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The Recording academy® presents

Recording Academy Television Committee

For The Recording Academy Chair of the Board of Trustees

George J. Flanigen IV President/CEO

Neil Portnow Chief Financial Officer

Wayne Zahner

Executive In Charge Of Production & Chief Business Development Officer

Branden Chapman

Vice President, Communications & Media Relations

Barb Dehgan

Chief Information Officer

Rick Engdahl

Sunday February 10, 2013

Recording Academy Television Committee Advisory Group

Vice President, Awards

Bill Freimuth

Chief Advocacy & Industry Relations Officer

Daryl P. Friedman Vice President, Human Resources & Development

Staples Center Los Angeles

Gaetano Frizzi

Chief Marketing Officer

Evan Greene

Vice President, Creative Services

David Konjoyan

Senior Vice President, Member Services

Nancy Shapiro

FOUNDATIONS EXECUTIVE STAFF

1:00 p.m. Presentation of the

Pre-Telecast Awards

Senior Vice President

Kristen Madsen Vice President

Scott Goldman Vice President

Dana Tomarken ADVISORS General Counsel

Joel Katz

Neil Portnow, Co-Chair George J. Flanigen IV, Co-Chair Jason Bentley Jennifer Blakeman Garth Fundis Jimmy Jam Jonathan McHugh Alexandra Patsavas Jon Platt Bob Santelli Eric Schilling

5:00 p.m. Live-Telecast

GRAMMY Awards Ceremony

Gabriel Abaroa Leslie Ann Jones Joel Katz Terry Lickona Hank Neuberger Phil Ramone Richard Ranta Press Representation

Rogers & Cowan Ballot Tabulation

Deloitte & Touche Gary Smith AEG Ehrlich Ventures LLC Executive Producer

Ken Ehrlich Director

Louis J. Horvitz Writers

Ken Ehrlich David Wild Co-Producer

National Legal Counsel

Chuck Ortner

Terry Lickona

Deputy General Counsel

Supervising Producer

Eric Cook

Bobby Rosenbloum

Consulting Producer

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

Production Designer

Brian Stonestreet Lighting Designer

Robert A. Dickinson Talent Producer

Chantel Sausedo Pre-Telecast Ceremony Producer

Greg Ferra

Pre-Telecast Ceremony Musical Director

Larry Batiste

Congratulations

alabama shakes Blake shelton Dan auerbach Danger mouse Dierks Bentley Diplo Eli young Band Eric Church Eric Paslay Hunter Hayes Kelly Clarkson miranda lambert Patrick Carney the Black Keys Will Hoge

Congratulations on your nominations!

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As the GRAMMY Awards celebrates its 55th annual ceremony, The Recording Academy has built a rich tradition as the premier outlet for honoring achievements in the recording arts and for supporting the music community. In 1957 a visionary group of music professionals and label executives in Los Angeles recognized the need to create an organization that would acknowledge and celebrate the artistic achievements of not only talented musicians and singers, but also important behindthe-scenes contributors such as producers and engineers. Conceived as a way to create a real recording industry community, The Recording Academy was born and the GRAMMY Awards process began. The GRAMMYs are the only peer-presented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position. The GRAMMY Awards themselves have grown right along with the organization that presents them. Initially a series of taped network TV specials titled “The Best On Record,” the GRAMMYs have long been a state-ofthe-art live extravaganza (in 2003 the GRAMMYs became the first awards show to broadcast in high-definition television and 5.1 surround sound) and the premier music awards show on television. In addition to the GRAMMY Award, The Recording Academy presents several other awards to honor important music and music professionals. The Lifetime Achievement Award Adele at the 54th Annual GRAMMY Awards Lester Cohen/WireImage.com

celebrates performers and other music professionals who have made outstanding contributions to recording in their lifetimes. The Trustees Award recognizes primarily non-performing contributors. The Technical GRAMMY Award is presented to individuals and/or companies who have made contributions of outstanding technical significance to the recording field. The GRAMMY Legend Award is presented on occasion to individuals or groups for ongoing contributions and influence in the recording field. And the GRAMMY Hall Of Fame was established in 1973 to commemorate recordings, at least 25 years old, of lasting qualitative or historical significance. Celebrating its 40th anniversary in 2013, the Hall now features approximately 1,000 recordings, highlighting musical excellence across all genres. As the music industry continues its evolution from analog to digital, The Recording Academy has continued its mission to be the leading force in honoring, celebrating and

advancing music. The Academy has been at the forefront of critical issues affecting both the music community and the general population, such as legislation affecting the arts community, protection of intellectual property rights, piracy, archiving and preservation issues, censorship concerns, and creating dialogue between the music and technology sectors. To accomplish this mission, The Recording Academy has developed a network of 12 field offices across the country to provide industry service and program development to our more than 20,000 members. The Academy also launched the Producers & Engineers Wing in 2000 to create an organized voice for the important technical and creative community. Through its Washington, D.C.-based Advocacy & Industry Relations office, The Academy seeks to amplify the voice of music creators in national policy matters. The Academy was instrumental in helping form the Recording Arts

and Sciences Congressional Caucus in 2004, and in 2007 co-founded the musicFIRST Coalition, which has taken a leadership role in the fight to expand radio performance royalties to all music creators. Through its affiliated MusiCares Foundation and GRAMMY Foundation, The Academy works to protect and support music people in crisis, and provide young people with real-world exposure to music and the music industry. Starting in 2014, The Recording Academy and GRAMMY Foundation will launch a new award recognizing a top music educator. Since 2008, The Recording Academy has worked with the Natural Resources Defense Council to focus its awareness on the carbon footprint of The Academy and GRAMMY Awards production to help educate telecast guests on environmental issues, and to aid The Academy in communicating to its vendors an interest in sustainable solutions. In 2009 The Academy’s headquarters in Santa Monica, Calif., attained LEED gold-level certification, further demonstrating the organization’s positive environmental impact. Finally, The Academy opened the doors to the GRAMMY Museum in December 2008, launching a state-of-the-art cultural facility at the exciting L.A. Live complex in downtown Los Angeles. The Museum brings the mission, impact and legacy of The Recording Academy and GRAMMYs to the public year-round. You can learn more details about The Recording Academy’s many programs beginning on page 168 and at www.grammy.org.

55th Annual GRAMMY Awards

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From the President/CEO It’s my pleasure to welcome you to the 55th Annual GRAMMY Awards. In our busy lives and fast-paced world, a decade can seem like the blink of an eye, or like an eternity of events. In fact, it usually feels like a combination of both, and since I started as President of The Academy just in time for the 45th GRAMMY Awards, that’s been the case for our organization as well. The time has flown as it always seems to, but the accomplishments have been many. Ten years since my appointment seemed an appropriate opportunity to reflect on those accomplishments, all of which are a testament to our staff, elected leadership, and our many partners who have helped grow The Academy to impressive new heights over that time. Positive change has ranged from improvement in The Academy’s fiscal standing to examining and Neil Portnow enhancing how we serve members and how the GRAMMY Awards themselves are structured. President/CEO While the growth over this last decade has been impressive in many areas, I’d like to focus on a few of The Recording Academy that I think provide a snapshot of how far we’ve come in these past 10 years, and the bright future for the next 10. Among the most prominent areas of growth has been the GRAMMY telecast itself. In addition to staging some of our most inspiring performances ever, helping lead to four consecutive years of ratings increases, we signed a landmark 10-year agreement with CBS, the longest term and most lucrative contract for the show in The Academy’s history. It’s an appropriate reflection of the value of Music’s Biggest Night. Along with our production and network partners, we also developed “The GRAMMY Nominations Concert Live!!” Now in its fifth year, this one-hour telecast announcing select GRAMMY nominees effectively kicks off GRAMMY season and brings massive new awareness to our nominations and upcoming awards telecast. We’re proud this show will be a regular part of the annual GRAMMY experience for years to come. With regard to our four pillars (Membership & Awards, Philanthropy & Charity, Music Education & Preservation, and Advocacy), many important strides have been made. Upon my arrival, we established an Advocacy & Industry Relations department in Washington, D.C. Since then, we have had an impact on numerous pieces of legislation positively affecting the music community and developed the first-ever Music CEO Summit, a semiannual gathering that has fostered cooperation among the major music industry organizations. Our Advocacy department now functions as the most prominent voice for music people on Capitol Hill. After decades of dreams, we opened the GRAMMY Museum at L.A. Live in 2008. The Museum has been a remarkable success, furthering our mission of education and preservation while landing rights to high-profile exhibits. To further heighten our commitment to music education, in 2014 The Academy in partnership with the GRAMMY Foundation will launch a new music educator award that will be presented as part of our inspiring Special Merit Awards presentation during GRAMMY Week. Last year, we completed our first major gift campaign, creating a $12.5 million endowment for MusiCares, our affiliated health and human services charity. Our Producers & Engineers Wing, which comprises roughly 6,000 recording professionals, took major steps forward, creating its own signature event during GRAMMY Week that has honored such talents as Chris Blackwell, T Bone Burnett, Jimmy Iovine, and, this year, Quincy Jones and Al Schmitt. The Wing has also worked closely with our Advocacy & Industry Relations department on legislative issues that affect producers, engineers and other creative professionals. Looking more toward the immediate present and future, The Academy has created innovative social media campaigns that have set standards in the music space. The success has been nothing short of astounding, with the 54th GRAMMY Awards becoming the most successful social TV event ever at the time of its broadcast, generating more than 13 million comments. The Academy will continue to look to new media for greater awareness and engagement. And we’ll be looking increasingly to new geographic areas for opportunities. Our focus on international expansion and outreach has so far resulted in new endeavors in China and development of a unique European telecast as we continue to broaden our scope in what is increasingly becoming one world community. All this has come as the result of visionary leadership across a dedicated and collaborative team focused on doing what’s best for this organization, and in turn, what benefits music makers. As I head into my second decade here, these are the underlying principles that mean the most. What we’ve accomplished over the past 10 years provides the benchmark for the kinds of things we can do in the decade ahead. My congratulations to all of tonight’s nominees, my gratitude to our staff, elected leaders and partners who make the show and all our year-round activities the best they can be, and I invite you to enjoy Music’s Biggest Night.

55th Annual GRAMMY Awards

From the Chair Welcome to Music’s Biggest Night! Once again, we honor and celebrate the best recordings of the year and the amazing people who create them. It remains a humbling and inspiring experience for me as Chair of the Board of Trustees to be the first to congratulate these winners on behalf of my fellow Trustees as they come off the stage at the Pre-Telecast Ceremony. First, I want to congratulate my colleague Neil Portnow on 10 remarkably productive years at the helm of The Recording Academy. As you read in Neil’s message on the previous page, the last 10 years have seen phenomenal growth in both the GRAMMY Awards ceremony, as well as the many programs of The Recording Academy and its important affiliates, including MusiCares, the GRAMMY Foundation and the GRAMMY Museum. I’ve been proud to work alongside Neil for the past three years in my role as Chair, and to do my part to ensure that this organization continues to help and support music professionals.

George J. Flanigen IV Chair of the Board of Trustees

You’ll find more information in this book about the work of MusiCares, which helps music people in need, the GRAMMY Foundation’s efforts to support music education and preservation, and our advocacy work in Washington, D.C., and at the state level throughout the country. You’ll gain a better understanding about our programs, and how they might even impact you, or someone you know. But even if you are not personally touched by them, you’ll better appreciate the difference they can make, and how these programs are lifechanging for those people they help. Speaking of the Pre-Telecast Ceremony, this year we have moved the presentation to a new home at the stunning Nokia Theatre L.A. Live. This puts the announcement of approximately 85 percent of our GRAMMY winners in the spotlight they deserve. Combined with our live online stream of the event in recent years, the Pre-Telecast continues to grow in awareness, providing deserving artists a one-of-a-kind GRAMMY experience. Finally, I’d be personally remiss if I didn’t mention how truly awesome it was to stage “The GRAMMY Nominations Concert Live!!” in my own home of Nashville at Bridgestone Arena last December. I think it was our most electrifying live announcement of our nominees yet as this show continues to grow into a must-see event that kicks off our GRAMMY season and the countdown to Music’s Biggest Night. And that leads us to the 55th GRAMMY Awards. On behalf of my fellow Trustees, I congratulate all the nominees and I thank them for continuing to inspire us. And most of all, I look forward to another unique and thrilling GRAMMY show.

55th Annual GRAMMY Awards

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Special Merit Awards

Contents

LIFETIME ACHIEVEMENT AWARDS

74 Glenn Gould

Welcome

by Lang Lang

76 Charlie Haden

17 President/CEO’s Message 19 Chair’s Message

by Flea

78 Lightnin’ Hopkins

by Gary Clark Jr. and Doyle Bramhall II

80 Carole King

Nominees

by Diane Warren

82 Patti Page

28 The Black Keys

29 Kelly Clarkson

by Jerry F. Sharell

84 Ravi Shankar

30 Fun.

32 Gotye Featuring Kimbra

by Philip Glass

86 The Temptations

34 Frank Ocean

TRUSTEES AWARDS

36 Taylor Swift

88 Marilyn & Alan Bergman

38 Mumford & Sons

by Cynthia Weil and Barry Mann

90 Leonard & Phil Chess

40 Jack White

by Alan Light

42 Alabama Shakes

92 Alan Livingston

44 Hunter Hayes

46 The Lumineers

TECHNICAL GRAMMY AWARDS

by Paul Grein

48 Song Of The Year

94 Ikutaro Kakehashi & Dave Smith

52 Complete Nominations List

by Dave Stewart

96 Royer Labs

by Ed Cherney

HALL OF FAME

98 2013 GRAMMY Hall Of Fame 106 Celebrating 40 Years Of The GRAMMY Hall Of Fame

98 132

55th Annual GRAMMY Awards

Contents

The Recording Academy Today 15 The Recording Academy 192 Membership And Member Services

Features

194 GRAMMY Week

120 The Music Food Chain

196 The GRAMMY Museum

Artists’ culinary hits

132 Beauty And The Beat

How the stars get red-carpet ready

148 Million-Dollar Rooms How the 1 percent listen to music, and how you can get better sound without the wallet-busting budget

160 Music’s Biggest Social Event On the heels of the GRAMMYs’ record-setting social engagement last year, we look at the intersection of music and social media

168 Under The Cover

198 The MusiCares Foundation 200 The GRAMMY Foundation 202 The Latin Recording Academy 204 Advocacy At The Academy 206 The Digital Academy 208 The GRAMMY Awards Process 210 Behind The Statue 212 Executive Staff

Official 55th GRAMMY Awards artist Erika Iris Simmons reveals at least one connection between recording and the visual arts

214 National Trustee Officers And Trustees

171 We Take Care Of Bruce

218 National Staff

228 Past Chairs

MusiCares Person of the Year Bruce Springsteen: The GRAMMY Interview

231 In Memoriam

Remembering the music people we lost in 2012

235 We Will Always Love You

A photo review of the GRAMMY Salute To Whitney Houston

236 “The GRAMMY Nominations Concert Live!!”

The December 2012 nominations telecast in photos

171

The GRAMMY Award design is a trademark and service mark registered with the United States Patent and Trademark Office and may not be reproduced without permission. The National Academy of Recording Arts & Sciences, Inc., owns, among others, the following trademarks: National Academy of Recording Arts & Sciences®, The Recording Academy®, GRAMMY®, GRAMMY Awards®, GRAMMY Hall Of Fame®, Latin Academy of Recording Arts & Sciences®, The Latin Recording Academy®, MusiCares Foundation®, GRAMMY Legend Awards®, GRAMMY in the Schools®, and GRAMMY Foundation®. The 55th Annual GRAMMY Awards program book is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, in association with FX Marketing Group. © 2013 The Recording Academy. All rights reserved.

120

236

55th Annual GRAMMY Awards

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Angela Krempel Vice President Operations Giacomo LaRosa Chief Content Officer Aaron Daley Client Liaison Administrator Frank G. Fernandez General Counsel Conal Doyle Legal Counsel — West Coast Ken Rose Sr. Director Entertainment & Artist Relations Elizabeth Ferris Artist Relations Advisor Michele LanFrank Advertising Sales — West Coast Tom Brady Jeff Williams Doug Beaudoin Lisa Beeman Joe Gonzalez Lele Paul Daniel Price Bryan Silver Teejay Weaver

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Contributing Writers Tai Beauchamp, Melissa Blazek, Doyle Bramhall II, Bruce Britt, Ed Cherney, Gary Clark Jr., Chuck Crisafulli, Dan Daley, Alan di Perna, Natan Edelsburg, Flea, Bill Forman, Philip Glass, Paul Grein, Tammy La Gorce, Lang Lang, Alan Light, Barry Mann, Lynne Margolis, J. Poet, Bryan Reesman, Robert Santelli, Jerry F. Sharell, Dave Stewart, John Sutton-Smith, Roy Trakin, Diane Warren, Cynthia Weil, Lisa Zhito, Paul Zollo Front Cover Artwork Erika Iris Simmons Photographed by Tom Keller; Photo Enhancement by Rikki Poulos © 2012 The Recording Academy Official Photographer For The GRAMMY Awards WireImage.com GRAMMY Award Statue Designed And Manufactured By John Billings The Official 55th Annual GRAMMY Awards program book is published by The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, and produced in association with FX Marketing Group Inc., 300 South Hyde Ave., Suite 202, Tampa, FL 33606. All rights reserved. No part of the publication may be reproduced, stored in a retrieval system, transmitted in any form, by means electronically, mechanically, photocopying, or otherwise, and no article or photography can be printed without the written consent of the publisher. Reproduction in whole or part without written consent is forbidden. The Recording Academy and FX Marketing Group assume no responsibility for statements made by advertisers; the quality, deliverability of products, or services advertised; or positioning of advertising. GRAMMY Awards is a registered trademark of the National Academy of Recording Arts & Sciences Inc. The GRAMMY Award design is a trademark and service mark registered in the United States Patent and Trademark Office and may not be reproduced without permission. © 2013 The Recording Academy. All rights reserved. Published by

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Record of the year album OF THE YEAR During an unpredictable time for artists and the music industry, the Black Keys have become perfectly geared for mainstream success on their own terms. From their humble roots as an edgy two-man garage band in Akron, Ohio, vocalist/guitarist Dan Auerbach and drummer Patrick Carney have gradually developed into a largerthan-life duo while maintaining their artistic credibility. Now Nashville-based, the duo also possesses a refreshing sense of humor. Two of their videos have starred a lip-synching “funkasaurus rex” puppet, while the video for “Your Touch” commences with Auerbach and Carney being shot repeatedly, with their spirits then contemplating death over coffee at a diner. “At least I died doing what I loved, man, lip-synching,” Auerbach jokes in the video. The Black Keys are up for five GRAMMYs this year, while co-producer Auerbach is also nominated for Producer Of The Year, Non-Classical. The single “Lonely Boy” is up for three accolades — Best Rock Performance, Best Rock Song and Record Of The Year — while their seventh studio album, El Camino, is in the running for Album Of The Year and Best Rock Album. It’s every bit as impressive as 2010, when the

The BLACK KEYS dynamic duo won two of their four GRAMMY bids. The clever video for the raucous “Lonely Boy” has racked up more than 21 million YouTube views thanks to a single-shot concept in which a middle-aged man joyously shakes his money maker while mouthing the lyrics. It’s a great entryway into this back-to-basics album, their second consecutive co-produced by Danger Mouse, who also co-wrote every song on the album. The platinum-selling El Camino interweaves garage rock, ’60s pop, hard rock, and blues into a vivacious brew that is both brash and nuanced. It’s been pretty hard to escape the Black Keys’ music in recent years. Since 2006, their songs have been licensed for dozens of uses, including Nissan and Victoria’s Secret commercials and the “Grand Theft Auto IV” video game. In 2010 they became the most-licensed band on Warner Music Group’s roster, echoing the huge crossover success that Moby had with his multi-platinum Play album. It’s been a tremendously successful strategy, but music this rich and authentic doesn’t really require a strategy, it just requires ears. — Bryan Reesman

Danny Clinch

55th Annual GRAMMY Awards

KELLY CLARKSON

Record of the year

True to her spitfire personality and Thelma & Louise verve, Kelly Clarkson has never been afraid to say what she feels or drive down a dusty road that’s not on the map. Her choices may cause tensions at times, but in the music world, that’s more than OK. Stronger, which bowed in October 2011, has led to a total of four GRAMMY nominations this year, including Record Of The Year for “Stronger (What Doesn’t Kill You).” Despite the album’s bracing collection of songs about heartbreak and determination, Clarkson sounds comfortable. Part of this comes from her growing maturity and her recent (and worthwhile) dalliances with rock, country and punky pop, which have contributed to her artistic evolution. One of the album’s exceptional efforts, “Stronger (What Doesn’t Kill You)” is delivered by Clarkson with a rare kind of conviction. It’s another one of those empowering anthems that she inhabits rather than simply sings. Few performers are as authentic as Clarkson, and even fewer come close to possessing her sheer vocal gift. It’s a rare magical combination that’s hard to resist. Clarkson credits the album’s producers with freeing her to do what she does best. “What separates this album are the vocals,” Clarkson has said. “They sound richer and fuller and, for the first time, how I sound when I’m performing live. The producers I worked with just let me sing and be me. They didn’t strip away the personality.” With dust-in-the-rear-view-mirror material such as “Stronger …” Clarkson is in good hands with producer Greg Kurstin. In addition to drawing acclaim for his work as a member of Geggy Tah and the Bird And The Bee (with Inara George), Kurstin has also written and produced some outstanding tracks for a stable of headstrong female artists, including Lily Allen, Kylie Minogue, Pink, Ke$ha, Marina & The Diamonds, and Garbage’s Shirley Manson, among others. The clarity of the production and the message of “Stronger …” parallels the state of Clarkson’s career: she’s always had the talent and continues to discover her confidence. That’s a really good thing for her — and even more so for us. — Melissa Blazek

Jill Greenberg

55th Annual GRAMMY Awards

Record of the year album OF THE YEAR BEST NEW ARTIST

FUN.

