. And he’s universally appreciated for his humanity as much as his music.
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tell the story of her life — raw and uncut — at a time when the narrative of the Black female experience was absent from mainstream music.
In 1904, Pridgett met and married William “Pa” Rainey and became Ma Rainey, a play on her husband’s nickname. The pair would have success on the minstrel circuit and touring together as Rainey and Rainey, Assassinators of the Blues until their divorce in 1916. Rainey then set out to craft a stage persona with bulletproof confidence and swagger.
Rainey began penning original 12-bar blues — a rare occurrence in an era when most acts sang covers. Her songs contained unconventional themes about lust, infidelity, backstabbing, drinking, and vengeance — no-holds-barred music about Black female autonomy.
Also at the vanguard of style, Rainey would don ostrich feathers, sequined dresses, wigs, heavy stage makeup, and flash her gold teeth while moaning original songs about sexual freedom and love.
However, sex wasn’t the only theme of Rainey’s music. Her song “Black Eye Blues” centers on a woman threatening vengeance on an abusive lover — a predecessor to Ella Fitzgerald and Louis Jordan’s “Stone Cold Dead In The Market (He Had It Coming)” and the Chicks’ “Goodbye Earl.”
Rainey’s trailblazing didn’t end there. The early feminist icon was among the first female artists to embrace her reported queerness in her music. Academic and political activist Angela Davis has called her 1928 song “Prove It On Me” — which centers on a masculine woman who dresses in men’s clothing and dates women — “a cultural precursor to the lesbian cultural movement of the 1970s which began to crystallize around the performance and recording of lesbian-affirming songs.”
BY DESIREE BOWIEMore than a century after she first discovered the blues while touring, “mother of the blues” Ma Rainey’s impact and influence is still being reckoned with, as the 2020 Viola Davis film Ma Rainey’s Black Bottom attests. Rainey’s authenticity, booming voice, mesmerizing stage persona, and transgressive lyrics opened the door for the female artists who followed in her footsteps, from Janis Joplin to Megan Thee Stallion.
Born in Columbus, Georgia, in the mid-1880s, Gertrude Pridgett began singing in church at the age of 12. After honing her skills, she began performing in a local stage show as a teen before touring the American South with various Black vaudeville acts. In 1902, Rainey came across a young woman singing a somber heartbreak song. She added it to her performances, and, according to legend, when asked to describe the song, Rainey coined it “the blues.” The genre presented the audacious performer with the opportunity to
Rainey’s songs, many of which she wrote, have become lasting and often-covered hallmarks of the blues: “See See Rider Blues,” “Moonshine Blues,” “Prove It On Me,” and “BoWeavil Blues,” among others.
Rainey made an indelible impact on mainstream music and the culture at-large. She mentored Bessie Smith to greatness and inspired Billie Holiday, Dinah Washington and Louis Armstrong (whom she once toured and recorded with). Poets of the Harlem Renaissance, such as Langston Hughes and Sterling Allen Brown, featured her in their collections, while literary great Alice Walker looked to her songwriting for inspiration for The Color Purple.
While Rainey’s impact was not widely celebrated in her lifetime, she began receiving her flowers a few decades after her death, with inductions into the Blues Foundation Hall of Fame and Rock & Roll Hall of Fame as well as numerous books and essays about her life and legacy. The iconic blues pioneer’s radical embrace of sexuality and candor in her music continues to ripple through the sounds of the Black female pop acts that succeeded her.
for 25 years — and remembers astonishingly seat-of-his-pants gigs.
“He would just start playing a song, and I would have to figure out what it was — where the bridge goes, and if there is a bridge, what it does,” Douget recalls. “And then he would look at me with a little nod: ‘OK, now you play over it.’”
Rutz says Marsalis’ teaching style was commensurately formal and informal. He wasn’t stingy with sharing his encyclopedic knowledge of music. “He was incredibly erudite and astute,” Rutz says. “For such a serious and masterful musician, he was fun to be around.”
BY MORGAN ENOSWhen saxophonist, clarinetist and composer John Ellis enrolled in the University of New Orleans in 1993, it was clear the place would be a breath of fresh air. Unlike “factorytype schools,” such as Berklee and University of North Texas, UNO was intimate and peer-to-peer.
His mentors would be none other than Harold Battiste — the esteemed musician, composer and arranger — and Ellis Marsalis, the pianist, educator and patriarch of a jazz dynasty (which includes trumpeter Wynton, saxophonist Branford, trumpeter Delfeayo, and drummer/vibraphonist Jason).
Almost immediately, Ellis realized he wasn’t in for a conventional jazz education. It would be far richer than that. “[Marsalis’] approach was kind of Socratic. There was a lot of questioning,” Ellis reflects in 2022. “Like a guide, he’d show you, and then encourage you to think for yourself.”
He’s not alone in this perception. Although bassist, composer and educator Roland Guerin didn’t study with him per se — he studied with Battiste and later played in Marsalis’ trio —
but Marsalis’ keen sense of inquiry outside the classroom still radiated.
“A lot of times, it wasn’t flat-out information that had a single purpose to it,” Guerin continues. “A lot of the things he shared were multipurpose. It was a reflection of life.”
Indeed, Marsalis’ techniques as a musician and educator weren’t simply a means to an end. Almost three years after Marsalis’ passing at 85, it’s abundantly clear he didn’t just teach us how to play, or listen. He taught us how to live.
What lessons for life did Marsalis impart through his musical instruction? One was staying flexible. Yes, Marsalis was authoritative, and he didn’t suffer foolishness gladly. But in his music-making, he was dynamic, loose and fun-loving, believing — in Ellis’ words — that “truth could come from unlikely sources.”
“He was always attuned to youth and attuned to learning, and considerate of that,” recalls trumpeter and composer Markus Rutz, who studied under Marsalis in the 1990s.
This also tracks with the experiences of saxophonist and educator Derek Douget. Douget played with his mentor
At all times, Marsalis cut to the heart of the matter. “He was a curious person, in terms of he enjoyed getting to the root of whatever situation,” Guerin says of his mentor. “He would ask a question to expose and spark the thought of the root of whatever it was.”
Oftentimes, that question was simple yet incisive: “What did you hear?”
“He taught them how to think and hear music and develop their own sort of dialogue,” says Sascha Just, who directed a documentary about Marsalis. “He helped them to grow into independent thinkers.”
Marsalis filtered these characteristics through an uncanny self-possession. In 2004, Wynton said this of his father: “The house could fall down and everyone would be running around, and he would still be sitting in his same chair.”
And just as Marsalis stood on his own two feet in the classroom and onstage, he instilled this sense of integrity in his six sons — both the musicians and nonmusicians. “It makes a lot of sense that his sons became such expert debaters,” Ellis says. “He was pressing them to defend their ideas.”
Marsalis’ loss reverberates through the jazz world, but he lives on through his progeny and students.
“I think that’s the biggest gift you can give a student,” Patscha says. “How to keep on going even after your journey with your teacher is over.”
A country music aficionado, fiddler and banker, Jim Stewart somehow became the unlikely incubator of Southern soul music.
Stewart was the founder of Memphis, Tennessee’s Satellite Records. That might not ring bells, but when a California
label of the same name sued, Stewart changed his company’s name to Stax, a label that would come to define the R&B sound of the South in the ’60s and early ’70s.
Like Motown, its contemporary soul-music competitor in Detroit, Stax was a self-contained unit with a stable of songwriters, a house band, and its own, unique sounding studio. Stewart built the label by investing in the amazing, racially integrated core of musicians, producers and executives with which he surrounded himself, and by turning that racially integrated core into a strength in the heart of a racially divided city.
Stewart initially launched Satellite in 1957 to record country and rockabilly sides. Soon, he was introduced to R&B by staff producer Chips Moman, who would later go on to found American Sound Studios and produce hits with Elvis Presley. Stewart said discovering Black music was “like a blind man who suddenly gained his sight.” From that point on, nearly all of Stax’s output was R&B, including major hits from its remarkable stable of artists, from Booker T. & the M.G.’s and Carla and Rufus Thomas, to Otis Redding, Sam & Dave, the Staples Singers, the Dramatics, and others. The label’s unique studio, a converted theater with its original sloped floor that gave recordings a thick, bass-heavy sound, helped create the gritty sound of Southern R&B.
Along the way, Stewart cultivated a legendary team, many of whom have been recognized by Recording Academy Lifetime Achievement or Trustees Awards themselves. Perhaps most notable was his sister and early investor Estelle Axton, a key figure in the company’s success. As the proprietor of the record shop attached to Stax’s studio, her love of music and interaction with the community of young music fans led to the discovery of nascent talent and kept the label’s finger on the pulse of the market. In addition, there was interracial house band Booker T. & the M.G.’s (primarily Booker T. Jones, Steve Cropper, Donald “Duck” Dunn, Lewie Steinberg, and Al Jackson Jr. Cropper would serve as a primary A&R man and songwriter); house writers Isaac Hayes and David Porter; the Memphis Horns (Wayne Jackson and Andrew Love); Al Bell, who would later head the Motown Records Group; and, of course, Moman.
Like many small labels, Stax was obliged to turn to larger companies for distribution. It found a home in the early ’60s with the like-minded Atlantic Records, but when Atlantic was sold to Warner Brothers in the late ’60s, it began a cascade of financial issues that Stax ultimately couldn’t surmount. But by then, the legacy of this label that changed soul music, and the man who launched it, was firmly set.
Henry Diltz’s famed career as a rock photographer was a bit of an accident — a happy one, to be sure. Diltz started as a musician, a cofounder of the Modern Folk Quartet. The group’s primary lasting recorded legacy was “This Could Be The Night,” a Phil Spector-produced track with a psychedelic Beach Boys vibe from 1966 that was never officially released as Spector began to withdraw from the music business.
The group broke up shortly thereafter, but while all the members went on to other roles in music, it’s Diltz’s career as a photographer that most stands out. As a member of MFQ, Diltz found himself in L.A. hanging out in the ’60s Laurel Canyon scene. He befriended everyone from the Monkees’ Micky Dolenz to Mama Cass; Crosby, Stills & Nash; Joni Mitchell and others.
While on tour, the members of MFQ bought cameras to alleviate road boredom. For Diltz, it would have
a gravitational pull. Soon, he was taking naturalistic photos of his Laurel Canyon friends. The photographernext-door vibe of Diltz’s pictures resonated with the artists who keyed into a feel that matched the authenticity of their music better than canned publicity shots.
It wasn’t long before Diltz’s unstaged photos were gracing album covers for the Doors’ Morrison Hotel, CSN’s debut and James Taylor’s Sweet Baby James. He teamed with artist and designer Gary Burden to create hundreds of now iconic album covers.
In 1969, Diltz was hired as the official photographer for the Woodstock and Monterey Pop festivals. But like so much of how rock and roll business was done at the time, for the former, “hired” equaled Woodstock lighting designer Chip Monck calling Diltz and saying “Henry, we’re gonna have a big show. You should come down.”
Whether it’s Keith Richards with a bottle of Jack at the airport; Joni Mitchell, David Crosby and Eric
Clapton in a Laurel Canyon song circle; Jackson Browne perched barefoot in the driver’s seat of a Chevy Bel Air; or Janis Joplin dancing at Woodstock, Diltz’s photos captured an era in rock with the same sense of artistic adventure and earthy naturalism as the music. Certainly, without Diltz’s presence as part of the Laurel Canyon tribe, one of the most fertile periods of music in Los Angeles wouldn’t be nearly as richly documented.
Later, Diltz would help his contemporary rock photographers get the respect, acknowledgment and compensation that was likely scarce in their most prominent years by co-founding the Morrison Hotel Gallery, which represents the work of dozens of photographers with fine-art prints. His work has been featured in numerous books, he’s a sought-after commentator on the music scene of the ’60s and ’70s, and his photos remain in demand by those who continue to tell the stories of a golden era in rock.
catalyze collaboration and discussion among members and advance the state of the art. In addition, the AES E-Library holds more than 20,000 papers, dating from the origins of stereo recording to present-day advances in spatial audio, signal processing and audio networking.
Through its annual convention and the topical conferences it hosts around the world, AES has brought together generations of audio professionals to share knowledge and network with their industry peers and mentors. By creating this platform for connection, AES has fostered innumerable relationships and helped facilitate technological advancements in audio.
BY JIM BEAUGEZMost legacies are difficult to quantify — regardless of how important they may be — simply because they’re only vital to a small group of people. Fewer have impacted humanity on a broader scale. And fewer still can lay claim to altering how we perceive the world around us.
It’s easy to appreciate why the Audio Engineering Society belongs to the latter group.
Founded in 1948 by an astute cadre of audio professionals, AES has shepherded the industry from the nascent beginnings of multitrack recording through the advent and maturation of digital audio creation and reproduction. In doing so, the organization has fully expressed its mission “to promote the science and practice of audio by bringing leading people and ideas together.”
The power of music and sound are universal, and for most, an
innately human experience. As an organization of professionals aligned by their love of audio, AES has helped countless people understand and enjoy that experience. Its membership includes 12,000-plus people working in the audio and aligned industries, all tasked with enhancing our perception of sound in different ways.
By establishing the AES Standards Committee in 1977, the society standardized the format for digital audio recording and reproduction, including standards for sampling frequency and synchronization that are still in use today. The committee’s working group now includes 1,200 members covering the fields of digital audio, acoustics, interconnections, and metadata for audio.
AES publishes its findings and papers 10 times a year in the Journal of the Audio Engineering Society, a peer-reviewed periodical devoted to audio technology, which serves to
But the organization’s members are also caretakers of this long legacy of knowledge. To date, AES staff have curated hundreds of oral histories from its members, as well as covered a wealth of topics through its AES Live: Videos series, including acoustics, audio for cinema and theater, audio over IP, broadcast, electronic instrument design, live sound, networked audio, signal processing, and much more.
As ever, the organization is also focused on the future of audio, its applications and its practitioners. Through the AES Educational Foundation, the organization has awarded hundreds of grants to graduate students to further their educations and foster career development.
As new areas emerge — such as podcasting and content creation, machine learning and artificial intelligence, gaming audio, and immersive and spatial audio — AES continues to represent the music, sound and audio industries with thought leadership, technology development and the standards that ensure the magic of music continues for future generations.
and undetectable pitch correction, made it an instant studio essential.
At first, Auto-Tune was a closely held studio secret, employed to discreetly polish vocal tracks. But everything changed in 1998 when Cher’s blockbuster hit “Believe,” with its deliberately unsubtle pitch-processing effect, brought the “Auto-Tune sound” into the public consciousness — the singer’s glitchy vocal glides showcasing the technology’s capability as a creative tool with vast potential. For the first time since the vocoder, a studio effect was defining a new vocal sound. Fans loved it, and artists in every genre started asking engineers for the “Cher effect.”
BY SARAH JONESWhen Dr. Andy Hildebrand invented Auto-Tune pitch correction technology 25 years ago, he helped to redefine the sound of modern music in ways that even he couldn’t have imagined. Auto-Tune has grown from a corrective device into a creative effect that has evolved with the decades — one that, for many, signals the sound of contemporary pop.
The tool that transformed the vocal production landscape emerged from unlikely beginnings: seismic science. In the late ’80s, Hildebrand, a geophysical engineer and mathematician, left a lucrative career pioneering 3-D seismic-mapping technologies in the oil industry to go to music school. At Rice University, the accomplished flautist focused on composing with synthesizers, but grew dissatisfied with the unnatural sounds of digitized instruments. So, he began writing his own audio-
processing algorithms, applying digital signal processing technology he developed in the geophysical industry.
Hildebrand was on to something, and he knew it. In 1990 he founded Jupiter Systems — which would become Antares Audio Technologies — to develop his own instrumentsampling software.
Hildebrand had another breakthrough five years later. Lunching with friends at a NAMM conference, always eager for a challenge, he posed a halfserious question: “What needs to be invented?” One woman joked, “Why don’t you make a box that lets me sing in tune?” An idea took root.
He realized he could apply his sound-based geophysical algorithms to pitch processing, and in the spring of 1997, Antares released the first version of Auto-Tune. News of the groundbreaking technology spread through the music industry like wildfire. Auto-Tune’s efficiency, ease of use, and most importantly, its natural
Over the next decade, the use of Auto-Tune rocketed. It would shape the bold new sounds of landmark albums, from Daft Punk’s Random Access Memories, which spawned the robo-disco smash “One More Time,” to Lil Wayne’s Tha Carter III. The unmistakable “T-Pain effect” became synonymous with modern hip-hop. Auto-Tune, coupled with the creativity of visionary artists, blazed the way for new rap and hip-hop sounds that would be exponentially replicated and reconfigured in a constellation of musical styles.