“So let’s set the world on fire/We can burn brighter than the sun.” One could call it a case of life imitating art when Fun. lead singer Nate Ruess belts out the prescient sing-along chorus to the group’s multi-GRAMMY-nominated “We Are Young.” Boasting six overall nominations, Fun. are the only group ever to receive nods in all four General Field categories — and just the ninth artist overall — and the first since Amy Winehouse in 2007. The only artist in GRAMMY history to run the General Field table is Christopher Cross, who turned the trick in 1980. Formed by Ruess with Andrew Dost and Jack Antonoff, New York-based Fun.’s Some Nights is the follow-up to their debut, 2009’s Aim And Ignite. By the time the album was released in February 2012, “We Are Young,” featuring guest vocals by R&B diva Janelle Monáe, had already attracted attention with a pair of major licensing coups. The song was first performed on Fox’s hit TV show “Glee,” then prominently featured in a TV spot for the Chevrolet Sonic during Super Bowl XLVI. An arena-ready anthem that mostly eschews guitars, “We Are Young” spent almost two months atop the Billboard Hot 100, racking up more than 160 million views on YouTube and surpassing the quintuple-platinum sales plateau. Listen closely and you realize “We Are Young” is not your typical Top 40 fare. At once dark and filled with foreboding, its propulsive Queen-like chorus is at odds with its downbeat message. “Give me a second, I need to get my story straight,” is the first line in this blurry tale of a night out with friends “getting higher than the Empire State” in the bathroom as Ruess sings of inflicting scars on his ex: “I know I gave it to you months ago/I know you’re trying to forget.” In other words, “We Are Young” is not your typical teen anthem, but an acid-laced bit of self-loathing that wonders if its lapsed lovers could “find new ways to fall apart,” as Ruess offers an inebriated toast: “So let’s raise a cup/’Cause I found someone to carry me home tonight.” Perhaps he and his Fun. bandmates will end up hauling home a few GRAMMY statues with them in the process. — Roy Trakin Lindsey Byrnes

55th Annual GRAMMY Awards

Record of the year Overnight successes rarely happen overnight. In the case of Gotye, there was nearly a decade-long span between his debut album and “Somebody That I Used To Know” becoming Billboard’s No. 1 single of 2012. But while the artist, who was born Wouter De Backer, remained an unknown commodity outside his Australia home, he was making considerable waves Down Under. In 2002 he co-founded the indie pop trio the Basics. Meanwhile, he released three albums under the Gotye moniker and garnered airplay on Australia’s hugely influential triple j radio — a station credited with breaking acts such as Paul Kelly and Midnight Oil. One of the artist’s early fans was Kimbra Lee Johnson. A New Zealand singer/songwriter, she moved to Melbourne at age 17 and began covering Gotye’s songs during live performances in local bars. The two met early on through a shared producer, but it wasn’t until a few years later, during the mixing stage of her debut album Vows, that Kimbra received an invitation to guest on the song that would send both their careers into overdrive. And that, of course, is where the rest of us come in. The video for “Somebody That I Used To Know,” in which the two musicians appear

Thom Kerr Cybele Malinowski

55th Annual GRAMMY Awards

GOTYE Featuring kimbra as an estranged couple with nothing left in common but a shared love for elaborate body paint, has racked up more than one-third of a billion views, and both artists have taken top honors for two years running at the Australian Recording Industry Association’s ARIA Awards. But if the world thinks it now knows Gotye on the basis of one breakthrough single, the rest of his GRAMMY-nominated Making Mirrors album proves there’s more to the story. Mainly recorded on a MacBook Pro and a quarter-inch tape machine, the songs are as eclectic as their creator. Witness the Motown-tinged “I Feel Better,” or the postmodern exotica of “State Of The Art,” which finds the inveterate crate digger blending a pastiche of sampled Taiwanese horns and Turkish drums with the futuristic sounds of his Salvation Armybought organ. It’s an engaging collection from an artist who’s well worth knowing. — Bill Forman

Record of the year album OF THE YEAR BEST NEW ARTIST

FRANK OCEAN

Mark Seliger

55th Annual GRAMMY Awards

Nabil Elderkin

As befits his aquatic name, Frank Ocean’s acclaimed album Channel Orange is a fathoms-deep creative achievement. After setting the blogosphere ablaze in 2011 with his self-released mixtape Nostalgia, Ultra., Ocean followed with Channel Orange, earning rave reviews for a recording that seems encased in a new genre unto itself. Indeed, what to call an album that distills Marvin Gaye, Pink Floyd, Prince, and jazz-funk pioneers such as Roy Ayers, yet somehow avoids stooping to slavish derivation? What to make of a collection of original songs that reconciles heart-melting R&B balladry and sensuous electro-funk, then binds it all with stream-of-consciousness lyrics about desperation, hedonism and unrequited love? As its TV-genic title suggests, Channel Orange sounds like a pirate broadcast from some futuristic musical outpost. Co-produced by Ocean, Pharrell, Malay, and Om’Mas Keith, Channel Orange debuted at No. 2 on the Billboard 200. Within hours of its iTunes release, the album leapt to the top of the store’s Top Albums chart. Critics and peers including Adele, Alicia Keys and Seth MacFarlane greeted the album with a virtual hallelujah chorus. Billboard accurately noted, “Nothing about Ocean’s musical and lyrical choices is conventional,” while fellow GRAMMY nominee Gotye simply described Ocean’s magnum opus as “fantastic.” Singles such as the Record Of The Year GRAMMY-nominated “Thinkin Bout You” only deepened Ocean’s mystique. Reviewing Ocean’s backstory, there’s a feeling that the singer’s sudden fame is a case of destiny fulfillment. Born Christopher “Lonny” Breaux, Ocean was raised in New Orleans. When Hurricane Katrina threatened to submerse his musical aspirations, Ocean relocated to Los Angeles to shop his demos. Eventually landing a songwriting deal, he supplied tunes to Beyoncé, Justin Bieber, Jay-Z, and Kanye West, but behind-the-scenes success could never fully satisfy an artist of Ocean’s ambitious caliber. So he fell in with the controversial hip-hop crew, Odd Future Wolf Gang Kill Them All, then nabbed a solo artist deal with Def Jam Recordings in late 2009. Now with his breakthrough solo recording, the course of Ocean’s life seems irrevocably changed. Nominated for six GRAMMYs, including Best Urban Contemporary Album and Best Rap/Sung Collaboration, fans can be excused for zealously pondering where Ocean’s insistent artistry will lead next. Stay tuned to Channel Orange. — Bruce Britt

Record of the year

TAYLOR SWIFT

Brian Doben/Firefly Entertainment, Inc.

Taylor Swift can’t help it if the world insists on mining her lyrics for autobiographical content. Was she asking for it with a title like “We Are Never Ever Getting Back Together”? Sure. But the song, the first single from her fourth studio album, Red, is more than just a massive-selling decoder ring released for the pleasure of fans fixated on Swift’s admittedly fascinating love life. It’s a big, bold step in a new musical direction. If Nashville’s most famous 23-year-old wasn’t exactly a stranger to pop before “We Are Never Ever …” shot to the top of the Billboard Hot 100 chart, she got to know the genre a whole lot better with its release. Credit her partners in songcraft, Max Martin and Shellback. Unlike 2010’s Speak Now, which Swift wrote entirely on her own, she reached out to the pair for a Swedish pop infusion on Red. And what a stroke of synthesized genius that turned out to be. Music buyers devoured “We Are Never Ever …” so eagerly that it topped the iTunes Top Singles chart 50 minutes after its release and sold 623,000 digital copies in its first week. You don’t need to get much further than 20 seconds into the upbeat song, with its thumping beat and dose of teen-queen attitude, to figure out why. A country girl has seldom kicked an ex to the curb with this much enthusiasm. Or gleeful sarcasm. “I’m really gonna miss you picking fights,” she sings before leveling a snarkily brilliant blow about her hipper-than-thou ex finding “peace of mind with some indie record that’s much cooler than mine.” Swift may be more of a mainstream than indie darling, but that certainly doesn’t mean she’s not inventive or off-the-cuff, and that’s evidenced late in the song when she utters a spoken-word zinger on the heels of the hopped-up, empowering chorus. “I’m just, I mean, this is exhausting. Like, we are never getting back together. Like, ever,” she says. Resistance to her dictum is clearly, thrillingly futile (especially if you happen to be one of her ex-boyfriends). For the rest of us, the thing that’s futile is resisting this impossibly catchy song. — Tammy La Gorce

55th Annual GRAMMY Awards

album of the year

instrumentalist bandmates — Marcus Mumford, Winston Marshall and Ben Lovett — have followed their debut with an equally stunning and irresistible work, 2012’s Babel. Far from suffering any sophomore jinx, Mumford & Sons’ second effort debuted at No. 1 on the Billboard 200, garnering six GRAMMY nominations this year, and giving them a remarkable total of nine nominations as a group over just two albums. The music more than justifies the band’s high profile. For Babel, the band reteamed with GRAMMY-winning producer Markus Dravs, again creating music that is at once grand and humble, timeless and of-themoment. The title track and “I Will Wait” burst with passion, “Ghosts That We Knew” and “Reminder” are tender and soulful, and the band’s work still comes across as both a warm invitation and a wonderful surprise. Fans can only assume that given Mumford & Sons’ well-earned success, the members now have access to all the banjos and basses they require, and won’t be turned away from a studio or stage anytime soon. — Chuck Crisafulli

Rebecca Miller

A few years ago, when the members of Mumford & Sons turned up at a London recording studio to begin work on their debut album, Sigh No More, things did not start off well. The band was initially turned away from their own booked session because bassist Ted Dwane arrived without his instrument. But Dwane had a perfectly good reason for being empty-handed: at the time, he didn’t own a bass. A decent upright double bass is never cheap, but whatever the band invested on Dwane’s behalf has paid off handsomely. Released in 2009, Sigh No More enjoyed the kind of multi-platinum success that’s a distant dream for most young bands — especially a band who totes banjos, mandolins and resonator guitars along with that double bass. The album’s success was powered in part by a breakthrough performance at the 53rd Annual GRAMMY Awards, and its biggest hit, “The Cave,” has since become a near-global anthem, heard everywhere from pubs and clubs to elementary school graduations. Such outsized success may have seemed improbable for a group with such an unassuming, folksy sound, but Dwane and his multi-

MUMFORD & SONS

55th Annual GRAMMY Awards

mumford & sons (PRS)

robert glasper

rico love

fonseca (SAYCO)

the avett brothers

phillip coleman

jason ingram

the grascals

SESAC WOULD LIKE TO CONGRATULATE ALL OUR Affiliates Who Contributed to Grammy Nominated Projects: ®

Fats Kaplin Catt Gravitt Billy Mann Bryan-Michael Cox Jacob Luttrell Nikhil Seetharam Swizz Beatz Micah Otano Bar None Cary Barlowe Peter Kipley Don Henry Allison Moorer Bonnie Bramlett Bob Dylan Greg Curtis, SR. Tony Rackley Jerry Salley Adonis Shropshire Dustin Welch Nate “Danja” HillS Harvey Mason Jr. Paul Pesco Chrisette Michele Lalah Hathaway Omarion Christopher DavE Kendrick “Wyldcard” Dean JASON PERRY Josiah “Jojo” Martin Mike Free Stephen Hacker Matthew Del Giorno Develop Dirty Projectors

ALBUM of the year

JACK WHITE

Jo McCaughey

In the decade-plus since the brash and exciting blues/punk energy of the White Stripes’ eponymous debut, Jack White has become something of a modern-day Renaissance man as a singer, songwriter, record producer, and multi-instrumentalist, as well as a studio and label owner. White has already won nine GRAMMYs and received 18 nominations overall in 12 different categories, both as producer and with his bands the Raconteurs and White Stripes. The GRAMMYnominated 2012 album Blunderbuss is the first solo outing from White and his first album to debut at No. 1 on the Billboard 200. Born and raised in Detroit, and the youngest of 10 siblings, White started out on drums but, inspired by early blues greats such as Son House, soon turned to guitar. He formed the White Stripes in 1997 with wife Meg White, and created a dynamic retro-minimalist bluesrock sound on albums such as 2001’s White Blood Cells and 2003’s Elephant. Indeed, the GRAMMY-winning “Seven Nation Army” has become an anthem at sports stadiums around the world. White’s versatility and range have led him to work with artists ranging from Beck and Jeff Beck to Bob Dylan and the Rolling Stones. In 2004 White teamed with Loretta Lynn to produce and perform on her Van Lear Rose album, which won GRAMMYs for Best Country Album and Best Country Collaboration With Vocals for the single “Portland, Oregon.” Further pushing his musical envelope, White formed the Raconteurs in 2005, and then returned to the drum kit with the Dead Weather in 2008, with members of the Kills and Queens Of The Stone Age. Forming his own independent label, Third Man Records, White set up a studio in his adopted hometown of Nashville, where he has produced records by the likes of Jerry Lee Lewis and Wanda Jackson as well as his ex-wife, songwriter Karen Elson. In 2008 White appeared in Davis Guggenheim’s acclaimed documentary It Might Get Loud with Jimmy Page and U2’s The Edge and in 2011 was presented the Music City Ambassador Award by Nashville Mayor Karl Dean. A true pioneer of classic American roots and contemporary postmodern rock, even after more than a decade of recording, three bands and innumerable collaborations, it feels as if Jack White is only at the beginning of his musical journey. And that’s brash and exciting. — John Sutton-Smith

55th Annual GRAMMY Awards

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BEST NEW ARTIST

rasp and tender yet ragged falsetto that has invoked comparisons to Janis Joplin. Growing up in Athens, Ala., Howard began writing songs at the tender age of 4, at first with her older sister but then on her own after her sister died of a brain tumor in 1998. “After she passed away, I didn’t have anybody to do that with,” she says of her early songwriting. “But I found her guitar, started playing and never really stopped. My first band, when I was 13, played punk rock. I was always pegged as this weird kid.” Howard joined forces with bassist Zac Cockrell, guitarist Heath Fogg and drummer Steve Johnson in 2009. The fledgling Shakes paid their dues playing cover songs in bars — four sets a night for small pay — before venturing to perform their own material. They’ve forged their own style of rootsy 21st century soul, anchored in a rawness and aggression that bears heartfelt testimony to Howard’s early grounding in punk rock. In today’s pop music scene, Alabama Shakes are a poignant reminder that musical honesty never goes out of style. — Alan di Perna

Pieter M. van Hattem/Contour by Getty Images

Honesty is a word often used in connection with Alabama Shakes. Their artistry is devoid of artifice, rooted in the timeless emotional truth of soul, rock, blues, and gospel. You must take them on their own terms, and the world has taken to them in a big way. Alabama Shakes’ self-titled 2011 debut EP and a tour de force appearance at New York’s CMJ Music Marathon won the acclaim of distinguished music critics such as The New York Times’ Jon Pareles and NPR’s Ann Powers, as well as the wholehearted support of fellow musicians, including Adele, Booker T. Jones and Jack White. Alabama Shakes’ full-length debut, Boys & Girls, scored high chart positions internationally and their soul-steeped track “Hold On” received top honors on Rolling Stone’s list of the 50 Best Songs of 2012. And now they are up for this year’s Best New Artist GRAMMY. While Alabama Shakes are a band in the true sense — founded on the eternal brotherhood and sisterhood of guitars, bass and drums — their main attraction is undeniably their powerhouse singer and guitarist Brittany Howard. Her voice is blessed with a soulful

ALABAMA SHAKES

55th Annual GRAMMY Awards

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BEST NEW ARTIST

HUNTER HAYES To call Hunter Hayes a former child prodigy is to miss something fundamental about his relationship to music. It’s evident in clips of a 4-year-old Hayes sharing the stage with Hank Williams Jr., eyes ablaze as the Hank Williams Sr. classic “Jambalaya” sings from his accordion. It’s in the authority with which a 5-year-old Hayes commands the house band on TNN’s “Prime Time Country”; it’s the spark that inspired actor/director Robert Duvall to cast a 6-yearold Hayes as an accordion-playing Cajun wunderkind in his film The Apostle. And you can see it as Hayes growls his way through Wayne Toups’ “Rockin’ Flames” on “Maury” at age 8, then expertly deflects host Maury Povich’s questions about his love life like a seasoned pro. Now 21, Hayes professes embarrassment at these images of his pint-sized self plastered across the Internet. He shouldn’t. What these and other vignettes available on YouTube show is an artist whose musicality is tattooed on his DNA. Hayes put it best when he said that for him, music was like breathing. It shows. Hayes had five independent releases to his name when at 17 he moved from Breaux Bridge, La., to Nashville, Tenn. After signing with Atlantic Records, in 2011 he released his major label debut. Hunter Hayes took six months to make, largely because Hayes wrote or co-wrote all 12 tracks, co-produced the album and is the sole musician credited. The latter is an astonishingly unconventional approach to recording, especially for a country artist. Hayes tackled 30 instruments for the project, including sitar, bouzouki and mandocello, but says eschewing studio players allowed him to approach the material more honestly and personally. Fans agreed. Hunter Hayes was certified gold in November 2012, and brought Hayes a GRAMMY nomination for Best Country Album. His feisty first single “Storm Warning” was certified gold and rose to No. 14 on Billboard’s Country Songs chart; “Wanted” earned him a GRAMMY nomination for Best Country Solo Performance, hit the Top 20 on the Billboard Hot 100 and was certified platinum. What’s next for country’s new superstar boggles the mind to ponder. — Lisa Zhito

Juan Pont Lezica

55th Annual GRAMMY Awards

BEST NEW ARTIST After playing together as a trio for seven years, the Lumineers became an overnight sensation when “Ho Hey,” a track from their self-titled debut, went viral. It was used on television shows such as “Hart Of Dixie” and “The Vampire Diaries,” was featured in ads for the Oscar-nominated David O. Russell film Silver Linings Playbook, provided the soundtrack to commercials for E.ON Energy and Bing, and the video for the song has garnered more than 27 million views on YouTube. Not too bad for a song that was written to provoke the indifferent crowds the band played to when they were starting out in New York as a duo — Wesley Schultz on guitar and vocals and Jeremiah Fraites on guitar, vocals, mandolin, percussion, and drums. Schultz and Fraites are originally from New Jersey. Schultz was the best friend of Josh Fraites, Jeremiah’s older brother. When Josh died of an overdose in 2001, Schultz and the younger Fraites began playing music

The LUMINEERS together to deal with the grief. After a few hard years playing New York clubs, they relocated to Denver and placed an ad on Craigslist for a cellist. Neyla Pekarek, now the band’s third member, was the first to answer. The trio started developing a sound that blended acoustic rock, folk, pop, and Americana. In 2011 they released a self-produced EP and booked themselves on a national tour that often found more people onstage than in the audience. The indifference inspired them to create a high-energy show that was soon filling stadiums and festivals with fans that knew the words to all of their songs. Released in April 2012, their self-titled debut peaked at No. 11 on the Billboard 200, No. 1 on Billboard’s Independent Albums chart and has sold more than 250,000 copies. The album garnered the trio two GRAMMY nominations: Best New Artist and Best Americana Album. For the Lumineers, it’s been a bright year indeed. — J. Poet

Scarlet Page

55th Annual GRAMMY Awards

(CeCe Rogers)

THE headphone company

Signature PRO

Edition 10

Edition 8

Christie Goodwin

Her name was Angel, a homeless woman Ed Sheeran met at a shelter in London, who told him the story that would lead to his breakthrough song. “We had a bit of a talk,” Sheeran says, “and her story struck a chord in me. I was only 18 and I had never seen the underground of London. That night I went back to my mate’s flat, picked up his guitar and wrote the entire song on his bed in 20 minutes.” The title, he explains, “insinuates that she is on what in the UK are called Class A drugs, such as Ed Sheeran heroin. I wanted to write a song which explained what her life is like, and I used a lot of her own words.” Sheeran recorded a raw but passionate demo, which he ultimately used for the finished album. “The version you hear on the radio, that is played worldwide, is exactly as I recorded it in that instance.” As spontaneously generated as “The A Team” was, it still evolved from simple songcraft. “The first things I wrote were the rhyming couplets,” says Sheeran. “I wrote down a whole list of rhymes for A Team, like eighteen, daydream, wasting, pastries. And then I pieced the song around one rhyming scheme. The words and the melody mostly came at the same time. The melody [is] based on singer/songwriter folky chords. But I also wanted to have a bit of soul in there, and the main element of the chorus sings almost like a standard on the line, ‘It’s too cold outside for angels to fly.’”

“Adorn”

Timothy Saccenti

Miguel Pimentel, songwriter Miguel, artist

Miguel Pimentel

“I’ll be honest,” Miguel told WPGC-FM about “Adorn,” “it’s the craziest thing: hearing voices in your head, you lay it down, you lay down the beat and the words, and hearing the melody and the song almost writing itself. Then singing it in another country and people knowing the song, or hearing it on the radio. It’s a humbling thing.” Getting to the place where “Adorn” and other songs could emerge had to do with the artistic liberation Miguel has embraced since recording his debut album, 2010’s All I Want Is You, which led him to having a hand in writing and producing all of the songs on his second album,

55th Annual GRAMMY Awards

Jack Edinger

Ed Sheeran, songwriter Ed Sheeran, artist

Carly Rae Jepsen called it “Call Me Maybe” because she’s bashful. “I just liked the idea of being brave in love, and approaching a total stranger,” Jepsen tells us. “But I am shy by nature so ‘Call Me Carly Rae Jepsen Tavish Crowe Maybe’ felt more coy than just plain ‘Call Me.’” Written with Josh Ramsay and Tavish Crowe, the song was based on an idea she and Crowe started while in the midst of a tour. “It began on acoustic guitar,” Jepsen recalls, “so it originally sounded a lot folkier.” The title emerged while the three jammed, throwing out random lyric ideas until the ideal one arrived. “When I sang out ‘Call Me Maybe,’ the guys loved it. Josh said, ‘That’s it! That’s gotta be the title.’” The verses, however, required a little more work. “The melody [for the verse] came first,” Josh Ramsay she says, “and the lyrics were rewritten twice before we were happy with them.” Almost as soon as the writing session was done, the production commenced. “The song really began to take shape when Josh began tracking it,” says Jepsen. “He’s a bit of a mad genius when he gets excited about something.” As excited as she is about the phenomenal success of “Call Me Maybe,” which even spawned viral parodies, including one featuring President Barack Obama, nothing compares to the exultation she experienced in writing it. “The writing process is always different for each song,” says Jepsen. “But my excitement remains the same. I always feel the most alive when I am writing a song.”

Ben Knetchel

“The A Team”

“Call Me Maybe”

Tavish Crowe, Carly Rae Jepsen & Josh Ramsay, songwriters Carly Rae Jepsen, artist

Reid Rolls

SONG of the year

the GRAMMY-nominated Kaleidoscope Dream. “It was so much easier,” Miguel said in an interview with ContactMusic.com, “because that was the actual driving thought: just be true to yourself on every level this time around.” “Adorn,” which is built around a timeless invitation (“Just let my love adorn you”), has already shown the durability of a standard as it has shined through countless remixes, most notably one by hip-hop superstar and fellow 55th GRAMMY nominee Wiz Khalifa. “That’s the best song that I have ever heard anybody sing in my life,” Khalifa said on the red carpet at the 2012 BET Hip-Hop Awards. To Miguel, Khalifa added, “You sound … like you drank gold that morning.” Returning the favor, Miguel said he loved what Khalifa did with his song. “Wiz Khalifa’s remix is probably my favorite, hands-down. Wiz did it on the official tip, so I got to shout him out.”