Ever since Andy Hildebrand’s imagination brought us Auto-Tune, what was once behind-the-scenes is now center stage, with artists as diverse as Post Malone, Radiohead and Lady Gaga tapping Auto-Tune technology to sculpt their vocal sounds, both live and in the studio.
“Dr. Andy” left the industry long ago, but his impact endures. Few technology inventions have shaped the musical zeitgeist so profoundly. Like the electric guitar, the multitrack recorder, and the sampler, Auto-Tune and the work of Andy Hildebrand are forever imprinted on the way people make and enjoy music.
mouth, we’re not just hearing. We can see the music in front of us, and we’re reading it and we hear it, but can you literally feel it?”
Kinesthetic movement is key to Dawson’s teaching methods. She encourages her students to channel their energy and passions into their singing, and to move in ways that help express their voices. These movements also help establish timing and rhythm, and Dawson notes a meditative quality to the movements that is heightened by the hand instruments they use.
“I’m used to the harp being on the entire body with the sound waves going into the body and to the central nervous system,” she says. “There’s a healing and a calming process that happens with the harp. Handbells and hand chimes have that same pure tone and actually help calm the spirit.”
For 15 years, Dawson has taught varsity chorus, handbells and piano at the Dallas-area city’s high school, while also overseeing the choral programs at the district’s middle schools to ensure the students are on track to perform at the high school level.
Dawson grew up in Detroit surrounded by a musical family. When her father put her on piano at age 7, she had already been playing harp for two years thanks to instruction from her godsister, the late jazz harpist Dorothy Ashby. In high school, she played clarinet in the school band, and majored in voice with a harp minor in college.
Although music had a large presence in her life, Dawson never planned to teach. She had an administrative job in the private sector she enjoyed when a friend asked her to help with a choral class. The first time she stood in front of the class, she knew she had found her calling. “I walked in the first day and said, ‘Oh my God, what have I been doing all my life? I’ve been in the wrong career.’ And I fell in love with teaching choral music.”
BY JIM BEAUGEZFor Pamela Dawson, the recipient of the 2023 Music Educator Award, making music isn’t just about creating sound waves — it’s about how the movements a person makes can affect the sounds they create. As director of choral music at DeSoto High School in DeSoto, Texas, she uses kinesthesia to help her students find their own voices.
“With choral music, it’s all about interpretation,” Dawson says. “What does each word mean? What does each note mean? We use the whole body; we’re not just using our
Dawson has worked extensively with the Texas Music Educators Association and has served as chair of the DeSoto Arts Commission, where she helped organize music festivals and events that have often included her students. In 2022, she was inducted into the DeSoto Independent School District Hall of Honor.
Dawson’s students have gone on to study music at prestigious schools such as Berklee College of Music, and to successful careers in music in Broadway productions. But her true success as a teacher, she says, is helping students discover the music inside of them — and discovering ways to incorporate it into their lives and careers.
“Music is a passion,” she says. “If you have music, you can’t run away from it. You can’t hide.”
Nominees at the 65th Annual GRAMMY Awards: Amy Allen, Nija Charles, Tobias Jesso Jr., The-Dream, Laura Veltz
This Category recognizes the written excellence, profession and art of songwriting honoring the most prolific non-performing and non-producing songwriters for their body of new work released during an eligibility year.
Nominees at the 65th Annual GRAMMY Awards: “There’d Better Be A Mirrorball” by Arctic Monkeys; “Certainty” by Big Thief; “King” by Florence + The Machine; “Chaise Longue” by Wet Leg; and “Spitting Off The Edge Of The World” by Yeah Yeah Yeahs featuring Perfume Genius
Encompassing tracks and singles, this Category recognizes the best recordings in an Alternative Performance by a solo artist, collaborating artists, established duo, or established group.
Nominees at the 65th Annual GRAMMY Awards: Black Men Are Precious by Ethelbert Miller; Call Us What We Carry: Poems by Amanda Gorman; Hiding In Plain View by Malcolm-Jamal Warner; The Poet Who Sat By The Door by J. Ivy; and You Will Be Someone’s Ancestor. Act Accordingly. By Amir Sulaiman
An album Category that recognizes excellence in spoken word albums specific to the performance of poetry with or without music.
In 2022, the Recording Academy furthered its mission to elevate all music spheres with a thrilling development: The 65th Annual GRAMMY Awards would feature five all-new Categories, as well as a new Special Merit Award and a number of Category amendments.
The new Categories include: Songwriter Of The Year, Non-Classical; Best Alternative Music Performance; Best
Americana Performance; Best Score Soundtrack For Video Games And Other Interactive Media; and Best Spoken Word Poetry Album. Additionally, the new Special Merit Award is Best Song For Social Change.
Learn more about each of the new Categories for the 65th Annual GRAMMY Awards, as well as the new Special Merit Award.
Nominees at the 65th Annual GRAMMY Awards: “Silver Moon [A Tribute To Michael Nesmith]” by Eric Alexandrakis; “There You Go Again” by Asleep At The Wheel featuring Lyle Lovett; “The Message” by Blind Boys Of Alabama featuring Black Violin; “You And Me On The Rock” by Brandi Carlile Featuring Lucius; and “Made Up Mind” by Bonnie Raitt
A track and single Category that recognizes artistic excellence in an Americana performance by a solo artist, collaborating artists, established duo, or established group.
Nominees at the 65th Annual GRAMMY Awards: Aliens: Fireteam Elite, Austin Wintory, composer; Assassin’s Creed Valhalla: Dawn Of Ragnarök, Stephanie Economou, composer; Call Of Duty®: Vanguard, Bear McCreary, composer; Marvel’s Guardians Of The Galaxy, Richard Jacques, composer; and Old World, Christopher Tin, composer
Recognizes excellence in score soundtrack albums composed predominantly of original scores and created specifically for, or as a companion to, a current video game or other interactive media released within the qualification period.
Honoree to be announced ahead of the 65th Annual GRAMMY Awards
This Special Merit Award will be determined by a Blue Ribbon Committee and ratified by the Recording Academy Board of Trustees. Submissions must contain lyrical content that addresses a timely social issue and promotes understanding, peacebuilding and empathy.
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I t’s virtually impossible to imagine a world without Motown Records. None of their sweet soul music blasting from car windows and storefronts. No Supremes or Temptations or Stevie Wonder providing the rhythms for TV and film. No Marvin Gaye’s “Let’s Get it On,” or Martha and the Vandellas’ “Dancing in the Street,” or Smokey Robinson and the Miracles’ “Tracks of My Tears.” What kind of world would that be?
For Motown’s existence, boom and continued success, one indomitable, canny visionary can take the lion’s share of credit: Berry Gordy, who founded the Detroit label back in 1959. Equally as influential to Motown’s legacy is Smokey Robinson — Gordy’s creative and business partner, and best friend of more than 65 years.
Both loom so large in music, and their stories are so intertwined, that picking just one as the MusiCares Person Of The Year — an honor previously bestowed on Joni Mitchell, Quincy Jones, Aerosmith, and other luminaries — would be a half-measure. For the first time, MusiCares has expanded the honor to include two Persons Of The Year of equal and parallel esteem.
Berry Gordy and Smokey Robinson fulfill the Person Of The Year dictum to a tee: Together and apart, their creative accomplishments and philanthropic work have few equivalents. And prior to the 65th Annual GRAMMY Awards, which occur Sunday, Feb. 5, 2023, at the Crypto.com Arena in Los Angeles, MusiCares will throw a gala to remember, to celebrate the two men while raising funds toward the music charity’s programs and services that assist the music community all year long.
“I am grateful to be included in MusiCares’ remarkable history of music icons. The work they do is so critical to the well-being of our music community, and I look forward to a most exciting evening,” Gordy said in a statement. Added Robinson: “I am honored that they have chosen me and my best friend and Motown founder Berry Gordy to share this beautiful honor and celebrate with you all together.”