A TRADITION OF BEING NON-TRADITIONAL THE UCLA HERB ALPERT SCHOOL OF MUSIC, A GAME CHANGER IN EDUCATION FOR A DIVERSE AND GLOBAL MUSIC LANDSCAPE, CONGRATULATES ALL OF THE NOMINEES FOR THE 55TH ANNUAL GRAMMY AWARDS速.

schoolofmusic.ucla.edu

SONG of the year

“Stronger (What Doesn’t Kill You)”

“We Are Young” Jack Antonoff, Jeff Bhasker, Andrew Dost & Nate Ruess, songwriters Fun. Featuring Janelle Monáe, artists

Toni Ard

Jörgen Elofsson

Lindsey Byrnes

David Gamson

Andi Elloway

Greg Kurstin

Fun.

It all started in his car, en route to Woodstock, Fun.’s Nate Ruess explains. “I was alone, driving,” he says, “and out of nowhere, the chorus popped into my head. And it sounded exactly as it sounds on the album.” Because the sun was shining, the word sun became the obvious rhyme for young, and the anthemic chorus was complete. With a chord progression from bandmate Andrew Dost, Ruess completed a draft of the song, which he sang a capella for Jeff Bhasker producer Jeff Bhasker, who was stunned. “His jaw dropped to the floor,” says Ruess. Bhasker started tracking the song, and attempted to structure it conventionally on a normal rhythmic grid, although Ruess knew it needed to go off the grid to enable its multirhythmic groove. “When I explained that to him, I thought he might punch me in the face because I was sounding crazy,” he says. “But after some connecting, he understood, and we sped up the verse. He so loved the sound of my voice sped up, [so] we kept it that way. And when he heard how well the tempo worked, he freaked out. He was so excited.” Bhasker retooled the melody slightly, while Fun.-mates Dost and Jack Antonoff added “their magic touch,” which included “an awesome guitar part” by Antonoff, and orchestral arrangement ideas from Dost. It was Bhasker’s inspired idea to invite Janelle Monáe to bring her uniquely spirited vibe to the track. “She had never heard of us, but loved the song,” says Ruess. “We so loved what she added. It was a beautiful contribution. So the song is very much a collaboration between all of us.” — Paul Zollo

Ali Tamposi

Daniel Silbert

“It changed my life,” says Florida-born Ali Tamposi regarding “Stronger (What Doesn’t Kill You).” Like many classic songs, it was born out of heartbreak. “I went through a crazy breakup the night before writing the song,” says Tamposi, “and I was on the way to the [writing] session with David [Gamson] and Jörgen [Elofsson] and my mom was in town, and I didn’t want to go. And she said, ‘Darling, what doesn’t kill you makes you stronger.’ It was just a little mother-daughter advice. But it said everything.” Asked for song ideas upon arrival, Tamposi shared her mother’s line, and as Gamson played chords and she and Elofsson sang melodies, “Stronger …” quickly came together. “Jörgen and I bashed heads over the lyrics,” she said, “and then we took a walk, came back and finished the song.” The writers originally felt the song would be right for Leona Lewis, but subsequently agreed it was too edgy for her. When they were told Kelly Clarkson wanted to record it, Tamposi was shocked. “I thought it was a joke,” she says. “[Kelly] is like superhuman. This is a hard song to sing, with a big range. She said it was like a workout, recording it. She is a vocal genius, and totally transformed the song. Having her sing this song is magic. And [producer] Greg Kurstin’s track is amazing. All the stars aligned on this song, starting with my mom, who is the proudest mom in America right now.”

55th Annual GRAMMY Awards

Ninelle Efremova

Kicki Elofsson

Jörgen Elofsson, David Gamson, Greg Kurstin & Ali Tamposi, songwriters Kelly Clarkson, artist

Nominations For recordings released during the Eligibility Year October 1, 2011 through September 30, 2012. Note: More or less than 5 nominations in a category is the result of ties.

General Field

1 Record Of The Year

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

Lonely Boy The Black Keys The Black Keys & Danger Mouse, producers; Tom Elmhirst & Kennie Takahashi, engineers/ mixers; Brian Lucey, mastering engineer Track from: El Camino [Nonesuch]

Stronger (What Doesn’t Kill You) Kelly Clarkson Greg Kurstin, producer; Serban Ghenea, John Hanes, Greg Kurstin & Jesse Shatkin, engineers/ mixers; Chris Gehringer, mastering engineer [RCA Records/19 Recordings Limited]

We Are Young Fun. Featuring Janelle Monáe Jeff Bhasker, producer; Jeff Bhasker, Andrew Dawson, Ken Lewis, Pawel Sek & Stuart White, engineers/ mixers; Chris Gehringer, mastering engineer Track from: Some Nights [Fueled By Ramen]

Somebody That I Used To Know Gotye Featuring Kimbra Wally De Backer, producer; Wally De Backer & Francois Tetaz, engineers/mixers; William Bowden, mastering engineer Track from: Making Mirrors [Universal Republic]

Thinkin Bout You

2 Album Of The Year

Award to the Artist(s) and to the Album Producer(s), Recording Engineer(s) and/or Mixer(s) & Mastering Engineer(s), if other than the artist.

El Camino The Black Keys

[RCA/19 Recordings; Publishers: Universal Music Publishing MGB Scandinavia, Perfect Storm Music Group/Sony ATV Music Publishing Scandinavia, BMG Gold Songs, Kurstin Music/EMI April Music]

Some Nights Fun. Janelle Monáe, featured artist; Jeff Bhasker, Emile Haynie, Jake One & TommyD, producers; Jeff Bhasker, Pete Bischoff, Jeff Chestek, Rich Costey, Andrew Dawson, Emile Haynie, Ken Lewis, Manny Marroquin, Sonny Pinnar, Pawel Sek & Stuart White, engineers/mixers; Chris Gehringer, mastering engineer [Fueled By Ramen]

Babel Mumford & Sons Markus Dravs, producer; Robin Baynton & Ruadhri Cushnan, engineers/mixers; Bob Ludwig, mastering engineer [Glassnote]

Channel Orange Frank Ocean André 3000, John Mayer, Earl Sweatshirt & Tyler, The Creator, featured artists; Om’Mas Keith, Malay, Frank Ocean & Pharrell, producers; Calvin Bailif, Andrew Coleman, Jeff Ellis, Doug Fenske, Om’Mas Keith, Malay, Frank Ocean, Ken Oriole, Philip Scott, Mark “Spike” Stent, Pat Thrall, Marcos Tovar & Vic Wainstein, engineers/mixers; Vlado Meller, mastering engineer [Def Jam]

Blunderbuss Jack White Jack White, producer; Vance Powell & Jack White, engineers/mixers; Bob Ludwig, mastering engineer [Third Man/Columbia Records]

We Are Never Ever Getting Back Together

3 Song Of The Year

Track from: Some Nights [Fueled By Ramen; Publishers: WB Music, FBR Music, Bearvon Music/Rough Art/Shira Lee Lawrence Rick Music/Way Above Music/Sony ATV Songs]

4 Best New Artist

For a new artist who releases, during the Eligibility Year, the first recording which establishes the public identity of that artist.

Alabama Shakes Fun. Hunter Hayes The Lumineers Frank Ocean

Pop

5 Best Pop Solo Performance For new vocal or instrumental pop recordings. Singles or Tracks only.

Set Fire To The Rain [Live] Track from: Live At The Royal Albert Hall [XL/Columbia]

The A Team

Stronger (What Doesn’t Kill You)

Track from: + [Elektra; Publisher: Sony/ATV Music Publishing]

Adorn Miguel Pimentel, songwriter (Miguel) [RCA/Bystorm Entertainment; Publisher: Art Dealer Chic]

55th Annual GRAMMY Awards

We Are Young Jack Antonoff, Jeff Bhasker, Andrew Dost & Nate Ruess, songwriters (Fun. Featuring Janelle Monáe)

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.

Ed Sheeran, songwriter (Ed Sheeran)

Stronger (What Doesn’t Kill You)

The Black Keys & Danger Mouse, producers; Tchad Blake, Tom Elmhirst & Kennie Takahashi, engineers/ mixers; Brian Lucey, mastering engineer [Nonesuch]

Frank Ocean

Taylor Swift

[604 Records/Schoolboy Records/Interscope; Publishers: Jepsen Music Publishing, Regular Monkey Productions, Crowe Music Publishing]

Jörgen Elofsson, David Gamson, Greg Kurstin & Ali Tamposi, songwriters (Kelly Clarkson)

Frank Ocean & Shea Taylor, producers; Jeff Ellis, Mark “Spike” Stent, Pat Thrall & Marcos Tovar, engineers/ mixers; Vlado Meller, mastering engineer Track from: Channel Orange [Def Jam]

Max Martin, Shellback & Taylor Swift, producers; Serban Ghenea, Sam Holland, Michael Ilbert & John Hanes, engineers/mixers; Tom Coye, mastering engineer [Big Machine Records]

Call Me Maybe Tavish Crowe, Carly Rae Jepsen & Josh Ramsay, songwriters (Carly Rae Jepsen)

Adele

Kelly Clarkson [RCA Records/19 Recordings Limited]

Call Me Maybe Carly Rae Jepsen [604 Records/Schoolboy Records/Interscope]

Wide Awake Katy Perry [Capitol]

Where Have You Been

Best Pop Vocal Album

Best Dance/ Electronica Album

Rihanna

For albums containing at least 51% playing time of new vocal pop recordings.

Track from: Talk That Talk [Def Jam]

Stronger Kelly Clarkson

6 Best Pop Duo/Group Performance

For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.

Shake It Out Florence & The Machine Track from: Ceremonials [Universal Republic]

We Are Young

[RCA Records/19 Recordings LLC]

Ceremonials Florence & The Machine [Universal Republic]

Some Nights Fun. [Fueled By Ramen]

Overexposed Maroon 5 [A&M/Octone]

Fun. Featuring Janelle Monáe

The Truth About Love

Track from: Some Nights [Fueled By Ramen]

Pink

Somebody That I Used To Know Gotye Featuring Kimbra

[RCA Records]

Dance/Electronica

Track from: Making Mirrors [Universal Republic]

Sexy And I Know It

Best Dance Recording

LMFAO Track from: Sorry For Party Rocking [will.i.am/Interscope/Cherrytree Records]

Payphone Maroon 5 & Wiz Khalifa Track from: Overexposed [A&M/Octone]

7 Best Pop Instrumental Album

For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or Tracks only.

Levels Avicii Tim Bergling & Ash Pournouri, producers; Tim Bergling, mixer [Levels/Atom Empire/Interscope]

Let’s Go Calvin Harris Featuring Ne-Yo

[Concord Jazz]

Don’t You Worry Child

Impressions

Swedish House Mafia Featuring John Martin

Larry Carlton [335 Records Inc.]

Live At The Blue Note Tokyo Dave Koz [Just Koz Entertainment]

[Astralwerks]

> Album Title Goes Here < Deadmau5 [Mau5trap Recordings/Ultra Music]

Fire & Ice Kaskade [Ultra Music]

Bangarang Skrillex [OWSLA/Big Beat/Atlantic]

Traditional Pop

11 Best Traditional Pop Vocal Album For albums containing at least 51% playing time of new traditional pop recordings.

Christmas Michael Bublé [143/Reprise]

A Holiday Carole Carole King [Hear Music]

[Hear Music]

Skrillex, producer; Skrillex, mixer Track from: Bangarang [OWSLA/Big Beat/Atlantic]

Four Hands & A Heart Volume One

Don’t Think The Chemical Brothers

Bangarang

24/7

[Columbia]

Steve Aoki [Ultra Music/Dim Mak]

Kisses On The Bottom

Skrillex Featuring Sirah

Chris Botti

Wonderland

Calvin Harris, producer; Calvin Harris, mixer [Ultra Music]

For albums containing at least 51% playing time of new instrumental pop recordings.

Gerald Albright & Norman Brown

For vocal or instrumental albums. Albums only.

Steve Angello, Axwell & Sebastian Ingrosso, producers; Steve Angello, Axwell & Sebastian Ingrosso, mixers [Astralwerks]

I Can’t Live Without You Al Walser Al Walser, producer; Al Walser, mixer [Cut The Bull Entertainment]

Paul McCartney

Rock

12 Best Rock Performance For new vocal or instrumental solo, duo/ group or collaborative rock recordings.

Hold On Alabama Shakes Track from: Boys & Girls [ATO Records]

Lonely Boy The Black Keys Track from: El Camino [Nonesuch]

Rumbadoodle Arun Shenoy [Arun Shenoy Music Publishing]

55th Annual GRAMMY Awards

Nominations Charlie Brown Coldplay [Capitol]

I Will Wait Mumford & Sons Track from: Babel [Glassnote]

We Take Care Of Our Own Bruce Springsteen Track from: Wrecking Ball [Columbia Records]

13 Best Hard Rock/Metal Performance For new vocal or instrumental solo, duo/group or collaborative hard rock or metal recordings.

I’m Alive Anthrax

Best Rock Song

A Songwriter(s) Award. Includes rock, hard rock and metal songs. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Freedom At 21 Jack White, songwriter (Jack White) Track from: Blunderbuss [Columbia Records/Third Man Records; Publisher: Third String Tunes]

I Will Wait Ted Dwane, Ben Lovett, Winston Marshall & Marcus Mumford, songwriters (Mumford & Sons) Track from: Babel [Glassnote]

Lonely Boy Dan Auerbach, Brian Burton & Patrick Carney, songwriters (The Black Keys) Track from: El Camino [Nonesuch; Publisher: McMoore McLesst Publishing]

Madness Matthew Bellamy, songwriter (Muse) [Warner Bros.; Publisher: Warner/Chappell]

We Take Care Of Our Own

[Megaforce]

Bruce Springsteen, songwriter (Bruce Springsteen)

Love Bites (So Do I)

Track from: Wrecking Ball [Columbia Records; Publisher: Bruce Springsteen]

Halestorm Track from: The Strange Case Of... [Atlantic]

Blood Brothers Iron Maiden Track from: En Vivo! [UMe]

Ghost Walking Lamb Of God Track from: Resolution [Epic]

No Reflection

15 Best Rock Album

For albums containing at least 51% playing time of new vocal or instrumental rock, hard rock or metal recordings.

El Camino

Mylo Xyloto Coldplay

The 2nd Law Muse [WB]

Wrecking Ball Bruce Springsteen

Fiona Apple [Epic/Clean Slate]

Biophilia Björk [One Little Indian/Nonesuch]

Making Mirrors Gotye [Universal Republic]

Hurry Up, We’re Dreaming. M83 [Mute]

Bad As Me Tom Waits [Anti- Records]

R&B

17 Best R&B Performance

For new vocal or instrumental R&B recordings.

Thank You Estelle Track from: All Of Me [Home School/Atlantic]

Gonna Be Alright (F.T.B.)

I Want You Luke James [Mercury]

Adorn Miguel [RCA Records/Bystorm Entertainment]

Climax

[Columbia Records]

Usher

Blunderbuss

Track from: Looking 4 Myself [RCA Records]

Jack White

55th Annual GRAMMY Awards

The Idler Wheel Is Wiser Than The Driver Of The Screw And Whipping Cords Will Serve You More Than Ropes Will Ever Do

Track from: Black Radio [Blue Note]

[Columbia Records/Third Man Records]

Vocal or Instrumental.

[Nonesuch]

Track from: Born Villain [Cooking Vinyl]

Track from: Th1rt3en [Roadrunner Records]

Best Alternative Music Album

Robert Glasper Experiment Featuring Ledisi

[Capitol]

Megadeth

The Black Keys

Marilyn Manson

Whose Life (Is It Anyways?)

Alternative

Pray For Me

Nominations 18 Best Traditional R&B Performance

For new vocal or instrumental traditional R&B recordings.

Antonio Dixon, Kenny Edmonds, Anthony Hamilton & Patrick “jQue” Smith, songwriters (Anthony Hamilton) Track from: Back To Love [RCA; Publishers: Tappy Whyte’s Music/Songs of Universal, Faze 2 Music/Songs of Universal, Antonio Dixon’s Muzik/EMI April Music, Christopher Matthew Music Publishing/Songs of Windswept Pacific]

Refill Darhyl “DJ” Camper, Elle Varner & Andrew “Pop” Wansel, songwriters (Elle Varner) Track from: Perfectly Imperfect [RCA Records/MBK Entertainment; Publishers: Ellevision Music/Sony ATV Songs, Private Stock Entertainment/ Songs of Universal, CampStar Music/EMI April]

Lately Anita Baker [Blue Note]

Love On Top Beyoncé Track from: 4 [Columbia Records]

Wrong Side Of A Love Song

22 Best Rap Performance

For a rap performance. Singles or Tracks only.

HYFR (Hell Ya F***ing Right) Drake Featuring Lil’ Wayne Track from: Take Care [Cash Money Records]

N****s In Paris Jay-Z & Kanye West Track from: Watch The Throne [Roc-A-Fella Records, LLC]

Daughters

Best Urban Contemporary Album

Track from: Life Is Good [Def Jam]

For albums containing at least 51% playing time of recordings derived from R&B with edgier, more modern use of instrumentation and vocal tracks.

Nas

Mercy Kanye West Featuring Big Sean, Pusha T & 2 Chainz [G.O.O.D. Music/Island Def Jam]

Track from: The MF Life [SRC]

Note: This category is intended for artists whose music may include samples and elements of hip-hop, rap, dance, and electronic music. It may also incorporate production elements found in urban pop, urban Euro-pop, urban rock, and urban alternative.

Young Jeezy Featuring Jay-Z & André 3000

Real Good Hands

Fortune

Track from: TM: 103 Hustlerz Ambition [Def Jam]

Melanie Fiona

Gregory Porter Track from: Be Good [Motema Music]

If Only You Knew SWV Track from: I Missed Us [Mass Appeal Entertainment/E1 Music]

19 Best R&B Song

A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Adorn Miguel Pimentel, songwriter (Miguel) [RCA/Bystorm Entertainment; Publisher: Art Dealer Chic]

[RCA Records]

Kaleidoscope Dream Miguel [RCA Records/Bystorm Entertainment]

Channel Orange Frank Ocean [Def Jam]

21 Best R&B Album

For albums containing at least 51% playing time of new vocal or instrumental R&B recordings.

Black Radio Robert Glasper Experiment

Beautiful Surprise Tamia Hill, Claude Kelly & Salaam Remi, songwriters (Tamia)

Back To Love

Heart Attack Benjamin Levin, Rico Love & Tremaine Neverson, songwriters (Trey Songz) Track from: Chapter V [Songbook/Atlantic; Publishers: Matza Ball Music/ Where Da Kasz At, EMI Foray Music, April’s Boy Muzik/Warner/Chappell Music]

Anthony Hamilton [RCA Records]

Write Me Back R. Kelly

23 Best Rap/Sung Collaboration

For a newly recorded rap/sung collaborative performance by artists who do not normally perform together.

Wild Ones Flo Rida Featuring Sia Track from: Wild Ones [Poe Boy/Atlantic]

No Church In The Wild Jay-Z & Kanye West Featuring Frank Ocean & The-Dream Track from: Watch The Throne [Roc-A-Fella Records, LLC]

Tonight (Best You Ever Had) John Legend Featuring Ludacris [Epic Records]

Cherry Wine Nas Featuring Amy Winehouse Track from: Life Is Good [Def Jam]

Talk That Talk

[RCA Records]

Rihanna Featuring Jay-Z

Beautiful Surprise

Track from: Talk That Talk [Def Jam]

Tamia [Plus 1 Music Group]

Open Invitation Tyrese [Voltron Recordz]

55th Annual GRAMMY Awards

I Do

Chris Brown

[Blue Note]

[Plus 1 Music Group; Publishers: Plus 1 Publishing, Studiobeast Music/Warner Tamerlane Music/ Linden Springfield/EMI Blackwood Music]

Rap

24 Best Rap Song

A song must contain music and lyrics and must be either a new song or a song first achieving prominence during the Eligibility Year. Songs containing sampled material are eligible in this category. (Artist names appear in parentheses.)

Daughters Nasir Jones & Ernest Wilson, songwriters (Patrick Adams, Gary DeCarlo, Dale Frashuer & Paul Leka, songwriters) (Nas) Track from: Life Is Good [Def Jam; Publishers: Rich Daily Since ‘71, Universal Music Publishing, Unichappell Music]

Lotus Flower Bomb Olubowale Akintimehin, S. Joseph Dew, Jerrin Howard, Walker Johnson & Miguel Jontel Pimentel, songwriters (Wale Featuring Miguel)

Best Rap Album

Best Country Duo/Group Performance

For albums containing at least 51% playing time of new rap recordings.

Take Care Drake [Cash Money Records]

Lupe Fiasco

Little Big Town

[Atlantic]

Life Is Good Nas

On The Outskirts Of Town

The Roots

Based On A T.R.U. Story

[G.O.O.D. Music; Publishers: Please Gimme My Publishing/EMI Blackwood/RLFG Music/FF to Def Pub./ Neighborhood Pusha/Sony ATV Songs/Ty Epps Music/ Copyright Control/Roynet Music/Dub Plate Music]

I Just Come Here For The Music

[Def Jam]

Don Williams Featuring Alison Krauss

2 Chainz [Island Def Jam]

Country

Best Country Solo Performance

28 Best Country Song

A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Blown Away Josh Kear & Chris Tompkins, songwriters (Carrie Underwood)

Home

Track from: Blown Away [19 Recordings Limtied/Arista Nashville; Publishers: Global Dog Music/Lunalight Music, Big Loud Songs/Angel River Songs]

Dierks Bentley

N****s In Paris

Springsteen Eric Church

Cost Of Livin’

[EMI Records Nashville]

Phillip Coleman & Ronnie Dunn, songwriters (Ronnie Dunn)

Cost Of Livin’

[Arista Nashville; Publishers: Tractor Radio Songs, Sony/ATV Tree Publishing/Showbilly Music]

Ronnie Dunn [Arista Nashville]

Wanted Hunter Hayes Track from: Hunter Hayes [Atlantic]

Over

Even If It Breaks Your Heart Will Hoge & Eric Paslay, songwriters (Eli Young Band) [Republic Nashville; Publishers: Cal IV Songs/Will Hoge Music]

So You Don’t Have To Love Me Anymore

Blake Shelton

Jay Knowles & Adam Wright, songwriters (Alan Jackson)

Track from: Red River Blue [Warner Bros. Records]

[EMI Records Nashville/ACR Records; Publishers: Alrighty Den Music, Dean-Parnell Music, Acme Nashville]

Blown Away Carrie Underwood Track from: Blown Away [19 Recordings Limited/Arista Nashville]

[Sugar Hill Records]

For new vocal or instrumental solo country recordings.