Motown has influenced all sorts of music and inspired generations of artists throughout the decades, and Robinson’s unforgettable recordings, like “Shop Around,” “I Second That Emotion” and “Mickey’s Monkey,” are forever beloved. Not only
via Robinson’s pipes, but those who interpreted material he wrote or co-wrote, like Marvin Gaye (“I’ll Be Doggone” and “Ain’t That Peculiar”), the Temptations (“My Girl”), Mary Wells (“The One Who Really Loves You”), the Marvelettes (“You’re My Remedy”), and the Jackson 5 (“Who’s Loving You”). Not to mention the Beatles, who were deeply influenced by Robinson and covered “You Really Got a Hold On Me” on 1963’s With the Beatles (George Harrison included a tribute to Robinson, “Pure Smokey,” on his 1975 solo album Extra Texture (Read All About It); Paul McCartney once remembered, “Smokey Robinson was like God in our eyes.”)
If Gordy and Robinson represent the divine to some, Genesis 1:1 was their meeting in the summer of 1957. Gordy — a high-school dropout, ex-boxer and Korean War veteran who quit his job at Ford to pursue songwriting — discovered Robinson by way of his vocal harmony group, the Matadors, which featured Robinson’s then-wife, Claudette.
An enamored Gordy took the group under his wing, renaming them the Miracles and highlighting Robinson as the leader; he produced their first single, “Got a Job,” an answer song to the Silhouettes’ hit single, “Get a Job.” Eventually, on a drive from Detroit to Flint, Michigan, Robinson convinced Gordy to seriously ponder starting his own label.
In 1959, Gordy did just that. He founded Tamla Records with an $800 loan from his family, along with a publishing arm, Jobette, and the rest is history. Robinson not only became Gordy’s first writer and debut Motown signee, but, in 1962, he rose to become Motown’s vice president. In 1972, Robinson left the Miracles to pursue a solo career, but their brotherhood remained ironclad.
Motown hasn’t just gifted the world with an ocean of spectacular music; as one of the most successful, Black-owned businesses in American history, it lit a beacon for Black leadership and innovation forevermore. And it wouldn’t be the same without Robinson’s vision and artistry, and how it synergized with Gordy’s to change the face of music and American culture.
And that’s why Berry Gordy and Smokey Robinson aren’t just Persons Of The Year. They’re trailblazers whose legacies have — and forever will — stand the test of time.
2023 MARKS THE 50TH ANNIVERSARY OF HIP-HOP — THE MOST POPULAR GENRE OF MUSIC TODAY AND ONE WITH INCREDIBLE GLOBAL APPEAL.
THE RECORDING ACADEMY HONORS THE LEGACY AND INFLUENCE OF HIP-HOP IN A DYNAMIC TIMELINE MARKING THE GENRE’S BIGGEST MOMENTS.
BY MOSI REEVEShis year will be the 50th anniversary of hip-hop, a cultural movement that rose from humble beginnings in New York to fuel a worldwide phenomenon. Scholars may debate whether its roots precede Aug. 11, 1973, when
DJ Kool Herc debuted his “merrygo-round” technique of playing funk breaks back to back to a roomful of teenagers in the Bronx, New York.
However, there’s little doubt that this event sparked a flowering of activity throughout the borough, inspiring DJs, breakdancers, graffiti artists, and, eventually, pioneering MCs like Coke La Rock and Cowboy.
The music industry eventually caught wind of the scene, leading to formative
1979 singles like the Fatback Band’s “King Tim III” — the funk band featured MC and hypeman Timothy “King Tim III” Washington — and the big one: the Sugarhill Gang’s “Rapper’s Delight.”
Today, rap music is the most popular genre of music, led by superstars such as Drake, Kendrick Lamar, Future, Eminem, and many others. Despite its massive success, many artists retain their strong ties to communities of color, reflecting the genre’s origins as a form rooted in the streets.
Here, we break down a brief history of hip-hop’s biggest moments throughout the decades. And make sure to tune into the 65th Annual GRAMMY Awards to catch a special celebration honoring the genre that changed the world.
On Aug. 11, 1973, Clive “Kool Herc” Campbell DJs a back-to-school party organized by his sister, Cindy Campbell, in the rec room at 1520 Sedgwick Avenue in the Bronx, New York. The event is widely considered to be the beginning of hip-hop culture.
Longtime R&B star and producer Sylvia Robinson launches Sugar Hill Records with her husband, Joe. She discovers their first act in New Jersey, a trio of rapping teenagers — Wonder Mike, Big Bank Hank, and Master Gee — and brands the Sugarhill Gang. The Gang’s first single, “Rapper’s Delight,” sells millions of copies and becomes the first global rap hit.
1982
Co-written by Duke Bootee and Melle Mel and produced by Clifton “Jiggs” Chase, Grandmaster Flash & the Furious Five’s hit single “The Message” becomes a turning point in the genre. Bootee and Melle Mel’s stark descriptions of poverty signal to fans and critics that hip-hop is capable of more than just party music.
Russell Simmons’ Rush Management organizes Fresh Fest, a groundbreaking arena tour featuring hot rap acts like Run-DMC, Whodini, Kurtis Blow, the Fat Boys, and Newcleus as well as b-boy crews such as the Dynamic Breakers Held during the next two years, it signifies hip-hop’s growing popularity.
After bringing frat-boy chaos as the opening act on Madonna’s Virgin Tour, Def Jam understudies the Beastie Boys collaborate with producer Rick Rubin on Licensed to Ill Spawning the hit single “Fight for Your Right,” the album is certified diamond in 2015.
Thanks to lyrics criticizing law enforcement and depicting raw life in Compton, California, N.W.A spark national controversy with their influential second album, Straight Outta Compton
Thanks to a remix by the late DJ/producer Cameron Paul, rap trio Salt-NPepa get teens everywhere twerking — and worry parents and school administrators — with the electrobass classic, “Push It.”
Public Enemy release their second album, It Takes a Nation of Millions to Hold Us Back. Reportedly featuring over 100 samples and focused on Chuck D, Flavor Flav and Professor Griff’s revolutionary lyrics, it’s often cited as one of the greatest hip-hop albums of all time.
Ice-T appears in New Jack City, becoming one of the first rappers to headline a major Hollywood film. That same year, he appears on the Lollapalooza tour with his metal group, Body Count, and performs an early version of “Cop Killer.”
The song becomes a flashpoint in the 1992 presidential election.
After dominating most of 1996 with his fourth album, the diamondcertified double album All Eyez on Me, 2Pac is killed in Las Vegas. The unsolved murder of one of the greatest rappers of all time remains a watershed moment in music culture.
Wu-Tang Clan release their debut album, Enter the Wu-Tang (36 Chambers). With nine members led by rapper/producer the RZA, the highly unique Staten Island-based collective spawned dozens of solo albums and affiliated acts over the following decades.
Naughty by Nature earn the first GRAMMY Award for Best Rap Album with their third album, Poverty’s Paradise. The 1995 set includes a major radio hit in “Feel Me Flow.”
Days before the release of his diamond-certified second album, Life After Death, the Notorious B.I.G. is killed in Los Angeles. The slaying of two of hip-hop’s biggest artists prompts soul-searching across the music industry and inspired Biggie’s friend, Puff Daddy, to release the GRAMMY Award-winning hit, “I’ll Be Missing You.”
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After scoring multiplatinum hits with the Fugees, Lauryn Hill strikes out on her own with The Miseducation of Lauryn Hill. The diamondcertified album earns her several GRAMMY Awards, including Album Of The Year.
After writing and producing hits for MC Lyte and Aaliyah, Missy Elliott debuts as a solo artist with Supa Dupa Fly. With production help from Timbaland and kinetic music videos, Elliott establishes herself as one of the most innovative acts of the era.
Dr. Dre releases 2001, cementing his legacy as one of the most influential rap producers ever. The album features numerous collaborators, including longtime homie Snoop Dogg and rising lyricist Eminem.
On Sept. 11, JAY-Z releases his sixth album, The Blueprint. It becomes a career highlight for the Rock & Roll Hall Of Fame rapper, and a breakout moment for rising producers Just Blaze and Kanye West.
Hit-making duo OutKast split their double album Speakerboxxx/The Love Below into separate sides for Big Boi and Andre 3000 — the latter focusing on singing instead of rapping. Their fresh approach results in a diamond-certified project and a GRAMMY for Album Of The Year.
Nicki Minaj releases Pink Friday. The hit album makes her a rare female rap star during a dearth of prominent women voices in the genre.
By
to support musicians, creators, and fans on Music’s Biggest Night and every other night of the year.
In 1959, Hilton and the Recording Academy® came together to honor the music community with the first-ever GRAMMY Awards® at The Beverly Hilton. Today, we continue to be for the recording artists, the music community, and the devoted fans. Hilton. For the Stay.
With his fourth album Damn., Kendrick Lamar not only wins a GRAMMY for Best Rap Album, but he also becomes the first rap artist to win a Pulitzer Prize for Music, leading to the fanciful nickname “Pulitzer Kenny.”
Cardi B releases her debut album Invasion of Privacy, scoring Billboard No. 1 hits such as “Bodak Yellow” and “I Like It.”
As the best-selling female rap album of the 2010s, the LP won Best Rap Album at the 61st GRAMMY Awards in 2019, making Cardi the first solo female rapper to win the Category.
At the 63rd Annual GRAMMY Awards in 2021, the Recording Academy introduced the Best Melodic Rap Performance Category, formerly known as the Best Rap/ Sung Performance Category, to “represent the inclusivity of the growing hybrid performance trends within the rap genre.”
In early 2020, rising star Pop Smoke is killed in Los Angeles. Months later, his posthumous debut album, Shoot for the Stars, Aim for the Moon, tops the charts, signifying the rise of drill as a major force in hip-hop culture.
In 1957, inspiration struck a group of dedicated leaders in music. What if there was an organization with the goal of advocating for and celebrating the artistry of musicians, producers, songwriters, engineers, and all other industry professionals?
These leaders dreamed of an elite organization consisting of the best music has to offer. The end result of their aspirations is the Recording Academy.
Fast-forward to 2023: The Academy continues its mission of championing creators’ rights in Washington, D.C., sponsoring preservation initiatives and music education, helping music people in need, representing thousands of Academy members across the country, and recognizing artistic excellence with the annual GRAMMY Awards – the industry’s only peerrecognized accolade and music’s highest honor. While our core missions may stay the same, the Academy saw several internal changes in the past year. We added names to our executive leadership and elected 19 new National Trustees. Ever evolving, we aim to constantly update our policies to reflect the changing nature of the music industry. This year, we added five new GRAMMY Award Categories as well as the highly anticipated Best Song For Social Change, a Special Merit Award. We also continued our goal of further diversifying our membership body. Of the nearly 2,000 newest Recording Academy members, who officially joined in 2022, 44% are from traditionally underrepresented communities; 47% are under the age of 40; 32% are women; and 52% are male; the remaining 16% are composed of individuals who identify as nonbinary and those who opted not to disclose. The Recording Academy has added 1,913 women to its Voting Membership since 2019 and is now 77% of the way to reaching its goal of adding 2,500 women Voting Members by 2025. The Academy will always push to move forward as an organization and strive to drive positive change in the music industry at-large. For the latest news and updates from the Recording Academy, visit RecordingAcademy.com.
Visit GRAMMY.com to be the first to find out about GRAMMY winners and nominees, GRAMMY Awards updates, new music, exclusive performances, and more.
The Recording Academy has set out to become the most inclusive organization in the music industry — and the world. We’ve made huge progress toward achieving this goal in the past three years, with a particular focus on accelerating and measuring advancement for underrepresented communities and creators. Our mission, accelerated via the multiple programs and initiatives listed below, is to facilitate equitable outcomes for all while proudly representing our diverse music community.
Last year, we successfully launched a key initiative. Our Inclusion Rider for the 64th Annual GRAMMY Awards®, held in April 2022, was the first of its kind for a major music awards show; 39% of the production staff and crew hired were women and 24% were BIPOC. We continued our partnership with GLAAD to advance LGBTQIA+ representation in the industry and ensure this community is valued and respected in our field.
We published our second Women In The Mix Study, shining a light on the experiences of women and gender-diverse music professionals in the U.S. We also invested in women’s music organizations for the second year running to further our commitment to this cause. Our membership body continues to evolve as well, as it becomes more diverse and starts to better reflect our music community.
Black Music Collective Scholarships
Lastly, we invested in the next generation of music professionals via our various scholarship programs. The Recording Academy’s Black Music Collective continued our Your Future Is Now Scholarship in collaboration with Amazon Music for students at Historically Black Colleges and Universities (HBCUs) and launched the Quinn Coleman Memorial Scholarship, in partnership with the GRAMMY Museum, for college-attending Black and Brown emerging creatives. Looking to the future, the Academy will continue to advocate for increased accessibility, representation and equity across the music industry. Let’s Be The Change We Want To See Help us create a more inclusive and equitable future in music. Learn how to get involved at RecordingAcademy.com/Inclusion.
The Advocacy & Public Policy department fights for creators’ rights year-round and works tirelessly to keep music makers, fans and policy makers informed and passionate about our causes.
In 2022, we celebrated a win in California with the passage of the Decriminalizing Artistic Expression Act – a tremendous achievement for both the First Amendment and protecting creative expression. Looking forward, we aim to achieve similar success in other states and at the federal level. Other key issues include supporting the bipartisan American Music Fairness Act, which would close a century-old loophole that enables Big Radio to play songs without fairly compensating artists. We also spent the year fighting for passage of the bipartisan and bicameral Help Independent Tracks Succeed (HITS) Act, which offers independent artists a new tax incentive to create new music. Lastly, we believe in the power of music, and that’s why we as a team urged Congress to pass the PEACE Through Music Diplomacy Act, which empowers the State Department to put music on a global stage and use it as a bridge-building tool between nations.
Learn more about our other key initiatives and annual campaigns.
On District Advocate Day, thousands of Recording Academy members visit their congressional representatives in local district offices and via virtual meetings to discuss significant issues impacting the music community – making this the single largest nationwide grassroots lobbying campaign for music and its creators.
Each spring, a group of your favorite GRAMMY nominees and winners go to Capitol Hill in Washington, D.C., to discuss the most pressing issues in the music industry today. Meanwhile, thousands of other Academy members advocate for the same policies online.
Recording Academy members have the opportunity to protect the rights of music creators and support music’s most ardent congressional champions through this political action committee (PAC).
Visit recordingacademy.com/advocacy for policy updates and an action tool that connects you directly to your legislators.
Recording Academy membership is built on a foundation of championing creators’ rights and expanding diversity, equity and inclusion across music. Our members are a community who dedicate themselves to creating positive change in the music industry and providing educational and mentorship opportunities for the next generation of music professionals. Our Membership & Industry Relations department encompasses many initiatives and affiliated wings.
Both Voting Members and Professional Members play vital roles within the Academy and the GRAMMY Awards process. By casting their ballots, our Voting Members determine the nominees and winners at the Annual GRAMMY Awards, music’s only peer-recognized accolade and the music industry’s highest honor. Our Professional Members lend insight, experience and perspective on how to best transform and evolve the music industry.
A group of dedicated audio professionals formed the Producers & Engineers Wing in 2001 specifically for producers, engineers, remixers, technologists, and other in-studio professionals. The P&E Wing advises the Academy on issues pertaining to the technical aspect of recording and the art and craft of music.
Songwriters & Composers Wing™
Launched in March 2021 during the 63rd Annual GRAMMY Awards, the Songwriters & Composers Wing is the sister wing to the Producers & Engineers Wing. It serves as a refuge for songwriters and composers from every genre. We offer mentorships, policy discussions, mixers, songwriter retreats, and educational panels.
GRAMMY U
College students pursuing a career in music can join the Academy through GRAMMY U. Offering panels, mentorship programs, and exclusive opportunities with the industry’s foremost artists and professionals, GRAMMY U gives students the competitive edge they need to launch their careers in the music industry.
Want to get involved or recommend someone to become a member?
Visit GRAMMY.com/Join to learn more.
City National® proudly celebrates the entertainment industry and the performers who make it shine.
Since our founding here in Los Angeles in 1954, we’ve always supported the community that first inspired us.
Congratulations to all of this year’s nominees.