[Capitol Records Nashville]

Track from: Mac And Devin Go To High School: Music From And Inspired By The Movie [Atlantic; Publishers: My Own Chit Publishing/EMI Blackwood, PGH Sound, Mars Force Music/Roc Nation Music, Toy Plane Music-Universal Music, Westside Independent, WB Music, Late 80’s Music, Beechwood Music, BMG Platinum, Rebellion Corps.]

The Time Jumpers Track from: The Time Jumpers [Rounder]

Rick Ross

Track from: Take Care [Cash Money Records]

Young, Wild & Free

Safe & Sound Taylor Swift & The Civil Wars

Undun

God Forgives, I Don’t

Calvin Broadus, Chris Brody Brown, Peter Hernandez, Philip Lawrence, Ari Levine, & Cameron Thomaz, songwriters (T. Bluechel, M. Barrow, T. Griffin, K. Jackson, N. Lee & M. Newman, songwriters) (Snoop Dogg & Wiz Khalifa Featuring Bruno Mars)

[Capitol Records Nashville]

[Big Machine Records/Universal Republic]

Mercy

Track from: Watch The Throne [Def Jam; Publishers: Hit-Boy Music/Very Good Beats, Hip Hop Since 1978, Dean’s List Productions, Unichappell Music]

Pontoon

[Def Jam]

Sean Anderson, Mike Dean, Tauheed Epps, Willie Hansbro, Malik Yusef Jones, Anthony Khan, Stephan Taft, James Thomas, Terrence Thornton, Herbert Turner & Kanye West, songwriters (Denzie Beagle, Winston Riley, Reggie Stepper & Reggie Williams, songwriters) (Kanye West Featuring Big Sean, Pusha T & 2 Chainz)

Shawn Carter, Mike Dean, Chauncey Hollis & Kanye West, songwriters (W.A. Donaldson, songwriter) (Jay-Z & Kanye West)

Eli Young Band [Republic Nashville]

[Island Def Jam]

Dwayne Carter, Aubrey Graham, Noah “40” Shebib & Tyler Williams, songwriters (Drake Featuring Lil’ Wayne)

Even If It Breaks Your Heart

Food & Liquor II: The Great American Rap Album, Pt. 1

[MMG/Warner Bros.; Publishers: WB Music/ Deadstock Music/Verrin Howard/Miguel Jontel Pimentel Publishing/Fusician Publishing]

The Motto

For new vocal or instrumental duo/group or collaborative country recordings.

Springsteen Eric Church, Jeff Hyde & Ryan Tyndell, songwriters (Eric Church) [EMI Records Nashville; Publishers: Sony/ATV Tree Publishing/Sinnerlina Music/ole Purple Cape Music, Bug Music/Mamma’s Cornbread Music]

55th Annual GRAMMY Awards

Jazz

Nominations 29 Best Country Album

For albums containing at least 51% playing time of new vocal or instrumental country recordings.

Uncaged Zac Brown Band

Best Improvised Jazz Solo

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

Cross Roads Ravi Coltrane, soloist

Further Explorations Chick Corea, Eddie Gomez & Paul Motian [Concord Jazz]

Hot House

Seeds From The Underground

Alice In Wonderland

Jamey Johnson

For albums containing at least 51% playing time of new instrumental jazz recordings.

Hot House Gary Burton & Chick Corea, soloists

Hunter Hayes

Living For A Song: A Tribute To Hank Cochran

Best Jazz Instrumental Album

Chick Corea & Gary Burton

Track from: Hot House [Concord Jazz]

[Atlantic]

Track from: Spirit Fiction [Blue Note]

[Southern Ground/Atlantic]

Hunter Hayes

Chick Corea, soloist Track from: Further Explorations (Chick Corea, Eddie Gomez & Paul Motian) [Concord Jazz]

J. Mac

[Concord Jazz]

Kenny Garrett [Mack Avenue Records]

Blue Moon Ahmad Jamal [Jazz Village]

Unity Band Pat Metheny Unity Band [Nonesuch]

[Mercury Records]

Kenny Garrett, soloist

Four The Record

Track from: Seeds From The Underground [Mack Avenue Records]

Ode

Best Large Jazz Ensemble Album

Miranda Lambert [The RCA Records Label Nashville]

The Time Jumpers The Time Jumpers [Rounder]

New Age

30 Best New Age Album

Brad Mehldau, soloist Track from: Ode (Brad Mehldau Trio) [Nonesuch]

32 Best Jazz Vocal Album

For albums containing at least 51% playing time of new vocal jazz recordings.

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

Soul Shadows

Echoes Of Love

[Savant Records]

Omar Akram

1619 Broadway: The Brill Building Project

[Real Music]

Live Ananda Krishna Das [Krishna Das Music]

Bindu Michael Brant DeMaria [Ontos Music]

Deep Alpha Steven Halpern [Steven Halpern’s Inner Peace Music]

Light Body Peter Kater [Mysterium Music]

Troubadours On The Rhine Loreena McKennitt [Verve]

55th Annual GRAMMY Awards

Denise Donatelli

Kurt Elling [Concord Jazz]

Live Al Jarreau (And The Metropole Orkest) [Concord]

The Book Of Chet Luciana Souza [Sunnyside Records]

Radio Music Society Esperanza Spalding [Heads Up International]

For albums containing at least 51% playing time of new ensemble jazz recordings.

Centennial: Newly Discovered Works Of Gil Evans Gil Evans Project [ArtistShare]

For The Moment Bob Mintzer Big Band [MCG Jazz]

Dear Diz (Every Day I Think Of You) Arturo Sandoval [Concord Jazz]

35 Best Latin Jazz Album

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

Flamenco Sketches Chano Domínguez [Blue Note]

¡Ritmo! The Clare Fischer Latin Jazz Big Band [Clare Fischer Productions/Clavo Records]

Nominations

Hold On

White Flag

Cheryl Fortune, James Fortune & Terence Vaughn, songwriters (James Fortune & FIYA, Monica & Fred Hammond)

Jason Ingram, Matt Maher, Matt Redman & Chris Tomlin, songwriters (Passion & Chris Tomlin)

Track from: Identity [Light Records/eOne Music/Fiya World]

Track from: White Flag [sixstepsrecords/Sparrow Records; Publishers: sixsteps Music/worshiptogether.com Songs/Vamos Publishing/Said And Done Music/Valley of the Songs Music/Sony ATV Timber Publishing/West Main Music/Windsor Hill Music/Thankyou Music]

I Feel Good Multiverse Bobby Sanabria Big Band [Jazzheads]

Duos III Luciana Souza

(Fred Hammond) Track from: God, Love & Romance [Verity Gospel Music Group; Publishers: fHammond Music/Bridge Bldg Music/CJMS Music/Music Feast Productions/Jonathan Miller Publishing]

[Sunnyside Records]

My Testimony

New Cuban Express

Aaron Lindsey & Marvin Sapp, songwriters (Marvin Sapp)

Manuel Valera New Cuban Express [Mavo Records]

Gospel

36 Best Gospel/ Contemporary Christian Music Performance

Track from: I Win [Verity Gospel Music Group; Publishers: Universal Music-Brentwood Benson Songs/ Marvin L. Sapp Music/Ardent Media]

Released Donald Lawrence, songwriter (Bill Winston & Living Word Featuring Donald Lawrence)

Your Presence Is Heaven Israel Houghton & Micah Massey, songwriters (Israel & New Breed) Track from: Jesus At The Center Live [Integrity Music; Publishers: Integrity’s Praise! Music/ Sound of the New Breed, Regenerate Music]

39 Best Gospel Album

For albums containing at least 51% playing time of new vocal gospel recordings.

Identity James Fortune & FIYA

[Source Media; Publisher: Quiet Water Ent.]

[Light Records/eOne Music/Fiya World]

For new vocal gospel/CCM recordings. All sub-genres of gospel/CCM music are eligible.

Jesus At The Center Live

Jesus, Friend Of Sinners

Best Contemporary Christian Music Song

[Integrity Music]

Casting Crowns Track from: Come To The Well [Beach Street/Reunion Records]

Take Me To The King Tamela Mann [Tillymann Music Group]

Go Get It Mary Mary [Columbia Records]

10,000 Reasons (Bless The Lord) Matt Redman Track from: 10,000 Reasons [sixstepsrecords/Sparrow Records]

My Testimony

Marvin Sapp

Go Get It [Columbia; Publishers: EMI April Music, It’s Tea Tyme, That’s Plum Song, Wet Ink Red Music]

55th Annual GRAMMY Awards

I Win

Mark Hall & Matthew West, songwriters (Casting Crowns)

[Verity Gospel Music Group]

Track from: Come To The Well [Beach Street/Reunion Records]

Worship Soul

10,000 Reasons (Bless The Lord)

[EMI Gospel]

Jonas Myrin & Matt Redman, songwriters (Matt Redman) Track from: 10,000 Reasons [sixstepsrecords/Sparrow Records; Publishers: Thankyou Music/sixsteps Music/worshiptogether.com Songs/Said And Done Music/Shout! Publishing]

Jeff Pardo & Rhett Walker, songwriters (Rhett Walker Band)

Erica Campbell, Tina Campbell & Warryn Campbell, songwriters (Mary Mary)

Lecrae

Jesus, Friend Of Sinners

Track from: I Win [Verity Gospel Music Group]

A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Gravity [Reach Records]

When Mercy Found Me

Best Gospel Song

Israel & New Breed

A Songwriter(s) Award. For Song Eligibility Guidelines see Category #3. (Artist names appear in parentheses.) Singles or Tracks only.

Marvin Sapp

Phillip Feaster, Fred Hammond, Jonathan Miller & Calvin Rodgers, songwriters

Track from: Come To The River [Essential Records; Publishers: Sony ATV Music, Ships In A Bottle/Simple Tense Songs]

Anita Wilson

40 Best Contemporary Christian Music Album

For albums containing at least 51% playing time of new vocal contemporary Christian music recordings.

Come To The Well Casting Crowns [Beach Street/Reunion Records]

Where I Find You Kari Jobe [Sparrow Records]

Gold Britt Nicole [Sparrow Records]

Eye On It TobyMac [ForeFront Records]

Into The Light Matthew West [Sparrow Records]

Latin

41 Best Latin Pop Album

For albums containing at least 51% playing time of new vocal or instrumental Latin pop recordings.

Independiente Ricardo Arjona [Metamorfosis]

Ilusión Fonseca [Sony Music Latin]

Kany Garcia Kany Garcia [Sony Music]

¿Con Quién Se Queda El Perro? Jesse Y Joy [Warner Music Latina]

MTV Unplugged Deluxe Edition Juanes [Universal Music Latino]

The Lumineers

Best Regional Mexican Music Album (Including Tejano)

[Dualtone Music Group]

For albums containing at least 51% playing time of new vocal or instrumental regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera, and Tejano) recordings.

Pecados Y Milagros Lila Downs

The Lumineers

Babel Mumford & Sons [Glassnote]

Slipstream Bonnie Raitt [Redwing Records]

[Sony Music]

Sembrando Flores Los Cojolites [Round Whirled Records]

365 Días Los Tucanes De Tijuana [Fonovisa]

Oye Mariachi Divas De Cindy Shea [Shea Records/East Side Records]

El Primer Ministro

46 Best Bluegrass Album

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

The Gospel Side Of Dailey & Vincent [Rounder/Cracker Barrel]

Life Finds A Way The Grascals

Gerardo Ortiz

[Mountain Home Music Company]

[Sony Music Latin]

Beat The Devil And Carry A Rail

[Compass Records]

Best Tropical Latin Album

For albums containing at least 51% playing time of new vocal or instrumental tropical Latin recordings.

Cubano Soy

Noam Pikelny

Scratch Gravel Road Special Consensus [Compass Records]

Nobody Knows You Steep Canyon Rangers

Raúl Lara Y Sus Soneros [Spanish Music Records]

[Rounder]

Best Latin Rock, Urban Or Alternative Album

Desde Nueva York A Puerto Rico

For albums containing at least 51% playing time of new vocal or instrumental Latin rock, urban, or alternative recordings.

Campo

Eddie Montalvo [Señor Marcha Records]

Retro Marlow Rosado Y La Riqueña

Best Blues Album

For albums containing at least 51% playing time of new vocal or instrumental blues recordings.

Campo

[Pink Chaos Productions]

[Bizarro Records]

Formula Vol. 1

Shemekia Copeland

Déjenme Llorar

Romeo Santos

[Telarc International]

Carla Morrison

[Sony Music]

[Cosmica Records]

American Roots

Imaginaries Quetzal [Smithsonian Folkways Recordings]

Electro-Jarocho Sistema Bomb

45 Best Americana Album

For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.

33 1/3

Locked Down Dr. John [Nonesuch]

Let It Burn Ruthie Foster [Blue Corn Music]

And Still I Rise

[Round Whirled Records]

The Carpenter

Heritage Blues Orchestra

La Bala

The Avett Brothers

[Raisin’ Music]

Ana Tijoux

[Universal Republic]

[Nacional Records]

From The Ground Up John Fullbright

Bring It On Home Joan Osborne [Saguaro Road]

[Blue Dirt Records]

55th Annual GRAMMY Awards

Nominations 48 Best Folk Album

For albums containing at least 51% playing time of new vocal or instrumental folk recordings.

Leaving Eden Carolina Chocolate Drops [Nonesuch]

Election Special Ry Cooder [Perro Verde/Nonesuch]

Hambone’s Meditations Luther Dickinson [Songs Of The South]

The Goat Rodeo Sessions Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile [Sony Classical]

This One’s For Him: A Tribute To Guy Clark

Children’s

Best Reggae Album

For albums containing at least 51% playing time of new vocal or instrumental reggae recordings.

Rebirth Jimmy Cliff [UMe/Sunpower]

Miracle

Best Children’s Album

For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.

Can You Canoe? The Okee Dokee Brothers [Okee Dokee Music LLC]

[MRG Recordings]

High Dive And Other Things That Could Have Happened...

Tomahawk Technique

[Round River Records]

The Original Wailers

Sean Paul [VP/Atlantic]

New Legend — Jamaica 50th Edition

Bill Harley

JumpinJazz Kids — A Swinging Jungle Tale — Featuring Al Jarreau, Hubert Laws And Dee Dee Bridgewater

Sly & Robbie & The Jam Masters

James Murray & Various Artists

[Mondo Tunes]

[JumpinJazzKids]

Reggae Got Soul: Unplugged On Strawberry Hill

Little Seed: Songs For Children By Woody Guthrie

Toots And The Maytals

Elizabeth Mitchell

[Metropolis Recordings]

[Smithsonian Folkways Recordings]

World Music

Radio Jungle

[The Pop Ups]

The Pop Ups

Best World Music Album

Spoken Word

Shawn Camp & Tamara Saviano, producers [Icehouse Music]

For albums containing at least 51% playing time of new vocal or instrumental world music recordings.

Folila Amadou & Mariam

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling)

(Various Artists)

Best Regional Roots Music Album

[Because Music/Nonesuch]

For albums containing at least 51% playing time of new vocal or instrumental regional roots music recordings.

On A Gentle Island Breeze

Malama Ko Aloha (Keep Your Love)

[Wind Music Int’l Corp. & Daniel Ho Creations]

(Various Artists)

Jabulani

Scott Creswell & Dan Zitt, producers [Random House Audio/Books on Tape]

Keola Beamer [‘Ohe Records]

Shi Kéyah — Songs For The People

Daniel Ho

Hugh Masekela [Listen 2 Entertainment Group/Razor & Tie]

Radmilla Cody

Traveller

[Canyon Records]

Anoushka Shankar

Pilialoha Weldon Kekauoha [‘Ohelo Records]

Nothin’ But The Best

[Deutsche Grammophon/Universal]

The Living Room Sessions Part 1 Ravi Shankar [East Meets West Music]

American Grown (Michelle Obama)

Back To Work: Why We Need Smart Government For A Strong Economy Bill Clinton [Random House Audio/Books on Tape]

Drift: The Unmooring Of American Military Power Rachel Maddow [Random House Audio/Books On Tape]

Corey Ledet With Anthony Dopsie And André Thierry

Seriously... I’m Kidding

[Corey Ledet]

[Hachette Audio]

The Band Courtbouillon Wayne Toups, Steve Riley & Wilson Savoy [Valcour Records]

Reggae

55th Annual GRAMMY Awards

Ellen DeGeneres

Society’s Child: My Autobiography Janis Ian [Audible Inc.]

The Gershwins’ Porgy And Bess

Nominations

David Alan Grier, Norm Lewis & Audra McDonald, principal soloists; Tommy Krasker, producer (George Gershwin, composer; Ira Gershwin, Dorothy Heyward & DuBose Heyward, lyricists) (New Broadway Cast With Audra McDonald, Norm Lewis, David Alan Grier & Others) [PS Classics]

Comedy

Newsies

Jeremy Jordan & Kara Lindsay, principal soloists; Frank Filipetti, Michael Kosarin, Alan Menken & Chris Montan, producers (Alan Menken, composer; Jack Feldman, lyricist) (Original Broadway Cast With Jeremy Jordan, Kara Lindsay & Others)

Best Comedy Album For albums containing at least 51% playing time of new recordings.

Blow Your Pants Off Jimmy Fallon [Warner Bros. Records/LoudMouth Entertainment]

Cho Dependent (Live In Concert)

[Ghostlight Records/Razor & Tie]

Nice Work If You Can Get It Matthew Broderick & Kelli O’Hara, principal soloists; David Chase, Bill Elliott & Robert Sher, producers (George Gershwin, composer; Ira Gershwin, lyricist) (Original Broadway Cast With Matthew Broderick, Kelli O’Hara & Others)

Best Score Soundtrack For Visual Media

Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, video games or other visual media.

The Adventures Of Tintin — The Secret Of The Unicorn John Williams, composer [Sony Classical]

The Artist Ludovic Bource, composer [Sony Classical]

The Dark Knight Rises Hans Zimmer, composer [WaterTower Music]

Margaret Cho

[Shout! Factory]

The Girl With The Dragon Tattoo

[Clownery Productions, Rocket Science]

Once: A New Musical

[Null/Madison Gate]

In God We Rust Lewis Black [Comedy Central Records]

Kathy Griffin: Seaman 1st Class Kathy Griffin

Steve Kazee & Cristin Milioti, principal soloists; Steven Epstein & Martin Lowe, producers (Glen Hansard & Marketa Irglova, composers/lyricists) (Original Broadway Cast With Steve Kazee, Cristin Milioti & Others) [Masterworks]

[Donut Run Inc.]

Music For Visual Media

Mr. Universe

Jim Gaffigan [Comedy Central Records]

Rize Of The Fenix Tenacious D [Columbia Records]

Musical Theater

Best Compilation Soundtrack For Visual Media

Award to the Artist(s) and/or Producer(s) of a majority of the tracks on the album, or, in the absence of either, to the individual(s) actively responsible for the concept and musical direction and for the selection of artists, songs and producers, as applicable.

The Descendants

Best Musical Theater Album

Dondi Bastone & Alexander Payne, producers [Sony Classical/Fox Music]

For albums containing at least 51% playing time of new recordings. Award to the principle vocalist(s) and the album producer(s) of 51% or more playing time of the album. The lyricist(s) and composer(s) of a new score are eligible for an Award if they have written and/or composed a new score which comprises 51% or more playing time of the album.

Follies Danny Burstein, Jan Maxwell, Elaine Paige, Bernadette Peters & Ron Raines, principal soloists; Philip Chaffin & Tommy Krasker, producers (Stephen Sondheim, composer/ lyricist) (New Broadway Cast With Danny Burstein, Jan Maxwell, Elaine Paige, Bernadette Peters, Ron Raines & Others) [PS Classics]

(Various Artists)

Marley (Bob Marley & The Wailers) Chris Blackwell & Barry Cole, producers [UMe/Island/Tuff Gong]

Midnight In Paris (Various Artists) Woody Allen, producer [Madison Gate Records Inc.]