GRAMMY®,
©2023 The Recording Academy
City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2023 City National Bank. All Rights Reserved. GRAMMY Awards®, and the gramophone logo are registered trademarks of the Recording Academy® and are used under license.MusiCares was founded by the Recording Academy in 1989 as an independent public charity to serve the health and human services needs of the music community through financial assistance, access to no- or low-cost health care services, and informational workshops and panels.
As the only organization providing substantial financial assistance for in-patient addiction treatment for music professionals, MusiCares is at the forefront in addressing mental health and addiction needs. MusiCares delivers services such as assistance for inpatient and outpatient treatments, free nationwide recovery and mental health support groups, psychotherapy referrals, and sober-safe spaces at events.
MusiCares also distributes and trains on the use of naloxone, a medication designed to rapidly reverse opioid overdoses, so the music community is empowered to help save lives.
This year, MusiCares provided Healthy Essentials preventative services, such as medical and dental screenings, hearing clinics, and health and wellness workshops, to 5,700 music professionals. Through an innovative partnership with Tuned, MusiCares is offering hearing diagnostic and treatment services through virtual sessions with world-leading audiologists. With Tuned, MusiCares is making essential hearing health services available to music professionals, where and when they need it.
MusiCares provides financial assistance for basic living needs, including housing, insurance premiums, lost and damaged equipment, and funeral expenses. This year, the median grant amount for each client was $1,837. Through our disaster relief efforts, MusiCares provided crisis response support to music professionals affected by natural disasters.
For the first time ever, MusiCares’ annual Person of the Year benefit gala will honor two greats while celebrating the legacy of Motown – honoring Motown founder, GRAMMY® Award nominee, Recording Academy® President’s Merit Award honoree, and recipient of the GRAMMY Museum’s Architect of Sound®: Vision Award Berry Gordy and GRAMMY Award winner, Recording Academy Lifetime Achievement Award recipient, and GRAMMY Legend Award recipient Smokey Robinson. Proceeds from the event, which celebrates the philanthropic
spirit and musical excellence of the honorees, will provide essential support for MusiCares.
• Make a donation
• Support Person of the Year
• Participate in auctions
• Donate streaming or tour proceeds
• Host a fundraiser
• Spread the word on social media Learn more about what we do and how we support the music community year-round at MusiCares.org.
BE A PART OF OUR MISSION AND LEARN HOW YOU CAN HELP KEEP THE MUSIC PLAYING. / @MUSICARES
Behind every GRAMMY® nominee, live show, and up-and-coming artist is a community of people working tirelessly to make the music we love possible. MusiCares® programs, services, and emergency financial grants support the health and welfare of everyone in the music community.
The GRAMMY Museum is a philanthropic music nonprofit and learning institution, aiming to celebrate and explore the music we love via interactive exhibitions and dynamic programming.
Since opening in downtown Los Angeles in 2008, the Museum offers in-person permanent and temporary exhibit galleries highlighting the achievements of the world’s leading artists and music professionals.
All year long, we offer special public programs, which include live performances, panels, film screenings, and fireside chats with music’s newcomers and living legends. The GRAMMY Museum also proudly launched programming in New York last year. You can view many Museum programs on the Museum’s official streaming service, COLLECTION:live™.
Part of the Museum’s mission is to inspire and educate the next generation of music professionals, which is why we deliver multidisciplinary music programs to students, schools and communities in need. We offer programs like GRAMMY Camp®, which prepares high school students for a career in music. Each year during GRAMMY Week, the Museum partners with the Recording Academy to give out the Music Educator Award, which recognizes exemplary instructors who utilize music in the classroom. Last year, we launched the firstever Campaign For Music Education with the goal of raising money for our educational endowment and programs. The funds raised go toward providing free admission to the GRAMMY Museum in downtown Los Angeles for all students and expanding access to our music education programs around the country. The Campaign is co-chaired by some of today’s hottest stars, including Billie Eilish, Dua Lipa, Bruno Mars, Shawn Mendes, and Rosalía.
Visit watch.grammymuseum.org to watch performances, livestreams, interviews, and archival footage for free.
Established as the global authority on Latin music, The Latin Recording Academy is dedicated to nurturing, celebrating, honoring, and elevating Latin music and its creators. We spearhead our multifaceted mission across several arms and initiatives.
The Latin Academy serves as a home base for a variety of music professionals— including musicians, producers, songwriters, and engineers—who specialize in Latin genres. Latin Academy members hail from approximately 43 different countries around the world.
An important part of our mission is celebrating excellence in the recording arts and sciences. We hold numerous marquee events throughout the year, including the annual Latin GRAMMY Awards®. We also honor the achievements of Ibero-American musicians with our Person of the Year Gala, and celebrate legendary artists who have made their mark in the industry with the Lifetime Achievement and Trustees Awards.
The Biggest Night in Latin Music®, the 23rd Annual Latin GRAMMY Awards®, were held in Las Vegas last November, and featured visually stunning performances from Rosalía, Christina Aguilera, Marco Antonio Solís, Rauw Alejandro, Gente de Zona, Aymée Nuviola, Sebastián Yatra and Ángela Aguilar, along with past Latin GRAMMY
winner Goyo and GRAMMY-nominated group, Los Bukis, among many others. The show reminisced about Latin music’s past, while also celebrating its present, and paying it forward to the next generation of music creators.
Latin GRAMMY Cultural Foundation® The Latin GRAMMY Cultural Foundation promotes awareness and appreciation of the impact that Latin music has had on the world’s culture. We have donated more than $7.6 million in grants, scholarships, educational programs, and music instruments across Ibero-America and the United States.
Get the latest news on the Latin GRAMMYs and learn more about The Latin Recording Academy at LatinGRAMMY.com.
From your UMe x Urban Legends Family
Slick Rick’s enduring legacy has long been honored by the artists and individuals he inspired through his art of storytelling. Congratulations Rick!