The Muppets (Various Artists) Kaylin Frank & Mitchell Leib, producers [Walt Disney Records]

Rock Of Ages (Various Artists) Adam Anders & Peer Astrom, producers [WaterTower Music]

55th Annual GRAMMY Awards

Trent Reznor & Atticus Ross, composers

Hugo Howard Shore, composer [Howe Records]

Journey Austin Wintory, composer [Sony Computer Entertainment America]

58 Best Song Written For Visual Media

A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Abraham’s Daughter (From The Hunger Games) T Bone Burnett, Win Butler & Régine Chassagne, songwriters (Arcade Fire) [Universal Republic; Publishers: Régine Chassagne, Absurd Music, Win Butler, Henry Burnett Music, Baffle Music]

Learn Me Right (From Brave) Mumford & Sons, songwriters (Birdy & Mumford & Sons) [Walt Disney Records/Pixar; Publisher: Pixar Talking Pictures]

Let Me Be Your Star (From Smash) Marc Shaiman & Scott Wittman, songwriters (Katharine McPhee & Megan Hilty) [Columbia; Publishers: Winding Brook Way Music, Walli Woo Entertainment]

Nominations

Best Instrumental Arrangement An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

Afro-Cuban Jazz Suite For Ellington Man Or Muppet (From The Muppets)

Michael Philip Mossman, arranger (Bobby Sanabria Big Band)

62 Best Recording Package Biophilia Michael Amzalag & Mathias Augustyniak, art directors (Björk)

Track from: Multiverse [Jazzheads]

[One Little Indian/Nonesuch]

[Walt Disney; Publisher: Fuzzy Muppet Songs]

How About You

Brett Kilroe, art director (Alabama Shakes)

Safe & Sound (From The Hunger Games)

Gil Evans, arranger (Gil Evans Project)

[ATO Records]

Track from: Centennial — Newly Discovered Works Of Gil Evans [ArtistShare]

T Bone Burnett, Taylor Swift, John Paul White & Joy Williams, songwriters (Taylor Swift Featuring The Civil Wars)

Bob Mintzer, arranger (Bob Mintzer Big Band)

Bret McKenzie, songwriter (Jason Segel & Walter)

[Big Machine Records/Universal Republic; Publishers: Sony ATV Tree Publishing, Taylor Swift Music, Sensibility Songs, Absurd Music, Shiny Happy Music, Baffle Music, Henry Burnett Music]

Composing/Arranging

59 Best Instrumental Composition A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.

December Dream Chuck Loeb, composer (Fourplay) Track from: Esprit De Four [Heads Up International]

Mozart Goes Dancing Chick Corea, composer (Chick Corea & Gary Burton) Track from: Hot House [Concord Jazz]

Irrequieto Track from: For The Moment [MCG Jazz]

A Night In Tunisia (Actually An Entire Weekend!) Wally Minko, arranger (Arturo Sandoval) Track from: Dear Diz (Every Day I Think Of You) [Concord Jazz]

Salt Peanuts! (Mani Salado) Gordon Goodwin, arranger (Arturo Sandoval) Track from: Dear Diz (Every Day I Think Of You) [Concord Jazz]

61 Best Instrumental Arrangement Accompanying Vocalist(s) An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

City Of Roses

Boys & Girls

Charmer Gail Marowitz, art director (Aimee Mann) [SuperEgo Records]

Love This Giant Noah Wall, art director (David Byrne & St. Vincent) [4AD]

Swing Lo Magellan David Longstreth, art director (Dirty Projectors) [Domino Recording Company]

63 Best Boxed Or Special Limited Edition Package The Girl With The Dragon Tattoo (Soundtrack From The Motion Picture) Rob Sheridan, art director (Trent Reznor & Atticus Ross) [Null/Madison Gate Records]

Go Fly A Kite

Thara Memory & Esperanza Spalding, arrangers (Esperanza Spalding)

Kate Iltis, Ben Kweller, Liz Kweller & Erin Mayes, art directors (Ben Kweller)

Chris Brubeck & Dave Brubeck, composers (Temple University Symphony Orchestra)

Track from: Radio Music Society [Heads Up International]

[The Noise Company]

[BCM&D Records]

Look To The Rainbow

Overture, Waltz And Rondo

Gil Evans, arranger (Gil Evans Project and Luciana Souza)

Music Of Ansel Adams: America

Bill Cunliffe, composer (Temple University Symphony Orchestra) [BCM&D Records]

Without A Paddle Bill Holman, composer (Tall & Small) Track from: High On You [Bosco Records]

Simon Earith & James Musgrave, art directors (Paul And Linda McCartney) [Hear Music]

Out There

Some Girls: Super Deluxe Edition

Shelly Berg, arranger (Lorraine Feather) Track from: Tales Of The Unusual [Jazzed Media]

Spain (I Can Recall) Track from: Live [Concord Records]

Wild Is The Wind Nan Schwartz, arranger (Whitney Claire Kaufman) Track from: The Greatest Film Scores Of Dimitri Tiomkin [LSO Live]

55th Annual GRAMMY Awards

Ram — Paul McCartney Archive Collection (Deluxe Edition)

Track from: Centennial — Newly Discovered Works Of Gil Evans [ArtistShare]

Vince Mendoza, arranger (Al Jarreau And The Metropole Orkest)

Package

Stephen Kennedy & Jimmy Tilley, art directors (The Rolling Stones) [UMe/Universal Republic]

Woody At 100: The Woody Guthrie Centennial Collection Fritz Klaetke, art director (Woody Guthrie) [Smithsonian Folkways Recordings]

Album Notes

64 Best Album Notes Banjo Diary: Lessons From Tradition Stephen Wade, album notes writer (Stephen Wade) [Smithsonian Folkways]

First Recordings: 50th Anniversary Edition Hans Olof Gottfridsson, album notes writer (The Beatles With Tony Sheridan) [Time Life]

The Pearl Sessions Holly George-Warren, album notes writer (Janis Joplin) [Columbia/Legacy]

Piazzolla In Brooklyn Fernando Gonzalez, album notes writer (Pablo Aslan Quintet) [Soundbrush]

Singular Genius: The Complete ABC Singles Billy Vera, album notes writer (Ray Charles) [Concord]

Historical

65 Best Historical Album He Is My Story: The Sanctified Soul Of Arizona Dranes Josh Rosenthal, compilation producer; Bryan Hoffa & Christopher King, mastering engineers (Arizona Dranes) [Tompkins Square]

Old-Time Smoky Mountain Music: 34 Historic Songs, Ballads, And Instrumentals Recorded In The Great Smoky Mountains By “Song Catcher” Joseph S. Hall

Paul McCartney, compilation producer; Simon Gibson, Guy Massey & Steve Rooke, mastering engineers (Paul And Linda McCartney) [MPL/Hear Music/Concord]

The Smile Sessions (Deluxe Box Set) Alan Boyd, Mark Linett, Brian Wilson & Dennis Wolfe, compilation producers; Mark Linett, mastering engineer (The Beach Boys) [Capitol Records]

Woody At 100: The Woody Guthrie Centennial Collection Jeff Place & Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Woody Guthrie) [Smithsonian Folkways Recordings]

Production, Non-Classical

66 Best Engineered Album, Non-Classical

An Engineer’s Award. (Artists names appear in parentheses.)

The Absence Moogie Canazio & Al Schmitt, engineers; Bernie Grundman, mastering engineer (Melody Gardot) [Verve/Decca]

Ashes & Fire Glyn Johns, engineer; Bob Ludwig, mastering engineer (Ryan Adams) [Capitol]

The Goat Rodeo Sessions Richard King, engineer; Richard King, mastering engineer (Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile) [Sony Classical]

Love Is A Four Letter Word Joe Chiccarelli, Steve Churchyard, Lars Fox, Graham Hope, Tony Maserati & Morgan Stratton, engineers; Bob Ludwig, mastering engineer (Jason Mraz) [Atlantic]

Slingshot

Kent Cave, Michael Montgomery & Ted Olson, compilation producers; John Fleenor & Steve Kemp, mastering engineers (Various Artists)

Helik Hadar, engineer; Bernie Grundman, mastering engineer (Rebecca Pidgeon)

[Great Smoky Mountains Association]

[Decca/Toy Canteen Records]

Opika Pende: Africa At 78 RPM Steven Lance Ledbetter & Jonathan Ward, compilation producers; Michael Graves, mastering engineer (Various Artists) [Dust-to-Digital]

Ram — Paul McCartney Archive Collection (Deluxe Edition)

67 Producer Of The Year, Non-Classical

A Producer’s Award. (Artists names appear in parentheses.)

Dan Auerbach • El Camino (The Black Keys) (A) • Locked Down (Dr. John) (A) • Savage (Hacienda) (S) • Shakedown (Hacienda) (A)

Jeff Bhasker • Some Nights (Fun.) (A)

Diplo • Climax (Usher) (T) • Get Free (Major Lazer Featuring Amber Coffman) (S) • La La La (Snoop Lion) (S) • Lies (Marina And The Diamonds) (T) • Look At These Hoes (Santigold) (T) • Push And Shove (No Doubt Featuring Busy Signal & Major Lazer) (T) • Slight Work (Wale Featuring Big Sean) (T) • Thought Of You (Justin Bieber) (T) • Too Close (Alex Clare) (T)

Markus Dravs • Babel (Mumford & Sons) (A) • Mylo Xyloto (Coldplay) (A)

Salaam Remi • Back To Love (Anthony Hamilton) (T) • Between The Cheats (Amy Winehouse) (T) • Girl On Fire (Alicia Keys & Nicki Minaj) (S) • How Many Drinks? (Miguel) (T) • Life Is Good (Nas) (A) • Like Smoke (Amy Winehouse Featuring Nas) (T) • Running (Melanie Fiona Featuring Nas) (T) • Sins Of My Father (Usher) (T) • A Song For You (Amy Winehouse) (T)

68 Best Remixed Recording, Non-Classical

A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.

In My Mind (Axwell Remix) Axel Hedfors, remixer (Ivan Gough & Feenixpawl Featuring Georgi Kay) [Neon Records/Axtone/Big Beat Records]

Lie Down In Darkness (Photek Remix) Photek, remixer (Moby) Track from: Destroyed Remixed [Little Idiot]

Midnight City (Eric Prydz Private Remix) Eric Prydz, remixer (M83) [Mute]

55th Annual GRAMMY Awards

Production, Classical

Nominations Promises (Skrillex & Nero Remix) Joseph Ray, Skrillex & Daniel Stephans, remixers (Nero) [Cherrytree/Interscope]

Best Engineered Album, Classical An Engineer’s Award. (Artist names appear in parentheses.)

Americana Daniel Shores, engineer; Daniel Shores, mastering engineer (Modern Mandolin Quartet) [Sono Luminus]

Beethoven: The Late String Quartets, Op. 127 & 131

The Veldt (Tommy Trash Remix)

Bruce Egre, engineer (Brentano String Quartet)

Thomas Olsen, remixer (Deadmau5 Featuring Chris James)

[Aeon]

[Ultra Music]

Surround Sound

69 Best Surround Sound Album

Classical or non-classical. For vocal or instrumental albums in any genre. Must be a commercially released DVD-Audio, DVD-Video, SACD, Blu-ray, or surround download and must provide a new surround mix of four or more channels. Award to the surround mix engineer, surround producer (if any) and surround mastering engineer (if any).

Chamberland David Miles Huber, surround mix engineer; David Miles Huber, surround mastering engineer; David Miles Huber, surround producer (David Miles Huber) [51bpm.com llc]

Modern Cool Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Michael Friedman, surround producer (Patricia Barber) [Premonition Records]

Quiet Winter Night Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Hoff Ensemble) [2L (Lindberg Lyd)]

Rupa-Khandha Daniel Shores, surround mix engineer; Daniel Shores, surround mastering engineer; Marina Ledin & Victor Ledin, surround producers (Los Angeles Percussion Quartet) [Sono Luminus]

Storm Corrosion Steven Wilson, surround mix engineer; Steven Wilson, surround mastering engineer; Steven Wilson, surround producer (Storm Corrosion) [Roadrunner Records]

55th Annual GRAMMY Awards

Life & Breath — Choral Works By René Clausen Tom Caulfield & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy & Kansas City Chorale) [Chandos]

Music For A Time Of War Jesse Lewis & John Newton, engineers; Jesse Brayman, mastering engineer (Carlos Kalmar & The Oregon Symphony) [PentaTone Classics]

Souvenir Morten Lindberg, engineer; Morten Lindberg, mastering engineer (TrondheimSolistene) [2L (Lindberg Lyd)]

71 Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

Blanton Alspaugh • Chamber Symphonies (Gregory Wolynec & Gateway Chamber Orchestra) • Davis: Río De Sangre (Joseph Rescigno, Vale Rideout, Ava Pine, John Duykers, Kerry Walsh, Guido LeBron, The Florentine Opera Company & Milwaukee Symphony Orchestra) • Gjeilo: Northern Lights (Charles Bruffy & Phoenix Chorale) • In Paradisum (Brian A. Schmidt & South Dakota Chorale) • Life & Breath — Choral Works By René Clausen (Charles Bruffy & Kansas City Chorale) • Music For A Time Of War (Carlos Kalmar & The Oregon Symphony) • Musto: The Inspector (Glen Cortese & Wolf Trap Opera Company)

Tim Handley • Berlioz: Symphonie Fantastique (Leonard Slatkin & Orchestre National De Lyon) • Debussy: Orchestral Works, Vol. 7 (Jun Märkl & Orchestre National De Lyon) • Debussy: 24 Préludes (Jun Märkl & Royal Scottish National Orchestra) • Fuchs, K.: Atlantic Riband; American Rhapsody; Divinium Mysterium (JoAnn Falletta, Paul Silverthorne, Michael Ludwig & London Symphony Orchestra) • Gershwin: Piano Concerto In F; Rhapsody No. 2; I Got Rhythm Variations (Orion Weiss, JoAnn Falletta & Buffalo Philharmonic Orchestra) • Hailstork: An American Port Of Call (JoAnn Falletta, Virginia Symphony Chorus & Virginia Symphony Orchestra) • Holst: Cotswolds Symphony; Walt Whitman Overture (JoAnn Falletta & Ulster Orchestra) • Mahler: Symphony No. 1 (Marin Alsop & Baltimore Symphony Orchestra) • Roussel: Le Festin De L’Araignée (Stéphane Denève & Royal Scottish National Orchestra) • Still: Symphonies Nos. 2 & 3 (John Jeter & Fort Smith Symphony)

Marina Ledin, Victor Ledin • Americana (Modern Mandolin Quartet) • Brubeck & American Poets (Lynne Morrow & Pacific Mozart Ensemble) • Delibes: Sylvia; Coppélia (Martin West & San Francisco Ballet Orchestra) • Mind Meld (ZOFO Duet) • Rupa-Khandha (Los Angeles Percussion Quartet) • Weigl: Isle Of The Dead; Six Fantasies; Pictures & Tales; Night Fantasies (Joseph Banowetz)

James Mallinson • Britten: War Requiem (Gianandrea Noseda, Joseph Cullen, Alastair Tighe, Choir Of Eltham College, London Symphony Chorus & Orchestra) • Bruckner: Symphony No. 4 (Bernard Haitink & London Symphony Orchestra) • The Greatest Film Scores Of Dimitri Tiomkin (Richard Kaufman, Whitney Claire Kaufman, Andrew Playfoot, London Voices & London Symphony Orchestra) • Massenet: Don Quichotte (Valery Gergiev, Andrei Serov, Anna Kiknadze, Ferruccio Furlanetto, Soloists’ Ensemble Of The Mariinsky Academy Of Young Singers & Mariinsky Orchestra) • Rachmaninov: Symphonic Dances (Valery Gergiev & London Symphony Orchestra)

Dan Merceruio • Arensky: Quartets Nos. 1 & 2; Piano Quintet, Op. 51 (Ying Quartet) • Brasileiro — Works Of Francisco Mignone (Cuarteto Latinoamericano) • Change Of Worlds (Ensemble Galilei) • The Complete Harpsichord Works Of Rameau (Jory Vinikour) • Critical Models — Chamber Works Of Mohammed Fairouz (Various Artists) • The Kernis Project: Schubert (Jasper String Quartet) • Le Bestiaire (Celine Ricci) • Scarlatti: La Dirindina & Pur Nel Sonno (Matthew Dirst & Ars Lyrica Houston) • Two Lutes — Lute Duets From England’s Golden Age (Ronn McFarlane & William Simms) • Weill-Ibert-Berg (Timothy Muffitt & Baton Rouge Symphony Chamber Players)

Stravinsky: The Rake’s Progress

Nominations

Vladimir Jurowski, conductor; Topi Lehtipuu, Miah Persson & Matthew Rose; Jean Chatauret, producer (London Philharmonic Orchestra; Glyndebourne Chorus) [Opus Arte]

Classical

72 Best Orchestral Performance Award to the Conductor and to the Orchestra.

Adams: Harmonielehre & Short Ride In A Fast Machine Michael Tilson Thomas, conductor (San Francisco Symphony) [SFS Media]

Mahler: Symphony No. 1 Iván Fischer, conductor (Budapest Festival Orchestra)

[Naïve Classique]

Wagner: Der Ring Des Nibelungen James Levine & Fabio Luisi, conductors; Hans-Peter König, Jay Hunter Morris, Bryn Terfel & Deborah Voigt; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus) [Deutsche Grammophon]

[Channel Classics]

Music For A Time Of War

Best Choral Performance

Carlos Kalmar, conductor (Oregon Symphony) [PentaTone Classics]

Rachmaninov: Symphonic Dances Valery Gergiev, conductor (London Symphony Orchestra) [LSO Live]

Sibelius: Symphonies Nos. 2 & 5 Osmo Vänskä, conductor (Minnesota Orchestra) [BIS]

73 Best Opera Recording

Award to the Conductor, Album Producer(s) and Principal Soloists.

Berg: Lulu Michael Boder, conductor; Paul Groves, Ashley Holland, Julia Juon & Patricia Petibon; Johannes Müller, producer (Symphony Orchestra Of The Gran Teatre Del Liceu) [Deutsche Grammophon]

Handel: Agrippina René Jacobs, conductor; Marcos Fink, Sunhae Im, Bejun Mehta, Alexandrina Pendatchanska & Jennifer Rivera (Akademie Für Alte Musik Berlin) [Harmonia Mundi]

Vivaldi: Teuzzone Jordi Savall, conductor; Delphine Galou, Paolo Lopez, Roberta Mameli, Raffaella Milanesi & Furio Zanasi (Le Concert Des Nations)

55th Annual GRAMMY Awards

Award to the Choral Conductor, and to the Orchestra Conductor if an Orchestra is on the recording, and to the Choral Director or Chorus Master, if applicable.

Handel: Israel In Egypt Julian Wachner, conductor (Trinity Baroque Orchestra; Trinity Choir Wall Street) [Musica Omnia]

Life & Breath — Choral Works By René Clausen Charles Bruffy, conductor (Matthew Gladden, Lindsey Lang, Rebecca Lloyd, Sarah Tannehill & Pamela Williamson; Kansas City Chorale) [Chandos]

Ligeti: Requiem; Apparitions; San Francisco Polyphony Peter Eötvös, conductor (Barbara Hannigan & Susan Parry; WDR Sinfonieorchester Köln; SWR Vokalensemble Stuttgart & WDR Rundfunkchor Köln)

75 Best Chamber Music/Small Ensemble Performance 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.

Americana Modern Mandolin Quartet [Sono Luminus]

Meanwhile Eighth Blackbird [Cedille Records]

Mind Meld ZOFO Duet [Sono Luminus]

Profanes Et Sacrées Boston Symphony Chamber Players [BSO Classics]

Rupa-Khandha Los Angeles Percussion Quartet [Sono Luminus]

76 Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

Bach: Das Wohltemperierte Clavier András Schiff [ECM New Series]

The Complete Harpsichord Works Of Rameau Jory Vinikour [Sono Luminus]

Gál & Elgar: Cello Concertos Claudio Cruz, conductor; Antonio Meneses (Northern Sinfonia)

[BMC]

[AVIE Records]

The Nightingale

Holst: The Planets

Stephen Layton, conductor (Michala Petri; Danish National Vocal Ensemble) [OUR Recordings]

Striggio: Mass For 40 & 60 Voices Hervé Niquet, conductor (Le Concert Spirituel) [Glossa]

Hansjörg Albrecht [Oehms Classics]

Kurtág & Ligeti: Music For Viola Kim Kashkashian [ECM New Series]

77 Best Classical Vocal Solo Award to the Vocal Soloist(s).

Debussy: Clair De Lune Natalie Dessay (Henri Chalet; Philippe Cassard, Karine Deshayes & Catherine Michel; Le Jeune Coeur De Paris) [Virgin Classics]

Homecoming — Kansas City Symphony Presents Joyce DiDonato Joyce DiDonato (Michael Stern; Kansas City Symphony) [Kansas City Symphony]

Paris Days, Berlin Nights Ute Lemper (Stefan Malzew & Vogler Quartet) [Steinway & Sons]

Poèmes Renée Fleming (Alan Gilbert & Seiji Ozawa; Orchestre National De France & Orchestre Philharmonique De Radio France) [Decca Records]

Sogno Barocco Anne Sofie Von Otter (Leonardo García Alarcón; Sandrine Piau & Susanna Sundberg; Ensemble Cappella Mediterranea) [Naïve Classique]

78 Best Classical Compendium Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.

Partch: Bitter Music Partch, ensemble; John Schneider, producer

Bad Girls

Best Contemporary Classical Composition

Romain Gavras, video director; Romain Gavras, video producer [N.E.E.T./Interscope]

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.

Hartke, Stephen: Meanwhile — Incidental Music To Imaginary Puppet Plays Stephen Hartke, composer (Eighth Blackbird) Track from: Meanwhile [Cedille Records]

León, Tania: Inura For Voices, Strings & Percussion Tania León, composer (Tania León, Son Sonora Voices, DanceBrazil Percussion & Son Sonora Ensemble) Track from: In Motion [Albany Records]

Praulins, Ugis: The Nightingale Ugis Praulins, composer (Stephen Layton, Michala Petri & Danish National Vocal Ensemble) Track from: The Nightingale [OUR Recordings]

Rautavaara, Einojuhani: Cello Concerto No. 2 ‘Towards The Horizon’ Einojuhani Rautavaara, composer (Truls Mørk, John Storgårds & Helsinki Philharmonic Orchestra) Track from: Rautavaara: Modificata; Percussion Concerto ‘Incantations’; Cello Concerto No. 2 ‘Towards The Horizon’ [Ondine]

Stucky, Steven: August 4, 1964 Steven Stucky, composer; Gene Scheer, librettist (Jaap Van Zweden, Dallas Symphony Chorus & Orchestra) [DSO Live]

[Bridge Records Inc.]

Music Video

Penderecki: Fonogrammi; Horn Concerto; Partita; The Awakening Of Jacob

Anaklasis Antoni Wit, conductor; Aleksandra Nagórko & Andrzej Sasin, producers [Naxos]

Une Fête Baroque

Best Short Form Music Video

For an individual track or single promotional clip. Award to the Artist and to the Video Director/Producer.

Houdini Foster The People

Emmanuelle Haïm, conductor; Daniel Zalay, producer

Daniels, video directors; Gaetano Crupi, video producer [Columbia]

[Virgin Classics]

No Church In The Wild

M.I.A

We Found Love Rihanna Featuring Calvin Harris Melina Matsoukas, video director; Juliette Larthe & Ben Sullivan, video producers [Def Jam]

Run Boy Run Woodkid Yoann Lemoine, video director; Roman Pichon, video producer [Green United Music]

81 Best Long Form Music Video

For video album packages consisting of more than one song or track. Award to the Artist and to the Video Director/ Producer of at least 51% of the total playing time.

Big Easy Express Mumford & Sons, Edward Sharpe & The Magnetic Zeros & Old Crow Medicine Show Emmett Malloy, video director; Bryan Ling, Mike Luba & Tim Lynch, video producers [S2BN Films]

Bring Me Home — Live 2011 Sade Sophie Muller, video director; Roger Davies, Grant Jue & Sophie Muller, video producers [Epic]

Radio Music Society Esperanza Spalding Pilar Sanz, video director; Esperanza Spalding, video producer [Heads Up International/Montuno Producciones/ Esperanza Spalding Productions]

Get Along Tegan & Sara Danny O’Malley, Salazar & Elinor Svoboda, video directors; Nick Blasko, Piers Henwood, Sara Quin & Tegan Quin, video producers [Warner Bros.]

From The Sky Down U2 Davis Guggenheim, video director; Belisa Balaban, Brian Celler, Davis Guggenheim & Ted Skillman, video producers [UMe/Interscope/UMG/Mercury]

Jay-Z & Kanye West Featuring Frank Ocean & The-Dream Romain Gavras, video director; Mourad Belkeddan, video producer [Def Jam]

55th Annual GRAMMY Awards

The Recording Academy

Special Merit Awards In addition to the GRAMMY Awards, The Recording Academy presents other notable honors. These awards recognize contributions of significance to the recording field that fall outside the framework of the GRAMMY Awards categories, and include the Lifetime Achievement Award, the Trustees Award, the Technical GRAMMY Award, the GRAMMY Legend Award, and GRAMMY Hall Of Fame Award. The following pages recognize this year’s Special Merit GRAMMY Award recipients. A complete list of past recipients is available in The Recording Academy Awards section of GRAMMY.org.

Lifetime Achievement Award

The Lifetime Achievement Award, established in 1962, is presented by vote of The Recording Academy’s National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording.

Trustees Award

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

Technical GRAMMY Award Presented by vote of The Recording Academy’s National Trustees, the Technical GRAMMY Award recognizes individuals and companies that have made contributions of outstanding technical significance to the field of recording. The Technical GRAMMY was first awarded in 1994.

GRAMMY Legend Award This Special Merit Award is presented on occasion by The Recording Academy to individuals or groups for ongoing contributions and influence in the recording field. The GRAMMY Legend Award was inaugurated in 1990.

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

55th Annual GRAMMY Awards

Lifetime Achievement Award

Glenn Gould Glenn Gould was an amazing personality. Every note he played was so individual, from his groundbreaking first recording of Bach’s Goldberg Variations (at the age of 23) to his recorded surveys of huge sections of the piano literature. He was perhaps one of the most unusual musicians ever to have performed (he retired from public performance completely at a young age, spending the rest of his performing life in the recording studio), but such was his wonderful musicianship that he is only more beloved by his audience. He performed very little in comparison with the other great soloists, yet his connection with his audience was so incredible that the music-loving public was (and is) devoted to him through the great strength of his musical communication. Think of Glenn and one word springs to mind: Bach. Glenn had a connection with Bach’s music perhaps above all other composers. It was completely suited to his very intelligent approach to music (he always tried to approach a score as a fellow composer, aiming for a freedom and understanding as if he might have written it himself) and he recorded nearly all of Bach’s output for the keyboard across his career. The clarity and beauty of sound he brings to this composer is unparalleled. Bach said he wrote his music for the glory of heaven, and Glenn’s performances elevate his works to a spirituality that I have never heard equaled. The Goldberg Variations recordings that he did at the beginning and end of his career are two thoroughly different, and equally beautiful, interpretations of one of the most magnificent works in the piano literature and every pianist (including myself) that has ever opened the score lives in the shadow of Glenn’s performance. But Glenn was an artist far above and beyond one composer. He recorded music from the classics through Scriabin and Schoenberg to his own works — and was not afraid to be controversial in his delivery (a stated distaste for the music of Mozart, for example, of whom he held the opinion that he died too late, led to some sometimes shocking and invariably brilliant performances). His famous performance of Brahms’ D minor concerto led to his collaborator Leonard Bernstein issuing

55th Annual GRAMMY Awards

Keystone/Getty Images

By Lang Lang

a disclaimer to the audience at Carnegie Hall beforehand, and is a very personal but amazing interpretation. His favorite composer was the early master Orlando Gibbons, whose work he passionately performed both on record and in the concert hall. His artistic heroes ranged from Leopold Stokowski to Barbra Streisand. Although Glenn Gould died tragically young at only 50, he committed an enormous amount to disc (and film), and it is through his recorded legacy that we can remember him. Glenn, you were the most amazing musician.

We are so lucky to have had you among us. Thank you for leaving behind these wonderful recordings that move and inspire me and countless others. Glenn, we miss you. Lang Lang is arguably the most renowned Chinese pianist in history and enjoys superstar status in the classical music world. He was nominated for a GRAMMY in 2007 for his recording of Beethoven’s piano concertos Nos. 1 & 4, and serves as the GRAMMY Cultural Ambassador to China.

FOR BRINGING SOUL TO THE HEART OF AMERICA MOTOWN: THE MUSICAL salutes

OTIS WILLIAMS and THE TEMPTATIONS

MOTOWNTHEMUSICAL.COM • ON BROADWAY • PREVIEW PERFORMANCES BEGIN MARCH 11

Lifetime Achievement Award

Charlie Haden By Flea brilliance of his playing, which comes from a soul enthralled with the folk and country music he grew up on as a toddler, the bebop he fell in love with as a teenager, a highly intelligent mind and body, work ethic disciplined enough to learn it, the countless hours of practicing and studying the music he loved … , despite the highly cerebral music he has played, his music is still for everyone. No matter how far out or evolved he has gotten, his music has always been for all humans, not for academics. His sound is one that touches everyone — it will make you weep, dance like a lunatic, and sit back and listen to the story unfold. The most highly spiritual thing that anyone can do is have faith and be completely in the moment. When Charlie Haden makes music, that’s exactly where he is, and that is what enlightenment is. A few years ago, I had the fortune to play with the great Ornette Coleman. I practiced for

Charlie Haden has made it his life’s mission to uplift the lives of others. In my case, he has succeeded dramatically. Time after time, I have listened to his recordings, seen him perform, and been touched by the divine truth. When I put on that first Liberation Music Orchestra record, or The Shape Of Jazz To Come, or the recent Come Sunday, I vibrate with a feeling that gives me hope for humanity, makes my suffering and complaints feel petty, lets me forgive anyone who has ever done me wrong, and most importantly, makes me aspire to create a light of my own, to put something beautiful out into the universe. This is a humble aspiration, to get a little footlight going, to merge in the large planet of glowing by a great like Charlie Haden. But that’s what his music does, that’s who he is — a person who brings us all together, who reminds us that we are all connected by our highest selves. Despite the sophistication and technical

55th Annual GRAMMY Awards

months to prepare. I was nervous about it and when the big day came, I was up there with these great jazz musicians with all the chops in the world playing maniacally, and I’m just an uneducated punk rocker, but I did my best. I did OK. I was in awe of Ornette, and did my best to support him with all my heart. A lot of different musicians played that night, all of whom were very well-respected, but at one point, all the many musicians left the stage, Charlie walked on it, and it was just Charlie and Ornette. After all the intense virtuosity that had gone on through the night, Charlie began to play a simple, bluesy, twangy, country riff, a little folk melody, and I felt Ornette really come alive, saw the audience fall into a reverent silence, and Charlie just schooled everybody, shredded everything that came before. He had the ability to play anything, but just came from the gutbucket with the humble truth, and he and Ornette began to dance around each other, and it was the greatest thing I ever saw. These two giants, who turned jazz upside down 50 years earlier, just connecting on the highest level, and the sheer beauty and violence of it reduced me to joyous tears. When one is playing the kind of improvisational music that Charlie Haden does, he is constantly, through the vehicle of technique and knowledge, channeling magic, the cosmos, letting God speak, whatever you want to call it. To do that at the level of a man like Charlie Haden, one has to have the highest character, the biggest heart, the purest intentions, and utter disregard for commerce. Charlie Haden’s motivation has always been to reach for the highest light, brave the depths where one is most vulnerable, to reach that state of ecstasy where time does not exist, where all our world is an illusion, and to bring it on home to us, so we can love. He has done it all his life. I love Charlie Haden and I am so grateful for him. What an awesome f***ing dude. Six-time GRAMMY winner Flea is a cofounder of Red Hot Chili Peppers. Their most recent album is 2011’s I’m With You.

Congratulations to Charlie Haden for this well-deserved honor. Your love of music has inspired us all! Love,

Tanya Haden and

Jack Black

Lifetime Achievement Award

Lightnin’ Hopkins

By Gary Clark Jr. and Doyle Bramhall II When one becomes deeply familiar with the blues genre it is glaringly evident how the different regional styles connect, evolve and intersect yet remain very clearly individual in their own personalities. Rural and urban blues, country and city blues, electric and acoustic blues, solo troubadours, small combos, big band blues. And there’s Mississippi Delta, Memphis, Chicago, and Texas blues. All rich with flavorings of their own, all rich with a legendary lineage of mythical names, all rich with a clear musical evolution dating back to the 1920s and further, to chain gangs, field hollers and experiences deeply rooted in Africa and specifically Mali. To understand the importance of Sam Lightnin’ Hopkins requires a look at Texas blues itself. Texas, often referred to as a “country within a country,” stays true to its reputation as a century-long hotbed for the blues alongside Mississippi and Chicago. Its style: wide-open, flashy, dangerous, rule-bending, and always swinging. Its lineage staggeringly rich: Blind Lemon Jefferson, Blind Willie Johnson, Lead Belly, Mance Lipscomb, Lightnin’ Hopkins, T-Bone Walker, Lil’ Son Jackson, Freddie King, Larry Davis, Johnny “Guitar” Watson, Pee Wee Crayton, Albert Collins, Johnny Copeland, Johnny Winter, Billy Gibbons, Jimmie and

55th Annual GRAMMY Awards

Stevie Ray Vaughan, and many others. Lightnin’ Hopkins was born in Centerville, Texas, in 1912. His roots lie in the rural blues sounds of Texas and the Deep Ellum area. His foundational influence was the seminal blues legend Blind Lemon Jefferson. Legend has it that as a young boy he met and followed Jefferson around street corners and church gatherings in Texas, absorbing, learning, and eventually acompanying him. It is believed that Hopkins was the only guitarist to ever play alongside the great Blind Lemon. Lightnin’ was the bridge between ancient and modern, similar to the great legends Muddy Waters and Howlin’ Wolf who bridged the Mississppi Delta style to Chicago blues. What is particularly important to Lightnin’s place in this legacy was his bridging of the rural country style characterized by a singular man, wielding his voice, his poetry and an acoustic guitar into the plugged-in electric guitar-led drum-and-bass combos headed by Freddie King, Stevie Ray Vaughan and others. He carried the primitive rawness and intimacy of his rural Texas blues forefathers into the futuristic and powerful modern and electrified sound of the second half of the 20th century, which is still a part of mainstream Texas blues and Southern rock.

His landmark three-piece combo Herald recordings bear witness to an earthy power that would inform later power trios such as the Jimi Hendrix Experience, Cream and ZZ Top. Lightnin’s sound was deep, raw and primitive yet had the flash and swagger of a switchblade knife. His vocals were raspy and rich and his quicksilver guitar playing incorporated hypnotic open-string bass lines and percussive tapping mixed with dynamic fingerpicking and fluid single-note lines across the entire fretboard. His lyrics spoke of heartbreak and love, sexual innuendo and the racial issues of the Deep South. He had humor and charm in both his lyrics and instrumental prowess. It is speculated that Lightnin’ recorded nearly 1,000 songs and more albums than any other bluesman. Native Texan Gary Clark Jr. has drawn favorable comparisons to such guitar icons as Jimi Hendrix and Stevie Ray Vaughan. His latest album is 2012’s Blak And Blu. Fellow Texan Doyle Bramhall II is an in-demand guitarist and songwriter whose songs have been recorded by Eric Clapton, among others. He co-wrote “Glitter Ain’t Gold (Jumpin’ For Nothin’)” on Blak And Blu.

Lifetime Achievement Award

Carole King I have such a clear memory of this: I was probably no more than 7 years old. There was a 45 of a song one of my older sisters had. It was my favorite song. I looked at the name in the parentheses; oddly, not at the name of the artist who sang the song, but to see who wrote it. The song was “Up On The Roof” and the names in parentheses were Goffin/King. I would look at a lot of my favorite songs and see those same names. Carole King, along with Gerry Goffin, or on her own, has written some of the greatest and most enduring songs of the last 100 years, and that will last hundreds more. Songs such as “Will You Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” “It’s Too Late,” and “You’ve Got A Friend,” and so many more. Later she went on to make history with her own album Tapestry, showing the world it all comes down to the simplicity of a great song sung as only the writer of those songs could sing them. Perhaps not with the virtuosity and vocal gymnastics of some of the singers who sang them or could have sung them, but with more heart and soul than anyone else could ever bring to them. I met Carole King at Duke’s Coffee Shop when I was a starstruck 20-year-old and I stuttered something to her about being a fan and I’m a songwriter too. And she was very nice to me, even though I’m sure the last thing she wanted to do was talk to me. At that time I was frustrated by not yet having a hit and she told me to keep on writing and it will happen. People use terms like “she is one of the greatest ‘female’ songwriters.” F*** that. Carole King is one of the best songwriters. Ever. On a personal note, I want to thank her for the kind words she took her time to say to an annoying person interrupting her breakfast. And also thank her for so many songs that have touched me and so many others. Congratulations on this award, Carole. No one deserves it more. Songwriter Diane Warren has been nominated for 12 GRAMMY Awards and six Academy Awards, winning a GRAMMY in 1996 for “Because You Loved Me.” She was inducted into the Songwriters Hall of Fame in 2001.

55th Annual GRAMMY Awards

Michael Ochs Archives/Getty Images

By Diane Warren

Lifetime Achievement Award

Patti Page By Jerry F. Sharell

Michael Ochs Archives/Getty Images

For me, writing an appreciation for Patti Page could take many pages in this book, so I’ll give you my abbreviated version of the respect and admiration this great singer has bred in me and countless others. As a kid I remember loving her voice because it was smooth, ever-soothing, super-sensitive, and creatively classic. It was easy for me to fall in love with an infectious melody like the million-selling “With My Eyes Wide Open I’m Dreaming,” but it was the voice of “The Singing Rage” that would make me a lifelong fan. She did not just sing the songs. She sang them as if she wrote them, like she owned them. She gave her heart to all of her recordings and you could hear and feel it. As a young performer, she was an inspiration of mine as I worked my way to a degree at Kent State University singing in clubs, making $12 a night as a “boy singer.” Patti’s interpretation of a song was always something I would cling to. You could hear her passion on recordings like “Old Cape Cod,” “Allegheny Moon” and “Hush, Hush, Sweet Charlotte,” as well as her signature song “Tennessee Waltz,” which stayed at No. 1 for 13 weeks. I was enamored when she would harmonize with her own vocals, which was a daring venture in the mid-’50s. More than a dozen of her singles became million sellers, an astounding feat. She reportedly sold more than 100 million records. Her version of the great standard “You Belong To Me” is still chilling. Patti was a guest of mine on radio shows I’ve hosted over the years. Her professional attitude and friendliness are legend. Noticing a touch of jazz in some of her vocals in the latter years, I asked her about it. She not only confessed her love for jazz, but also a deep appreciation for the musicians who played it. Needless to say, her admiration for country music and music makers was endless. Her singing is unforgettable and her personal style was sparkling. She always looked like she was walking down a red carpet. She won the hearts of fans all over the world. Patti was made aware she was receiving this award just weeks before her passing on Jan. 1, and I’m sure she was proud of the achievement and the recognition it represented. She is and always will be music royalty and will be fondly remembered forever. Jerry F. Sharell is a five-decade veteran of the music industry and former president & CEO of Society of Singers. He hosts “Sundays With Sinatra” on radio station KKJZ-FM in Long Beach, Calif., and hosted “Great American Songbook” on KGIL-AM in Los Angeles.

55th Annual GRAMMY Awards

ASCAP SALUTES OUR MEMBERS EARNING 2013 SPECIAL MERIT AWARDS FROM THE RECORDING ACADEMY

TRUSTEES AWARD

MARILYN AND ALAN BERGMAN

ALAN LIVINGSTON

photo by Don Hunstein

LIFETIME ACHIEVEMENT AWARD

GLENN GOULD (SOCAN)

PATTI PAGE

RAVI SHANKAR

THE TEMPTATIONS

YOUR ARTISTRY AND FORESIGHT CHANGED MUSIC FOREVER. WE ARE PROUD TO REPRESENT YOU AND YOUR MUSICAL LEGACY.

Lifetime Achievement Award

Ravi Shankar In the mid-’50s, while the academics, pundits and practitioners of “new music” were debating and legislating the future of their art, a young man from India arrived in the West and, unbidden and unannounced, set into motion a revolution in Western musical language that is today, more than 50 years later, still powerfully shaping our landscape. That young man was, of course, Ravi Shankar. He was already famous in India as a leading master of the classical music world and foremost sitar player of the day. He soon became a close friend and collaborator of the great French flutist Jean-Pierre Rampal and the formidable violin virtuoso Yehudi Menuhin. His appearance at the Monterey Pop Festival in 1967 would lead him to all manner of performances at other festivals as well. He had become a living pied piper of music with a huge following among young musicians, composers and theater/dance enthusiasts. In fact, Raviji (as he was affectionately known to students and friends alike) was well-known and adored not only by the rich and famous but by the young and passionate as well. In that regard, the Beatles qualified in all four categories. Not surprisingly, he had a long and close friendship with George Harrison and, along the way, made formidable waves in the worlds of popular and commercial music. He was particularly drawn to young people — both musicians and music lovers. He was an indefatigable teacher. Lessons could begin anytime. On several occasions I saw him lay down the sitar and lecture his audience on the immorality of drug taking, smoking and drinking. These kinds of sermons were tolerated kindly enough by the young fans, who were sitting it out, waiting for that magnificent torrent of music to begin again. In those days, and to the end, he was treated as a superstar. Always gracious and kind, though occasionally not exactly on time, except in his music, when he would be impeccable. He is no longer with us but his legacy is all around us. Simply, today’s music

55th Annual GRAMMY Awards

David Redfern/Redferns

By Philip Glass

world would not be what it is without him. His companions, students and friends are everywhere. His brilliance, enthusiasm and simple love for the life in which he was immersed remain as a wave of energy that continues to animate everything it touches. I spoke to Raviji just a few days before he died. Sukanya, his wife and longtime companion, arranged the call for me, for which I will always be grateful. It wasn’t a long conversation, nor did it need to be. Things were said that had been said before but needed to be said one last time.

Seeing a great man die is like watching a sunset. For me, he was the greatest of the great and the best of the best. At that unbelievable and unknowable event, as with the last tender light of the evening, all the beauty and sadness, joy and terror of life at last come together. Even Death, at that moment, is briefly robbed of its finality. Philip Glass has been called one of the most influential composers of the 20th century. He has earned four GRAMMY and three Academy Award nominations. Glass collaborated with Ravi Shankar on the 1990 album Passages.

Lifetime Achievement Award

The Temptations into the studio with Smokey Robinson and emerged with their first Top 20 hit, 1964’s “The Way You Do The Things You Do.” The quintet followed in 1965 with their first No. 1 hit, “My Girl,” which was co-written by Robinson. As the decade progressed, producer/ songwriter Norman Whitfield took the reins in the studio and the husky-voiced Ruffin handled more leads. The result was a grittier urban sound on hits such as “(I Know) I’m Losing You” and “I Wish It Would Rain.” After Ruffin’s departure in 1968, which led to the addition of Dennis Edwards, the Temptations segued into more politically aware songs. Hits such as “Ball Of Confusion (That’s What The World Is Today)” made them among the earliest Motown acts to make socially conscious music, likely influencing such labelmates as Stevie Wonder and Marvin Gaye, who in the early ’70s

would take their cue from colleagues such as the Temptations as well as the changing times to make explosively strong activist music. Still working closely with Whitfield on songs he co-wrote with Barrett Strong, the Temptations scored other lasting hits such as “Cloud Nine,” “Run Away Child, Running Wild,” “Psychedelic Shack,” and “Papa Was A Rollin’ Stone.” And just to prove they could still record perhaps the world’s greatest ballad, they also reached No. 1 with “Just My Imagination (Running Away With Me)” during this period. Nearly 40 Top 40 hits over a 50-plus-year career through various lineup changes is a glowing testament to a group that so defined, embodied and inhabited the role of the R&B vocal group, it might be tempting to call them the ultimate vocal group of all time. Don’t feel bad if you give in to that temptation.

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As their name suggests, the Temptations’ music was hard to resist. It was so irresistible, they became arguably the most successful vocal group of the ’60s and one of the defining acts that made Detroit soul as important an export for the city as the cars produced by General Motors or Ford. And the group’s collective talent allowed them equal success as a sweet soul group in the early ’60s, and as the makers of socially charged, muscular soul in the late ’60s and early ’70s. The Temptations came together with the merger of two Motor City vocal groups: the Primes, led by Eddie Kendricks and Paul Williams, and the Distants featuring Otis Williams and Melvin Franklin. Originally called the Elgins, they quickly renamed themselves the Temptations, but one element was still missing. That proved to be tenor David Ruffin. Shortly after his addition, the group went

55th Annual GRAMMY Awards

Trustees Award

©Bettman/CORBIS

Marilyn & Alan Bergman

By Cynthia Weil and Barry Mann Those who have attempted either would say the two most difficult things to accomplish in life are a successful partnership and a successful marriage. Combine both endeavors and the odds against you rise appreciably, but this year we proudly honor two people who have beaten those very odds and excelled gloriously at both undertakings. The fact that they both write the lyrics and have to debate titles, rhymes and concepts boggles the mind. They have managed to create the soundtrack to our lives in film, theater, TV, and on the radio, and the fact that they have done this without bloodshed speaks volumes to their personal strength, angelic nature and extraordinary talent. Wrap your head around some of these achievements. In film they’ve won Oscars for “The Way We Were” (which also won two

55th Annual GRAMMY Awards

GRAMMYs), “The Windmills Of Your Mind” (from The Thomas Crown Affair) and the score for Yentl. On TV we can only say “And Then There’s Maude” and the theme to “In The Heat Of The Night”: How different yet how right on can two TV themes be? (They also won four Emmys.) Then there’s the stage and their wonderful work for the musical “Ballroom,” both touching and literate, in other words very “Bergmanesque.” And now for radio: “That Face,” “What Are You Doing The Rest Of Your Life?,” “Nice ‘N’ Easy,” “How Do You Keep The Music Playing” … how do they do it? Inquiring couples who also write want to know. How do they continue to produce work that is timeless and outstanding and continue to create with an enthusiasm that never diminishes? The truth is they are so special

and so perfect, we’d like to slap them around a little, but then, they are so gracious, kind and elegant that we want to sing their praises and worship at their computer. We are all so lucky to have known them and their work, and to know them personally is a treat all its own. There are no two people more deserving of the Trustees Award and we salute them with respect, love and admiration. Wife-and-husband team Cynthia Weil and Barry Mann are two of the greatest songwriters to emerge from New York’s Brill Building. Their song “Somewhere Out There” (written with James Horner) won the Song Of The Year GRAMMY in 1987. The recording of their song “On Broadway” was inducted into the GRAMMY Hall Of Fame this year.