THANK YOU TO THE DEDICATED STAFF OF THE RECORDING ACADEMY, MUSICARES, THE LATIN RECORDING ACADEMY, AND GRAMMY MUSEUM
Tracey Adlai
Christee Albino
Jessie Allen
Michael Almanza
Ignacio Andrade
James Arnall
Lyn Aurelius Kristen Baum
Erin Baxter
Seamaf Bchihalouk
Janette Becerra Cameron Benoit Kate Blair Andre Bradford Ceora Brown Len Brown Ryan Butler
Michele Caplinger Jose Cardenas Jr
Shannon Casey Jamieson Chandler Branden Chapman Chris Chhoeun
Joanna Chu
Marta Clark
Brian Clasby Linda Cobb Amy Cohen Qiana Conley Marissa Conlon Kenny Cordova Andie Cox
Laura Crawford Neil Crilly Nick Cucci
Chris Daniel
Amanda Davenport
Simone Davis
Jennifer Degroot
Logan Delgado
Ivan Diaz
Nicholas DiFruscia
Timie Dolan
Belen Dousdebes
Leah Dowdy
Maureen Droney
Erin Dubose
Sierra Dudas
Chrissy Dudash
Todd Dupler
Morgan Enos Patricia Eredia Ashley Ernst Juan Frausto Rachel Friedman 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
Erica Hernandez
Jon Hornyak Casey Immoor Sharon Ingram Sarah Jansen Jennifer Jones
Grace Jun Baca Mo Kalous Mike Kepler Jane Kim
Abigail Kliebenstein
Brian Klinsport
Michael Kovac
Kevin Kovitch
Lea Kozin
Mike Kutan
Olivia Lam
Stephanie Lamond
Leah Larocco
Michael Lewan
Jessica Lipsky
Claudine Little Jenna Lizerbram John Loken
Lauren Loverde
Kevin Luevanos Nora Luna
Ricky Lyon
Paul Madeira
Matthew Mahaffey
Jonathan Mahoney
Pratima Maley Cameron Mangione Ashley Mapp Ruby Marchand Shelly Maree
Harvey Mason Jr. Alan Matkovic
Christen McFarland Scott McNearney Ann Meckelborg Yeri Medina Hillary Melin Daniel Mendoza Alexis Miles Montana Miller Lee Mills
Avi Minkoff
Esther Moon Miranda Moore Salvador Mota Alexis Mouer Samiyah Muhammad Sean Murphy Jalyn Nelson Kiyumi Nishida Maria Nunez John Ochoa Ralph Olivarez
Folashade Omosheyin Natalia Ortiz
Joanie O’Sullivan
Panos A. Panay Hannah Park Todd Parker Scott Petersen Chris Phengsisomboun
Jess Pickett
Karen Pietropaoli Rose Polidoro
Brittany Presley Bridgett Purcell Kelley Purcell Espi Ramirez Aubrie Reimerink
Sean Riley
Lewis Robertson
Laura Rodriguez
De-Andra Roldan
Adam Roth
Rachel Ryding Olivia Saunders
Chantel Sausedo
Luke Savage Ella Sharp Ash Sheehan Julie Smith Sean Smith
Cat Sornmayura Ray Starck Susan Stewart Katie Stockman
Kennelia Stradwick Jordan Strom Brittany Sturner Rex Supa Samantha Takemori Daniela Tellechea Ashley Thomas Shawn Thwaites Jonathan Tol Jessica Toon Kenny Tran Yana Trofimova
Janna-Fay Tuck
Clay Upton Kevin Veiga
Tanushree Verma Alina Vission
Madison Walsh Alicia Warwick Danielle Wasserman Taylor Weatherby Tim Whalen
Courtney White
Demarco White Olivia White Reid Wick Ashton Wilson Candice Yang Becca Zagorski Wayne Zahner
Kyra James Monica Kim
Hannah Kulis
Patrick La Cotera
Jennifer Leff Breana Phelps
Anita Ramsarup
Carie Salas Roger Tang Emanuel Tekle Wynnie Wynn
Chair Steve Boom Vice Chair Ambrosia Healy
Secretary/Treasurer Jeffrey Harleston
Chair Emeritus Michael McDonald
Donna Caseine Ali Harnell Tamara Hrivnak Jeff Jones Rob Light Carianne Marshall Rita Wilson Phylicia Fant Tuma Basa
Paul “PJ” Morton Lalah Hathaway Ben Haggerty Christine Albert Harvey Mason jr. Tammy Hurt
Brendan Berry
Angela Bilkic
Shannon Bowman
Laura Crawford
Stefanie Curtiss
David Enos
Kate Ferber
Mikaela Freeman
Kat Handler
Stephanie Henderson
Sol Iriarte
Nathalie Alberto
Alejandria Artiles
Erika Cruz
Natalia de Ory
Melanie Galarce Gisela González
Adriano Haubenthal
Ana Hibirma Andrés López Flavia Madriz
Patricia Marín Edda Martínez Sasha Martínez Daniela Mederos David Mejía
Geralizze Muñoz-Maldonado
Javier Parra
Isabel Paz
Jhanluis Peralta
Laura Pieretti Cynthia Pollo
Rubí Ramos
Juan Camilo Rivera
Gabriela Rodríguez Gerardo Rojas
Grace Santa-Ana Claudia Santos
Julián Torres
THE LATIN RECORDING ACADEMY BOARD OF TRUSTEES EXECUTIVE COMMITTEE
Chair Eduardo Hütt Vice Chair Eva Cebrián
Secretary Aloysio Reis
Treasurer Eduardo Weise
Recording Academy CEO Harvey Mason jr.
Chair Emerita Laura Tesoriero
CEO Manuel Abud
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
Jorge Hernández-Toraño
Bobby Rosenbloum Rod Gauer
STAFF
Alejandra Aceves
Denise Behrens
Shaun Carter
Jonathan Castellanos
Kevin Choto
Ali Courtemanche
Cyrene Cruz
Ana Estrada
Eric Forcen
Erlin Frausto
Pablo Garces
Ruben Garcia
STAFF
Kevin Forte Nannette Vélez
LATIN GRAMMY CULTURAL FOUNDATION BOARD OF TRUSTEES
Chair
Luis Cobos Vice Chair Harvey Mason jr. Secretary/Treasurer Raúl Vázquez Director Manuel Abud Director
Mireya Cisneros Director Manolo Díaz Director Ginny Peirats Advisor
Jorge Hernández-Toraño
Kelsey Goelz
Cynthia Gomez
Jonathan Gutierrez
Kristen Jennings
Kimberlea Kristy Maddy Lauritzen
Danny Lopez
Jasmine Lywen-Dill
Jimmy Metelus
Hillary Morimoto
Wendy Murphy
Julie Mutnansky
Iliana Noory Schyler O’Neal Albert Ortega
Maria Pacheco
Vivek Paul
Jorge Ramirez Michael Rohrbacher Bryan Schiller
Jodi Shapiro Ashley Stagg Gabe Torres
Alexandria Ude Chen Yang Kevin Yang
GRAMMY MUSEUM FOUNDATION BOARD OF DIRECTORS
Chair
Tim Bucher Vice Chair
John Burk
Secretary/Treasurer
Michal Katz
Pamela Alexander
Dan Beckerman
Branden Chapman
Wellington Chen
Linda Duncombe
Ken Ehrlich
Giselle Fernandez
Todd Goldstein
Jon Harris
Brian Hoesterey
Tammy Hurt
Jimmy Jam Andra Liemandt
Harvey Mason jr. Mattie McFadden-Lawson Brenda Robinson
Ray Sliva David Webster David Wu
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
Administrative Assistants
Samiyah Muhammad, Logan Delgado
SERVING CHAPTERS: Chicago, Memphis, Nashville, New York, Philadelphia, Washington, D.C.
Alex E. Chávez J. Ivy President Dani Deahl Vice President Susan Voelz Secretary David Roberts Governors Jeffrey Becker Alison Chesley Hugh Cleal Sima Cunningham Andre “Add 2” Daniels
Gaelynn Lea Laura Jane Grace Matt Hennessy Mark Hubbard Terry Hunter Audrey Martinovich Stacy McMichael Scott McNiece Ugochi Nwaogwugwu Deborah Pae Karsten Sollors Karim Sulayman Tarrey Torae Ann Torralba Jamila Woods
Advisors
Gao Hong Walter Thomas
Senior Executive Director Sarah Jansen
Project Manager Becca Zagorski
Trustees
Nabil Ayers Jennifer Blakeman Samantha Cox David “Swagg” Harris Angélique Kidjo President Torae Carr Vice President Nikisha Bailey Secretary Jamie Dominguez Governors Dahlia Ambach Caplin Steven Carless Lee Dannay Giancarlo de Trizio Jerry Duplessis Erika Elliott David Frost Lynn Gonzalez
Jazzmeia Horn Tracey Jordan Seunghee Lee Fernando Lodeiro Juan Losada Lawrence Lui Jeanine McLean Lachi Kellen Pomeranz Mireya Ramos Maria Rice Willy Rodriguez Jenna Rubenstein
Falu Shah Hank Shocklee Ebonie Smith Matthew Stevens Angie Teo Judy Tint Vivek Tiwary Benjamin Williams Miguel Zenon Advisors
Carlos Escalona Cruz DJ Clark Kent
Senior Executive Director Nick Cucci
Senior Project Manager Lauren Loverde Coordinator, Chapter Administrative Operations Kristen Baum
CHAPTER BOARD
Trustees