Trustees Award

Leonard & Phil Chess

Leonard Chess

CEA/Cache Agency

In his autobiography, Life, Keith Richards described the day he met Mick Jagger on a train station platform in 1961. What he noticed first were the records young Jagger was carrying. “Did we hit it off?” Richards wrote. “You get in a carriage with a guy that’s got Rockin’ At The Hops by Chuck Berry on Chess Records, and The Best Of Muddy Waters also under his arm, you are gonna hit it off. He’s got Henry Morgan’s treasure.” To the rest of the world, that was what the music recorded in Chicago at 2120 South Michigan Avenue and released on the Chess label became — precious, hidden riches. But to Polish immigrants Leonard and Phil Chess, the company hardly started out looking to change the world. Chess Records began when their liquor store did well enough to bankroll a nightclub, which led to recording some local musicians on a label initially called Aristocrat. A few jazz singles didn’t sell, so they gave a shot to a blues singer who had made the journey up north from Mississippi, figuring some of the other Southern transplants might be eager for a down-home sound. That singer’s name was Muddy Waters; his breakthrough hit, 1948’s “I Can’t Be Satisfied,” sold out in a matter of hours. Aristocrat was soon renamed Chess Records, and what would be called “America’s greatest blues label” was off and running, creating a foundation for a global music revolution. The Chess roster is almost impossible to believe: Chuck Berry, Bo Diddley, Little Walter, Buddy Guy, Etta James, Willie Dixon, John Lee Hooker, Sonny Boy Williamson. An affiliation with Sam Phillips’ Memphis Recording Service delivered Howlin’ Wolf to the label, as well as Jackie Brenston & His Delta Cats’ 1951 classic “Rocket 88,” often considered the first rock and roll record. Chess also recorded such doo-wop legends as the Moonglows and the Flamingos and, in the ’60s, developed a more soul-oriented roster, including Fontella Bass, Little Milton and the Dells. Marshall Chess, Leonard’s son, said that the different musical styles the label recorded reflected the difference in the brothers: “Phil was more sensitive, and produced the doo-wop records. My father was in there with Muddy Waters and Etta James.” The Chess brothers themselves, with no musical background, may have just been going by their gut, but it led to some inspired decisions (including Leonard jumping behind the bass drum on Waters’ “She Moves Me” when he wasn’t satisfied with the rhythm). The results were magnificent, a perfect blend of raw passion and studio structure — and a straight line to the Rolling Stones, to Led Zeppelin, to Aerosmith, to Jack White. “You want to know what made Muddy popular?” the pianist Sunnyland Slim once said. “Leonard Chess pushed him.”

CEA/Cache Agency

By Alan Light

Alan Light is a frequent contributor to The New York Times and Rolling Stone, a former editor in chief for Vibe and Spin magazines, and the author of The Holy Or The Broken: Leonard Cohen, Jeff Buckley And The Unlikely Ascent Of Hallelujah. Phil Chess

55th Annual GRAMMY Awards

Trustees Award

Alan Livingston

By Paul Grein In late 1963, Alan Livingston, then president of Capitol Records, took a phone call from an irate artist manager. It may have been the best investment of time in the history of the music business. The call was from the manager of a group that had been storming the UK charts, but had been turned down repeatedly by Capitol (which had right of first refusal on their recordings in the United States). “I am the personal manager of the Beatles and I don’t understand why you won’t release them,” Brian Epstein is purported to have argued. “Well, frankly, Mr. Epstein, I haven’t heard them,” Livingston is said to have replied. Livingston took a listen, overruled his A&R executive and signed the band. He even approved a $40,000 promotional campaign for the group’s debut Capitol single, “I Want To Hold Your Hand.” That was a lot of money in those days, but it was probably recouped by the time the Fab Four set foot on U.S. soil. Livingston had joined Capitol as a writer/

55th Annual GRAMMY Awards

producer in 1946, four years after the label was founded. He started a children’s music division, which targeted the first wave of baby boomers. Livingston came up with the idea of “record readers,” a book-and-album combination, which has since become a children’s industry staple. Livingston also created the Bozo the Clown character, and created a best-seller for Hopalong Cassidy. The headline on a Saturday Evening Post profile of Livingston was apt: “He Tickles The Tykes.” In 1953 the Capitol brass wondered what Livingston could do with adult music and appointed him vice president of creative operations. Livingston signed Frank Sinatra and paired him with Nelson Riddle, who arranged such hits as “I’ve Got The World On A String” and “Young At Heart.” The hits pointed Sinatra in a new direction, which brought him to his creative peak. Livingston, who was the younger brother of Oscar-winning songwriter Jay Livingston,

left Capitol in 1956 for a five-year stint at NBC. As vice president in charge of programming, he helped launch the top-rated “Bonanza.” Livingston returned to Capitol in 1961. Over the course of the next eight years, he helped the label become a force in rock with the Beach Boys, the Beatles, the Steve Miller Band, and the Band. In 1969 he left the label to form Mediarts Records with former Capitol producer Nik Venet. The label’s chief discovery was Don McLean. Livingston sold the label to United Artists in 1971, shortly before the release of McLean’s second album, American Pie. In 1976 Livingston joined Twentieth Century-Fox Film Corp. where he oversaw its record and publishing divisions. He died in 2009 at age 91. Paul Grein writes the Chart Watch blog for Yahoo Music. In 1992, he wrote a book commemorating Capitol Records’ 50th anniversary.

THANK YOU

Ikutaro Kakehashi

Dave Smith

Roland wishes to thank The Recording Academy ’s Producers & Engineers Wing Advisory Council and Chapter Committees as well as The Academy’s National Board of Trustees for recognizing Roland founder Ikutaro Kakehashi and Sequential Circuits™ founder Dave Smith for their roles in the development of the revolutionary Musical Instrument Digital Interface (MIDI) standard. ®

30 years on, MIDI continues to help artists create great music. As a world leader in electronic musical instrument development, Roland remains dedicated to supporting and expanding this important technology, both now and into the future.

Technical GRAMMY Award

Joanne McGowan

Roland Corporation

Ikutaro Kakehashi & Dave Smith

Ikutaro Kakehashi

Dave Smith

By Dave Stewart Working away in the dark attic of a picture framing factory back in 1982, Annie and I were in experimentation mode. I was obsessed with finding a new sound, a new way to surround Annie’s incredibly soulful voice with a juxtaposing edgy feeling in the music. We didn’t have much money and were basically using very cheap equipment and a limited amount of keyboards, a Roland SH-101, a tiny Wasp synthesizer, and occasionally we borrowed an Oberheim OB-X that belonged to the owner of the factory. We were attempting to make an album on an 8-track Teac tape recorder and were struggling to get all our ideas down on seven tracks (at the time we saved the last track for time code). We used a newly invented drum machine referred to as Movement MCS Percussion Computer. This was a large machine and quite difficult to control but we struggled along trying to marry these sounds with natural sounds like hitting empty bottles (for the bridge of “Sweet Dreams”), slide guitars mixing with sounds of an underground

55th Annual GRAMMY Awards

railway station, etc. What was missing was the “glue.” We spent hours, days, weeks trying to get these synthesizers and drum machines in time with each other and often would have to do a mix hundreds of times playing manually along with the drum machine synced to tape! One day I was going past a music store in Camden Town and there was a crowd inside so I went in and there was a kind of hush whilst someone was explaining that this Sequential Circuits Prophet 600 had MIDI! Once I grasped what they were talking about I felt quite faint, my head spinning with the possibilities. I’ve never been the same since and neither has the rest of the world. It was in 1983 that a collaboration between competing manufacturers resulted in a new technology that was introduced at the winter NAMM show where Ikutaro Kakehashi, founder of Roland Corporation, and Dave Smith, president of Sequential Circuits, unveiled MIDI. They connected two competing manufacturers’ electronic keyboards, the Roland JP-6

synthesizer and Sequential Circuits Prophet 600, enabling them to “talk” to one another using a new communications standard. The presentation registered shockwaves at the show, and ultimately revolutionized the music world. Sequencers, sampling, digital drum machines, dedicated computer control, ultimately a complete revolution within the recording industry … it is hard to imagine that any of these technologies or developments would have occurred, or certainly have been as wide-reaching, without the glue of MIDI. Dave Smith and Ikutaro Kakehashi, you turned my world upside down and in doing so gave birth to a revolution that will never end. As a member of Eurythmics with Annie Lennox, Dave Stewart won a GRAMMY in 1986 for Best Rock Performance By A Duo Or Group With Vocal for “Missionary Man.” Artists he has collaborated with include Tom Petty, Bob Dylan, Aretha Franklin, Mick Jagger, Alison Krauss, and Stevie Nicks. In 2012 Stewart released his latest solo album, The Ringmaster General.

Technical GRAMMY Award

Royer Labs

Dana Hursey

By Ed Cherney

55th Annual GRAMMY Awards

One of the first times I had the opportunity to record a horn section early in my career I was really excited to use the old ribbon microphones I saw in all of the pictures. I got out those mics and dutifully set them in the proper places. They were bigger, and much heavier than I anticipated so I had to use heavy-duty microphone stands, and even then they were unsteady and difficult to place. Was I ever disappointed when I pushed up the faders to have a listen. They sounded horrible: dull, distorted and just plain weird. I quickly went to plan B and got through the session OK, but just couldn’t understand why the ribbon mics didn’t sound good. After the session I got them out and plugged them in again to have a listen to try to determine why they just didn’t work for me. They were all at least 30 years old, and for the most part just beat. At the time, these were the only ribbon microphones available to us. For the next 20 years I abandoned the idea of using ribbon microphones. There hadn’t been any new ribbon designs since the mid-’50s, so most ribbons were old, fragile, big, and heavy … and broken. In 1998 I got a call from a friend who had a ribbon mic that he had developed and wanted to know if I would like to check it out. Of course I was interested. The first time I tried it I was working with a rock band. For me it was always challenging to get those loud electric guitars to sound great on a recording, especially as we moved from linear tape-based recording to digital recording. Well, I put that new ribbon mic up on the guitar cabinet and cracked the fader to have a listen. I was blown away. It was certainly clear, but it also had body, warmth and clarity, and without the use of any equalization or compression or other signal processing.

The musicians came in for a listen and were delighted and considered me a genius. Any tool that does that for me, I need to have. Dave Royer cooked up his first ribbon microphone in his garage in 1997. In May 1998 Royer Labs opened with two primary purposes: to reintroduce ribbon microphones to the recording industry and to make the world’s best microphones. At the time, most music makers had no interest in ribbons. Royer’s R-121 was the first compact, lightweight, high-sound, pressure-levelcapable ribbon microphone ever. It was the first ribbon microphone that could be used to close-mic a loud guitar cabinet without fear of blowing the ribbon element. That by itself put it on the studio map. The R-121 soon became a standard for brass instruments and drums. I started carrying my Royers to all of my sessions. When one day all of the horn players showed up to a session with their own R-121s, it really cracked me up. Recently, Royer developed the world’s first phantom-powered ribbon microphone, giving ribbons the same sensitivity levels as phantom-powered condenser mics. I also own those and use them every day that I have music to record. I got my first Royer mics Nov. 3, 1998. My recording skills absolutely got better that day. Ed Cherney is a two-time GRAMMY-winning engineer/mixer. He was nominated for Best Engineered Album — Non-Classical for three different recordings in 1994, winning for Bonnie Raitt’s Longing In Their Hearts. Throughout his career, he has collaborated with Jackson Browne, Bob Dylan, the Rolling Stones, and Sting, among others. Cherney is a current member of the Producers & Engineers Wing Steering Committee.

2013

GRAMMY Hall Of Fame By Paul Grein

broad spectrum of music was honored by the GRAMMY Hall Of Fame this year. The diversity is suggested by the title of one of this year’s inducted recordings: Crosscurrents. AC/DC’s Back In Black is widely regarded as one of the best hard rock albums ever recorded. The 1980 blockbuster was released just six months after the death of the band’s original lead singer, Bon Scott. Back In Black, which spawned the hits “You Shook Me All Night Long” and the title track, marked the debut of new lead singer Brian Johnson. From a vastly different musical tradition, Lester Flatt And Earl Scruggs And The Foggy Mountain Boys were cited for the 1961 album Foggy Mountain Banjo. The album, which emphasizes Scruggs’ banjo playing, has been influential in American roots music. Flatt and Scruggs were previously cited for their 1950 classic “Foggy Mountain Breakdown” and their 1957 album Foggy Mountain Jamboree. Scruggs is one of two artists who died last year who was saluted by Hall Of Fame voters. The other is Whitney Houston, who was honored for her continued on page 100 Top: Charles Mingus John D. Kisch/ Seperate Cinema Archives/Getty Images Middle: Buck Owens GAB Archive/ Redfems Bottom: Richard Pryor NBC/NBCU Photo Bank via Getty Images

55th Annual GRAMMY Awards

Top: Whitney Houston Michael Ochs Archive/Getty Images Middle: Willie Mae “Big Mama” Thornton Frank Driggs Collection/Getty Images Bottom: Carlos Gardel Bettman/Corbis

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eponymous 1985 debut album. The collection spawned such hits as the sultry torch song “Saving All My Love For You” and the frisky dance smash “How Will I Know.” Houston joins her cousin Dionne Warwick in the Hall. Warwick is represented with three Burt Bacharach/Hal David classics. Bob Dylan’s “The Times They Are A-Changin’” is the rock legend’s seventh recording to make the Hall. This was the title track of Dylan’s third album, which was released in early 1964. In this song, Dylan captured (and anticipated) the tremendous social changes of the ’60s. The deceptively simple title phrase remains a commonly used expression. Two of the most honored male vocalists in music history added to their Hall Of Fame legacies. Frank Sinatra’s brassy “Theme From New York, New York” is his 13th recording in the Hall. Ray Charles’ zesty 1961 smash “Hit The Road Jack” is his 10th. Sinatra’s Hall Of Fame entries span 40 years, from 1940’s “I’ll Never Smile Again” (which he recorded with Tommy Dorsey and the Pied Pipers) to this 1980 recording, which became a signature song for Sinatra and an anthem for New York. Liza Minnelli introduced the song in the 1977 movie of the same name. Both Sinatra and the song were saluted in “Empire State Of Mind,” the 2009 smash by Jay-Z and Alicia Keys. Paul McCartney & Wings’ 1973 album Band On The Run became the second recording by a former Beatle to make the Hall. It follows

“Imagine,” the 1971 classic by John Lennon Plastic Ono Band. Band On The Run spawned the hits “Helen Wheels,” “Jet” and the title track. Richard Pryor’s That Nigger’s Crazy is the sixth comedy album to make the Hall. The title of the 1974 album signaled that this wasn’t a comedy album in the mold of Bill Cosby or Bob Newhart. Pryor used previously taboo words to make biting observations about society and especially race. In 1974, before rap and cable TV gave AfricanAmericans more opportunities to express themselves in an unfiltered way, this album had a huge impact. The controversial title represented Pryor taking a word that had been used to degrade and dehumanize African-Americans and turning it into a term that they could own and even have some fun with. Case in point: Pryor titled his 1976 album Bicentennial Nigger. Recordings by two of the top R&B artists of all time were honored. James Brown’s exuberant 1965 smash “I Got You (I Feel Good)” is his fifth recording to be inducted. Louis Jordan And His Tympany Five’s good-natured 1946 hit “Ain’t Nobody Here But Us Chickens” is their fourth. The latter song, which was released at the tail end of the swing era, blends elements of R&B and swing. The Hall welcomed the original recordings of two songs that were written or co-written by Jerry Leiber and Mike Stoller: “Hound Dog” and “On Broadway.” continued on page 102

2013 GRAMMY Hall Of Fame Inductees The GRAMMY Hall Of Fame was created in 1973 to honor recordings of lasting significance that were issued prior to the 1958 inception of the GRAMMY Awards. The Hall is now open to any recording that has been in release for at least 25 years. New submissions are voted on annually by a special member committee of experts and historians drawn from all branches of the recording arts. Their choices are subject to final approval by the Trustees of The Recording Academy. The GRAMMY Hall Of Fame is unique in that it is open to all genres of music — popular as well as specialized forms.

ACT NATURALLY Buck Owens Capitol (1963) Country (Single)

AIN’T NOBODY HERE BUT US CHICKENS Louis Jordan And His Tympany Five Decca (1946) R&B (Single)

ALLONS À LAFAYETTE (LAFAYETTE) Joe Falcon Columbia (1928) Folk (Single)

BACK IN BLACK AC/DC Albert/Atlantic (1980) Rock (Album)

BAND ON THE RUN Paul McCartney & Wings Apple (1973) Rock (Album)

BONAPARTE’S RETREAT W.H. Stepp Library of Congress (1937) Country (Single)

CROSSCURRENTS Lennie Tristano Sextet Capitol (1949) Jazz (Album)

EL DÍA QUE ME QUIERAS Carlos Gardel Paramount (1935) Latin (Single)

Paul McCartney & Wings CEA/Cache Agency

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Son House Ray Flerlage/Cache Agency

Willie Mae “Big Mama” Thornton’s original 1953 version of “Hound Dog” joins Elvis Presley’s earthshaking 1956 version in the Hall. Thornton’s strong and sassy rebuke predated the ’70s feminist movement by a good 20 years. Thornton influenced such blues shouters as Janis Joplin, who sang Thornton’s composition “Ball And Chain” on Big Brother & The Holding Company’s 1968 album Cheap Thrills.

AC/DC’s Brian Johnson and Angus Young Larry Hulst/Getty Images

The Drifters’ 1963 hit “On Broadway” (which Leiber and Stoller co-wrote with another legendary songwriting team, Barry Mann and Cynthia Weil) is the R&B group’s fourth recording to be voted into the Hall. These four hits feature three different lead singers. Clyde McPhatter fronted the group for “Money Honey.” Ben E. King sang lead on “There Goes My Baby” and “Save The Last Dance For Me.” Rudy Lewis did the honors

on “On Broadway.” (Lewis died of a probable heart attack just a year after this song was a hit. He was just 27.) Billy Joel’s classic story song “Piano Man” became his first hit in 1974. Joel wrote about his years singing in piano bars in a way that echoes Thoreau’s observation, “The mass of men lead lives of quiet desperation.” Joel went on to have many bigger hits, but this remains his signature song. It’s his third recording to make the Hall, following “Just The Way You Are” and the album that spawned it, The Stranger. Voters extended some downhome hospitality to Buck Owens’ 1963 country classic “Act Naturally.” The genial song is Owens’ second Hall Of Fame entry, following “I’ve Got A Tiger By The Tail.” The Beatles released “Act Naturally” as the B-side to their classic 1965 single “Yesterday.” Ringo Starr sang lead. Owens and Starr teamed for a remake of the song in 1989. Three albums were inducted this year that include one or more songs that were already voted into the Hall as singles. Little Richard’s Here’s Little Richard (1957) includes the previously inducted “Long Tall Sally” and “Tutti-Frutti.” Elton John’s selftitled debut album (1970) includes “Your Song.” An eponymous 1963 album by John Coltrane and Johnny Hartman includes “Lush Life.” This is Coltrane’s ninth Hall Of Fame recording, Little Richard’s fourth, John’s third, and Hartman’s second. Lost In The Stars is the only Broadway cast album to be inducted this year. The 1949 show was a musical adaptation of Cry, The Beloved Country, Alan Paton’s classic novel about apartheid in South Africa. Todd Duncan, who originated the role of Porgy in “Porgy And Bess,” starred in the show. Kurt Weill and Maxwell Anderson wrote the score. Lost In The Stars is Weill’s second cast album to be recognized: The album from a 1954 production of his “The Threepenny Opera” (which spawned the standard “Mack The Knife”) was inducted in 1994. continued on page 104

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ELTON JOHN Elton John Uni (1970) Pop (Album)

FOGGY MOUNTAIN BANJO Lester Flatt And Earl Scruggs And The Foggy Mountain Boys Columbia (1961) Country (Album)

HERE’S LITTLE RICHARD Little Richard Specialty (1957) Rock & Roll (Album)

HIT THE ROAD JACK Ray Charles ABC-Paramount (1961) R&B (Single)

HOUND DOG Willie Mae “Big Mama” Thornton Peacock (1953) Blues (Single)

I GOT YOU (I FEEL GOOD) James Brown King (1965) R&B (Single)

JOHN COLTRANE AND JOHNNY HARTMAN John Coltrane And Johnny Hartman Impulse! (1963) Jazz (Album)

LOST IN THE STARS Original Broadway Cast Decca (1949) Musical Show (Album)

MINGUS AH UM Charles Mingus Columbia (1959) Jazz (Album)

MY BLACK MAMA [PARTS 1 & 2] Son House Paramount (1930) Blues (Single)

NEAR YOU Francis Craig And His Orchestra Bullet (1947) Pop (Single)

ON BROADWAY The Drifters Atlantic (1963) R&B (Single)

Play me . . .

“Near You,” a 1947 smash by Francis Craig And His Orchestra, was the first song released on a Nashville label to become a major national hit. Though the song was pop, rather than country, its success is credited with paving the way for Music Row. Ernest V. “Pop” Stoneman’s saga “The Titanic” is the oldest recording to be inducted this year. The song was released in 1924, just 12 years after the April 1912 sinking of RMS Titanic. Stoneman plays harmonica and guitar on the song, which also contains an interpolation of “Nearer, My God, To Thee.” (According to legend, Titanic’s band was playing that hymn when the ship went down.) W.H. Stepp, a fiddler from Kentucky, arranged the old-time fiddle tune “Bonaparte’s Retreat” in 1937. Five years later, Aaron Copland appropriated Stepp’s arrangement in the “Hoe-Down” section of the 1942 ballet Rodeo, which Copland scored. Emerson, Lake & Palmer recorded a prog-rock rendition of “Hoedown” in 1972. The piece gained its broadest fame in the ’90s when it was featured in a long-running TV commercial, “Beef. It’s What’s For Dinner.” Carlos Gardel performed the romantic ballad “El Día Que Me Quieras” in the 1935 movie of the same name, in which he starred. His career was cut short that June

PIANO MAN Billy Joel Columbia (1973) Pop (Single)

STEALIN’, STEALIN’ Memphis Jug Band Victor (1928) Blues (Single)

THAT NIGGER’S CRAZY Richard Pryor Partee/Stax (1974) Comedy (Album)

THEME FROM NEW YORK, NEW YORK Frank Sinatra Reprise (1980) Traditional Pop (Single)

THE TIMES THEY ARE A-CHANGIN’ Bob Dylan Columbia (1964) Folk (Track) Billy Joel Ebet Roberts/Redferns

when he died in a plane crash in Colombia. Gardel is deemed the most recognized figure in the history of Argentinian tango. The Hall welcomed two more jazz albums this year: Lennie Tristano Sextet’s 1949 album Crosscurrents and Charles Mingus’ 1959 album Mingus Ah Um. This is the first Hall Of Fame entry for Tristano, a pioneer of cool jazz, bebop and avant-garde jazz. Crosscurrents is often cited as the first recorded example of improvised jazz. This is Mingus’ third Hall Of Fame entry. The bassist was previously cited for his 1959 album Mingus Dynasty and as one of the players on the allstar 1953 set Jazz At Massey Hall. Voters also chose three vintage blues or folk recordings that were recorded between 1928–1930: Memphis Jug Band’s “Stealin’, Stealin’,” Joe Falcon’s “Allons À Lafayette (Lafayette)” and Son

THE TITANIC Ernest V. “Pop” Stoneman Okeh (1924) Country (Single)

WHITNEY HOUSTON Whitney Houston Arista (1985) Pop (Album)

For a complete list of past GRAMMY Hall Of Fame inductees, go to www.grammy.org/recording-academy/awards.