Marcus Baylor Terry Jones President Donn Thompson Morelli “Donn T” Vice President Laurin Talese Secretary Marcus “Rated Art” Bryant Governors Jean Baylor Mitch Beer Adam Blackstone Kaisha Blackstone Matt Cappy Catherine Marie Charlton Andrea Clearfield Aliya Crawford Alexandra Cutler-Fetkewicz Justin Faulkner V Shayne Frederick Suzann Henry”
Konstantinos Johnson Lori Landew Jakob Morelli Ryan Moys
Gordon “Gallo Locknez” Nance Kendra Ross Stephanie Seiple Dyana Williams
Advisors
Harvey “Frzy” Daniels Rahsaan Lucas
CHAPTER STAFF Project Manager Ashley Mapp
Ferddy Calderon Chelsey Green Von Vargas President Tamara Wellons Vice President Danté Pope Secretary
Alexandria “Alex” Davila Governors Deborah Bond Maurette Brown Clark Wayne Bruce Charles Butler Cecily Anshia Crooms Simone Eccleston Brandon Felder Sean Glover Jake Grotticelli
David Lindsey Stephanie Kristina Dan Merceruio Raul Midón Aaron Myers Christina Sanabria Monét Shelton
Tia Smith
Jeffery Tribble Jr. Kayla Waters Advisors
Little Bacon Bear Brandie Lane
CHAPTER STAFF
Executive Director
Sharon Ingram Project Manager Natalia Ortiz
Administrative Coordinator Luke Savage
Administrative Assistant Samantha Takemori
SERVING CHAPTERS: Atlanta, Florida, Los Angeles, Pacific Northwest, San Francisco, Texas
Trustees
Kennard Garrett Thom “TK” Kidd
President Justin “Henny Tha Bizness” Henderson Vice President Michael Burton Secretary Mara Davis Governors Carmen Bradford Chantae Cann
Diane Durrett Kat Graham Chris Henderson Ben Holst Keinon Johnson Melvin Jones
Cannon Kent-Grant Tami LaTrell Gabriella “Guitar Gabby” Logan Lecrae Moore Amy Oraefo Christian Paschall Elisabeth Remy-Johnson Malita Rice
Daniela Rivera Quinton Robinson Chris “Tricky” Stewart Matt Still Advisors
Justice Baiden Samuel “Sam ASH”
Sanchez
CHAPTER STAFF
Senior Executive Director
Michele Rhea Caplinger Senior Project Manager
Erin Baxter
Trustees
Maria Elisa Ayerbe
Beth Cohen Doug Emery Natalia Ramirez President Ms. Meka Nism Vice President Elsten Torres Secretary Angel Zamora Governors Marcella Araica Paula Arenas Julio Bagué Billy Chapin Etana Stephen Gibb Leslie Grace Adrian Morales-Demori
Lukes Morgan Mayna Nevarez
Aymee Nuviola
Jorge “Quaz” Palacio Jeffery Redding Jean Rodriguez Jessica Roffe Ana Rosa Santiago Marger Sealey Tony Succar Tye Tribbett
Tracy Young Advisors
Prince Royce Daniel René
CHAPTER STAFF
Executive Director
Kenny Cordova Senior Project Manager
Marta Clark
Trustees
Susan Marshall PJ Morton Gebre Waddell President Sean Ardoin Vice President Carl Nappa Secretary Tim Kappel Governors Bryson Bernard aka Cupid Karin Bliznik Enrique Chi Jeff DeLia Erin Frankenheimer A.J. Haynes Kevin Houston Quiana Lynell
Leyla McCalla
Lawrence “Boo” Mitchell Pat Mitchell Worley Oona Mitchell-Bean Kimberly Patterson Adonis Rose Jamison Ross Kyle Roussel Ashley Shabankareh Ken Shepherd Marcella Simien Tyrone Stroble aka Tyke T
Advisors
Elizabeth Cawein Mia Young aka Mia X
CHAPTER STAFF
Senior Executive Director
Jon Hornyak Senior Project Manager Reid Wick
Trustees
Chuck Ainlay Dave Cobb EJ Gaines
Tracy Gershon Jordan Hamlin Jennifer Hanson President Ruby Amanfu Vice President Armand Hutton Secretary Callie Cunningham Governors
Julie Boos Alison Brown Joanna Carter Jeremy Castro Brandy Clark Jessie Jo Dillon Leslie DiPiero Crystal Dishmon Fletcher Foster Leslie Fram Devon Gilfillian Ben Glover Natalie Grant Dwan Hill Sierra Hull Sarah Jarosz Gena Johnson Alex Kline Gina Miller Derek Minor Rissi Palmer Piper Payne Shannon Sanders Jensen Sussman Kortney Toney Ben Vaughn Laura Veltz Butch Walker Parker Welling Advisors Eddie Perez Joel Smallbone
Senior Executive Director Alicia Warwick Senior Project Manager Courtney White Operations Coordinator Mike Kepler
Cheche Alara Evan Bogart Julia Michels
Mike Knobloch John Legend President Ledisi Vice President Marcus “MarcLo” Lomax
Secretary MAJOR. Governors Peter Asher Jonathan Azu Brittany Bell Claudia Brant Darrell Brown Ericka Coulter Alana Da Fonseca Lynne Earls Maria Egan
Phylicia Fant Sara Gazarek
Jeff Gitelman Jeff Greenberg Randy Jackson
Edie Lehmann
Boddicker Michelle Lewis Terrace Martin Loretta Munoz
Kevin “Kev Nish”
Nishimura
Taylor “Tayla Parx” Parks
Nicole Plantin
Jacqueline Saturn
Suzanne “Suzy” Shinn
Jordin Sparks
Dara Taylor
Jojo Villanueva
Dion “No I.D.” Wilson
Catharine Wood
Advisors
Moogie Canazio Lucas Keller
CHAPTER STAFF Executive Director Qiana Conley Project Manager Anngela Hanks
Dave Gross Andrew Joslyn President Eric Lilavois Vice President David (DJ OG One) Jackson Secretary Jody Brotman Governors Ethan Anderson Paula Boggs Jovino dos Santos Neto Amy Dragon Sue Ennis Rachel Field Adam Gonsalves Besa Gordon Guy Keltner Kimié Miner Josh Neumann Chris Porter Gen Rubin Molly Sides Andy Stokes Andy Stoller Krishna Thiagarajan Will Wakefield
Victoria Wimer Contreras Frankie Yaptinchay
Advisors
Sera Cahoone Eric Gilbert
CHAPTER STAFF
Executive Director
Jessica Toon Project Manager Timie Dolan
CHAPTER
Trustees
Larry Batiste Anna Frick
Michael Romanowski President Nona Brown Vice President Michelle Jacques Secretary Bonny Dolan Governors Kenya Autie David Bondelevitch Tony Brooke Kev Choice Tracy Cruz Solomon “Jumbo” David Lara Downes Shaina Evoniuk Kerida “Hempress Sativa” Johnson Camilo Landau Mandolyn “Mystic” Ludlum Lyz Luke Asha Madhukar Kenya Moses Ann Moss
Anton Patzner Reto Peter Michael Prommer Jessica Thompson Heidi Trefethen Advisors Kate Lamont Eamon Mulligan
CHAPTER STAFF
Executive Director Christen McFarland Project Manager Stephanie Lamond
Yolanda Adams Bernard “Bun B” Freeman President Taylor Hanson Vice President Gina Chavez Secretary Lisa Morales Governors Rodney Alejandro Arnaecia Alridge Chris Bell Shauna Dodds Jim Eno Kam Franklin Erin Ivey Sangeeta Kaur Caren Kelleher Teresa LaBarbera Gene Moore Edwardo Perez Nakia Reynoso Suera Sheikhi Carlos Sosa Symbolyc One Gilbert Velasquez Heather Wagner Reed Kitt Wakeley Paul Wall Advisors
Armando Lichtenberger, Jr. Sarah Morris
CHAPTER STAFF Executive Director Christee Albino Project Manager Avi Minkoff
Jonathan “Jon Street” Yip Celeste Zendejas
Paul Weston Chairman/President 1961–1962
Robert L. Yorke Chairman/President 1962–1963
John Scott Trotter Chairman/President 1963–1964
Pete King Chairman/President 1967–1968
Bill Lowery Chairman/President 1973–1975
William Ivey Chairman/President 1981–1983, Chairman 1989-1991
Ron Kramer Chairman 1991–1993
Dan Einstein
Mary Ellin Barrett
Charles is-City Gatt
Franco Gatti
Jan Gaye
Fred Geiger
Joe Gilchrist
Marva Hicks
Jimbeau Hinson
Arnold “Arno” Hintjens
Tohru “Monamour” Hiroshima Gary “Chicken” Hirsh Jim Horn
Joseph Horovitz
Damodar Hota
Franz Hummel Darryl Hunt
Ivy Jo Hunter
Hovain Hylton
Pau Riba i Romeva
Toshi Ichiyanagi
Simon Illa İlhan İrem Colleen Ironside
Susan Jacks
Francis Jackson
Jackson
John Grenell Arthur Grigoryan Howard Grimes Steve Grimmett Zhou Guangren Agustin Gurza Barbara Maier Gustern Song Hae Patrick Haggerty Dick Halligan
Alexander Hamilton Duncan Hannah Ed Hardy Alice Harnoncourt William Hart “Big John” Harte John Hartman Orrin Hatch Ronnie Hawkins Rosa Lee Hawkins Ivonne Haza Bob Heathcote Michael Henderson Judy Henske
Stefan