House’s “My Black Mama [Parts 1 & 2].” “Stealin’, Stealin’” was rediscovered in the folk revival of the ’60s. The Grateful Dead recorded the song in 1966. “Allons À Lafayette,” hailed as the first Cajun/ French recording, helped introduce the accordion to the New Orleans music scene. Son House was a key figure in the Delta blues lineage that connected Charley Patton to Robert Johnson and Muddy Waters. Paul Grein, a veteran music journalist, writes the Chart Watch blog for Yahoo Music.

Bob Dylan CEA/Cache Agency

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The

GRAMMY Hall Of Fame

Turns

By Paul Grein

he GRAMMY Hall Of Fame is far and away the most diverse hall in music, and quite possibly in any field. It includes everything from Edith Piaf’s “La Vie En Rose” to AC/DC’s Back In Black; from Loretta Lynn’s “Coal Miner’s Daughter” to James Brown’s Live At The Apollo. The Hall even extends beyond music to include comedy and spoken word recordings. The Hall was created in 1973 to honor recordings that were released prior to the inception of the GRAMMY Awards in 1958. Since 1991, the Hall has been open to all recordings that are at least 25 years old. The Hall encompasses nearly 90 years of music. The oldest recording on the roster, “The Stars And Stripes Forever” by (John Philip) Sousa’s Band,

Louis Armstrong Transcendental Graphics/Getty Images

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was released in 1897. The newest, Paul Simon’s Graceland, was released in 1986. Because the Hall covers such a vast span of time, it reflects tremendous changes in society. It includes Billie Holiday’s haunting “Strange Fruit,” its title a metaphor for lynchings, as well as Sam Cooke’s hopeful “A Change Is Gonna Come.” It includes Fanny Brice’s forlorn “My Man” as well as Gloria Gaynor’s resilient “I Will Survive.” The Hall also includes “Over There,” a gung-ho song about World War I, as well as Edwin Starr’s “War,” an anti-war anthem that was a hit at the height of the Vietnam War. These songs demonstrate the eternal wisdom of the title of a Bob Dylan song that was inducted just this year, “The Times They Are A-Changin’.” John Lennon and Paul McCartney each have 16 recordings in the Hall, which is more than any other artist. Their tallies each include 15 recordings with the Beatles and one post-Beatles work. Lennon was honored for the 1971 classic “Imagine,” which was credited to John Lennon Plastic Ono Band. McCartney was cited this year for the 1973 album Band On The Run, which he recorded with Wings. The Beatles’ tally of 15 Hall Of Fame entries is more than any other group or duo. It includes five consecutive studio albums, from 1965’s Rubber Soul to 1969’s Abbey Road. No other act has so many consecutive studio albums in the Hall. To celebrate the GRAMMY Hall Of Fame’s 40th anniversary, here’s a recap of some additional record-setting achievements. continued on page 110

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Above: Ella Fitzgerald Michael Ochs Archives/Getty Images Below: The Andrews Sisters Hulton Archive/Getty Images

Estelle

congratulates

Estelle

SPARKLING RED

rosaregale.com

on her GRAMMY® nomination for Best R&B Performance.

3. W hat musical work is represented in the Hall via the most different recordings? Porgy And Bess Five recordings of the landmark folk opera (which George and Ira Gershwin co-wrote with DuBose Heyward) are in the Hall: a 1935 album featuring the original orchestra and chorus; a twovolume set of highlights from the show (released in 1940 and 1942); a 1951 opera recording; a 1958 jazz recording by Louis Armstrong & Ella Fitzgerald; and a second 1958 jazz recording by Miles Davis & Gil Evans. In addition, voters have inducted recordings of two individual songs from the score: Sidney Bechet’s “Summertime” and Nina Simone’s “I Loves You, Porgy.” 4. W hat individual song is represented in the Hall via the most different recordings? “Star Dust” Michael Jackson Gems/Redferns

1. W hich male artists (vocalists, instrumentalists or bandleaders) have the most entries (on which they received individual billing)? Louis Armstrong, 14 Duke Ellington, 13 Frank Sinatra, 13 Ray Charles, 10 John Coltrane, 9 Satchmo’s entries include collaborations with such diverse artists as blues legend Bessie Smith, country pioneer Jimmie Rodgers and jazz masters Ella Fitzgerald and Earl Hines.

hich female artists 2. W have the most entries (on which they received individual billing)? Ella Fitzgerald, 7 Judy Garland, 6 Billie Holiday, 6 Aretha Franklin, 5 Barbra Streisand, 4 Fitzgerald’s earliest entry in the Hall is Chick Webb And His Orchestra’s 1938 hit “A-Tisket, A-Tasket,” on which she was featured. She was just 20 at the time. She is also in the Hall with two of her celebrated “Song Book” albums (devoted to the music of Cole Porter and Rodgers and Hart).

Three recordings of the Hoagy Carmichael/Mitchell Parish standard are in the Hall: a 1927 recording by Hoagy Carmichael And His Pals; a 1931 recording by Louis Armstrong; and a 1940 recording by Artie Shaw And His Orchestra. 5. W hat artist was the youngest at the time of the release of his or her Hall Of Fame recording? Michael Jackson The pop icon was 11 in 1969 at the time of the release of the Jackson 5’s breakthrough smash “I Want You Back.” He had turned 12 by the time of the release of the quintet’s second Hall Of Fame entry, “I’ll Be There.” continued on page 112

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6. W ho are the only siblings to each, individually, have a recording in the Hall? Tommy and Jimmy Dorsey Tommy Dorsey And His Orchestra have three recordings in the Hall: “I’m Getting Sentimental Over You,” “Marie” (with Jack Leonard) and “I’ll Never Smile Again” (with Frank Sinatra & The Pied Pipers). Jimmy Dorsey And His Orchestra have one: “Brazil (Aquarela Do Brasil).” ho are the only parent 7. W and child who each have a recording in the Hall? Woody and Arlo Guthrie The elder Guthrie has two recordings in the Hall: Dust Bowl Ballads, Volumes 1 & 2 (1940)

and “This Land Is Your Land” (1947). The younger Guthrie has one: “Alice’s Restaurant” (1967). Honorable mention: Judy Garland and Liza Minnelli. Garland has six recordings in the Hall. Minnelli doesn’t have an individual recording in the Hall, but the soundtrack to her 1972 film Cabaret has been voted in. 8. W hich duo has the most entries? Simon & Garfunkel The legendary pair has four entries: “The Sounds Of Silence,” “Mrs. Robinson,” “Bridge Over Troubled Water,” and the album Parsley, Sage, Rosemary & Thyme. In addition, Simon has two entries as a solo artist. Runner-up: Lester Flatt And Earl Scruggs, with three.

9. W hich “girl groups” have the most entries? The Andrews Sisters and the Supremes Both of these iconic trios have three entries in the Hall. The Andrews Sisters’ tally includes “Don’t Fence Me In,” a 1944 collaboration with Bing Crosby. 10. W hat is the only musical to be represented in the Hall with both an original cast album and a movie soundtrack? “West Side Story” The Leonard Bernstein/ Stephen Sondheim masterwork is represented both by its 1958 Broadway cast album and its 1961 soundtrack. continued on page 114

Art Garfunkel and Paul Simon Pictorial Parade/Getty Images

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11. W ho is the only composer with both a movie soundtrack and a TV soundtrack in the Hall? Henry Mancini The composer is represented with the soundtracks to the big screen’s The Pink Panther (1964) and the small screen’s “Peter Gunn” (1959). 12. W hat classical composer is represented with the most recordings in the Hall? Ludwig van Beethoven Eight recordings of Beethoven’s works have been voted into the Hall — a combination of concertos, symphonies, piano sonatas, and string quartets. (This strong showing makes up for Chuck Berry’s good-natured dig, “Roll Over Beethoven,” which is also in the Hall.) Runner-up: Johann Sebastian Bach, with seven. Bach’s tally combines six traditional renderings of his work and Walter Carlos’ synthesized treatment, Switched-On Bach. 13. W hat classical orchestra has the most entries in the Hall? New York Philharmonic The famed orchestra, which received a Recording Academy Trustees Award in 2003, has nine recordings in the Hall. Leonard Bernstein conducted five of them. Runner-up: Philadelphia Orchestra, with eight. continued on page 116

Soundtrack To Our Culture The GRAMMY Hall Of Fame curates the most important recordings since the medium’s invention By Bob Santelli For 40 years now, through the GRAMMY Hall Of Fame, The Recording Academy has honored recordings that exemplify the highest caliber of artistic expression and cultural significance, and that have, in their own way, enlightened our appreciation of music. Included in the Hall are rock, pop, R&B, blues, country, symphonic, and other recordings that have altered the course of music, either historically or creatively, or both. Taken together, this body of music constitutes the apex of recorded musical achievement. What distinguishes the GRAMMY Hall Of Fame, and makes it essential, is that it represents the actual recordings that have created an indelible soundtrack to our culture. Other halls induct artists, and play an important role in curating the personalities that have driven popular music. But as the curator of artists’ recordings, the GRAMMY Hall Of Fame functions at once as preservationist, caretaker and creator of life’s ultimate playlist for these unique recorded performances. Since the opening of the GRAMMY Museum’s Archives this past November, the Museum is now the physical home and point of public connection for the Hall Of Fame. (A complete GRAMMY Hall Of Fame list is also available at GRAMMY.org.) The GRAMMY Museum’s Archives are located on the Museum’s third floor, adjacent to the exhibit that outlines the history of the GRAMMY Awards and the process by which winners are selected. The Archives serve Museum visitors interested in exploring the many pieces of great music — recordings that span every style of music, including rock, blues, country, symphonies, operas, jazz works, and comedy recordings — that comprise the Hall Of Fame. It also acts as a small research area for students, teachers, journalists, historians, and serious fans whose thirst for contextualized information about iconic music goes beyond the Museum’s often-changing exhibits. Easy-to-use interactive displays enable Museum visitors to call to an archive computer screen any musical piece that has been inducted into the GRAMMY Hall Of Fame. In addition to hearing the work, a brief description of its artistic and historical significance as well as information about the composer(s) and recording artist(s) and its induction date, rounds out the entry. The GRAMMY Museum began celebrating the 40th anniversary of the GRAMMY Hall Of Fame during GRAMMY Week with a new feature on its website (www.grammymuseum.org) that pays tribute to select Hall Of Fame recordings. Each month, the Museum will highlight a particular recorded piece from the Hall Of Fame, delving deep into the origins of the piece, providing detailed historical insight into its importance, and where applicable, presenting scanned artifacts that pertain to the recording and/or those who made it, along with interviews with historians, critics and contemporary artists impacted by it. To date, the GRAMMY Hall Of Fame has inducted nearly 1,000 recordings spanning nearly a century, proving the lasting significance of timeless music. Bob Santelli is the Executive Director of the GRAMMY Museum.

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14. W hat country artist has the most entries?

17. W ho is the only Nobel Peace Prize winner with an entry in the Hall?

Hank Williams Dr. Martin Luther King Jr. The country legend has five entries in the Hall, including “Jambalaya (On The Bayou)” and “Your Cheatin’ Heart.” Williams was just 29 when he died on New Year’s Day 1953. Runners-up: Johnny Cash and Willie Nelson, with four each. 15. W hat was the first Broadway cast album to be inducted?

The civil rights leader is represented by I Have A Dream, a recording of his landmark speech at the 1963 March on Washington. 18. W ho is the only news broadcaster with an entry in the Hall? Edward R. Murrow

“Oklahoma!” The album from Rodgers & Hammerstein’s groundbreaking 1943 musical was inducted in 1976. 16. W hat was the first rap recording to be inducted?

The legendary newsman is represented by I Can Hear It Now, Vols. 1–3. The albums were initially released from 1948–1950. 19. A t what concert venue have a record five live albums inducted into the Hall been recorded?

“The Message” Carnegie Hall The 1982 classic by Grandmaster Flash & The Furious Five Featuring Melle Mel & Duke Bootee was inducted in 2012.

The albums are Benny Goodman’s Carnegie Hall Jazz Concert (1950), the Weavers’

Hank Williams Blank Archives/Getty Images

The Weavers At Carnegie Hall (1957), Harry Belafonte’s Belafonte At Carnegie Hall (1959), Judy Garland’s Judy At Carnegie Hall (1961), and Vladimir Horowitz’s Horowitz At Carnegie Hall — An Historic Return (1965). 20. W hat year spawned the most Hall Of Fame recordings? 1965 The Hall includes 45 recordings that were first released in 1965. Among them: Bob Dylan’s Highway 61 Revisited, the Temptations’ “My Girl,” the Rolling Stones’ “(I Can’t Get No) Satisfaction,” Bob Marley & The Wailers’ “One Love,” and Vince Guaraldi Trio’s A Charlie Brown Christmas. Paul Grein, a veteran music journalist, writes the Chart Watch blog for Yahoo Music.

Dr. Martin Luther King Jr. Michael Ochs Archives/Getty Images

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icapeace.org

Music’s GrowinG

Food Chain Several artiStS are SucceSSfully doubling their buSineSS pleaSure in muSic and the reStaurant induStry By ChuCk Crisafulli

usic may be a treat for the ears, but it can’t really do much for a grumbling stomach. And while some professional musicians are content doing a fine job of feeding a listener’s soul, there are those who are making a double career out of satisfying the aural and oral appetites of their fans with music and restaurants.

The interior of Emily Saliers’ Watershed

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“I absolutely got into the restaurant business for all the wrong reasons,” laughs Sammy Hagar. “I was a completely self-indulgent rock star …”

shutter style Photography

Gene Simmons with Rock & Brews partners Michael Zislis (left) and Dave Furano (right)

A musician owning a restaurant is not a new idea — singing cowboy Roy Rogers first lent his name to the onceubiquitous fast-food franchise back in 1968. And through the ’60s and ’70s, GRAMMY-winning trumpet player Al Hirt owned several French Quarter nightclubs and restaurants, including Cafe Sainte Cecile, where patrons could enjoy jazz, Jumbo’s Gumbo and grown-up crushed-ice treats known as Les Booze Balls. But as brand expansion has become an increasingly important part of any entertainer’s career, and as the culture has shifted toward a “Top Chef”-watching foodie nation, the jump from music to food has become particularly tempting, with the rewards sometimes proving phenomenal. Jimmy Buffett opened his first Margaritaville outlet in Key West, Fla., in 1985 and now oversees an international empire of restaurants, cafes, hotels, and casinos. On the other hand, the restaurant business can also be as perilous as show biz. Kenny Rogers’ rotisserie chicken-serving Roasters chain enjoyed tremendous success for several years in the ’90s, but ended up filing for bankruptcy. (Though in restau-

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rant lives, as in rock and roll lives, there can be second acts: Kenny Rogers Roasters is still big in Asia.) These days, the crossroads of music and food bring together a striking mix of styles and cuisines. Memphisborn Justin Timberlake serves up big-city barbeque with his pair of Southern Hospitality BBQ restaurants in New York. Toby Keith offers sizzling steak and cold beer at his I Love This Bar & Grill locations. Jon Bon Jovi encourages organic entrées and community spirit at his pay-what-youcan Soul Kitchen in New Jersey. And Gladys Knight makes it tough on dieters with her Gladys And Ron’s Chicken & Waffles, a chain she developed with the late Ron Winans. While Buffett may be the platinum standard for musicians turned restaurateurs, Sammy Hagar has certainly hit gold. The former Van Halen frontman opened his first margarita-fueled Cabo Wabo Cantina in Cabo San Lucas, Mexico, in 1990. He has since expanded with a Caribbean-themed Sammy’s Rockin’ Island Bar & Grill outside Sacramento, Calif., and, with top chef Tyler Florence as a partner, the high-end El Paseo Chop House in

nick Tillinghast Photography

“I made it clear that if anyone suggested Alice’s Restaurant as a name, I’d kill them.”

Alice Cooper at Alice Cooper’stown

Mill Valley, Calif. Hagar also runs a chain of airport-based, family-friendly Sammy’s Beach Bar & Grill restaurants and donates his portion of the profits to charity. Despite his current success, the Red Rocker says he was not immune to early mistakes. “I absolutely got into the restaurant business for all the wrong reasons,” laughs Hagar. “I was a completely selfindulgent rock star who wanted my own place so I could invite friends to hang out, eat, drink, and play music. And

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for the first few years, the place was a disaster. I was so busy recording and touring that I didn’t really have time to put any serious effort into it. Once I got some great partners who knew the business, we completely turned it around. “That’s the secret that folks like Jimmy Buffett and I have learned, sometimes slowly — if you’re going to put your name on it, do the work. The original Cabo Wabo is 22 years old, and it’s turned out to be the most successful business venture I’ve ever done by far. Hell, it’s lasted longer than most rock and roll careers.” In 1998 shock rocker Alice Cooper saw a great investment opportunity in a restaurant that could serve the budding sports and entertainment hub of downtown Phoenix, but he had a couple non-negotiable demands before getting involved. “I made it clear that if anyone suggested Alice’s Restaurant as a name, I’d kill them,” says Cooper. “We ended up with [Alice] Cooper’stown, which is perfect for a mix of jocks and rock. I also made it clear that there weren’t going to be any wet T-shirt contests in a place with my name on it, and that we wouldn’t just serve deep-fried everything. As it turns out, my place is considered one of the coolest places for kids to have their birthday parties, and we’ve become known for really great comfort food — from perfect ribs to the tuna-noodle casserole that my own mother taught the staff to make.” The failure rate in the restaurant business is notoriously high, and even when one location is a hard-won success, there’s no guarantee that a franchise is in the making. The mix of homey food, sports and rock and roll memorabilia, and a wait staff wearing black Cooper-esque eye makeup, has been an unqualified hit in Phoenix, but attempts to open two other Alice Cooper’stown locations in Denver and Cleveland didn’t pan out. “That’s not such a bad thing,” says Cooper, “because I’ve realized I’d rather have one mother ship that I have total control over than 50 places using my name that I have very little control over. I really do enjoy having one quality place that I’m truly comfortable in. You see me at Cooper’stown all the time. I’ll taste your dessert and take a picture with you.” Some musicians increase the odds of successful restaurant ventures by buying into a proven franchise. That’s the approach taken by rapper Rick Ross aka Teflon Don. Ross has opened multiple branches of the chicken restaurant Wingstop in Memphis and Miami, and he has a development deal with the company to

“You better enjoy eating what you’re asking other people to pay for.” open several other locations. “It wasn’t strictly a business decision,” says Ross. “I really enjoyed the food there, and I started liking their lemon pepper bone-in wings so much that I wanted to own my own place. We looked into it and it made sense — the process to become a Wingstop owner is very straightforward, and the company was very supportive. It’s been a great venture, and a food business can be very profitable when it’s managed correctly. But my advice to any musicians thinking about getting into this is that you better enjoy eating what you’re asking other people to pay for.” Kiss’ Gene Simmons particularly enjoys eating the chocolate-filled beignets on the menu at his Rock & Brews, a music-themed, memorabilia-packed restaurant designed to replicate the feel of a communal rock festival, with a menu featuring high-quality comfort food and a remarkably extensive list of craft beers. In 2012 Simmons opened the debut location in El Segundo, Calif., and international franchising plans are in the works. Simmons says the thrill of running a packed restaurant isn’t quite the same as the thrill of playing to a sold-out arena, but he finds a common goal in both endeavors. “As a performer in concert, you’re not just playing a bunch of songs. You’re putting on a show,” says Simmons. “In the same way, going to a restaurant isn’t just about swallowing food — you can do that at home. Being at a restaurant, like being at a great concert, should be about having a memorable social experience.” That experience doesn’t have to be tied directly to the musical pedigree of the owner. Emily Saliers of the Indigo Girls opened her Watershed restaurant in Decatur, Ga., 15 years ago, but had no desire to cover its walls with gold records and guitars. Instead, the self-described foodie created a place with a refined atmosphere that celebrates Southern traditions and local ingredients. “We were early advocates of the farm-to-table philosophy, which I’m very proud of because that’s become an important movement in the restaurant world,” says Saliers, who last year relocated Watershed to a bigger space in Atlanta. “I love the idea of knowing the cultural identity of a nLPG images

Rick Ross at his Wingstop location in Miami

Jeff Kravitz/FilmMagic

Gladys Knight

stefan Agregado

“Running a restaurant is a little like being onstage in that you’re stepping into this crazy environment and you have to put everything else out of your mind and just focus through the chaos.”

Chris Reece at Pike Restaurant & Bar

place through its food. You have to work a little harder now to get that authentic, local quality in food or in music. But they both bring people together the same way — you get together and share something and forget about the outside world and take pleasure in what you’re experiencing. There’s just a little less screaming in the restaurant than there is at our shows.” Restaurant ownership can also be a satisfying, hardearned coda to a music career. Chris Reece served as the drummer with Social Distortion during the band’s breakthrough years in the early ’90s. Today, Reece owns Pike Restaurant & Bar in Long Beach, Calif., where the jukebox tends to blast Motörhead and the menu offers burgers, fish tacos and Reece’s own secret-recipe hot wings. “It’s one of those dumb guy fantasies,” jokes Reece. “You’re sitting in a bar or restaurant having a good time and you think, ‘This looks easy — I should have my own place.’ Running a restaurant is a little like being onstage in

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that you’re stepping into this crazy environment and you have to put everything else out of your mind and just focus through the chaos.” Pike’s decor is more nautical than musical, but Reece says he’s proud of his punk rock past and still seeks to live up to expectations, whether a customer is a fan of his backbeat or his Bloody Marys. “If you’re going to stand behind something, you have to make sure you’re representing yourself properly,” says Reece. “You don’t want to do a disservice to yourself or your fans. And if people are coming to you because of your rock and roll reputation, the last thing you want to do is disappoint them.” Chuck Crisafulli is an L.A.-based journalist and author whose most recent works include Go To Hell: A Heated History Of The Underworld, Me And A Guy Named Elvis and Elvis: My Best Man.

Whether a novice or veteran of the glitz and glamour of the GRAMMY red carpet, every artist has a story to tell about how they prepared to walk music’s biggest runway. For some, it was taking a risk and stretching the boundaries of fashion to reveal their inner rebel; for others, it all came together with a little help from their friends and family. But whether it took them 12 months or 12 days to strike just the right chord, fashionably speaking, the statements artists have made on the GRAMMY red carpet have shaped more than just their respective images, they’ve shaped GRAMMY history. In January The Recording Academy debuted Behind The Beauty, a documentary that examines the creation of pop culture and fashion inspirations.

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From archived video and photos to present-day interviews with GRAMMYnominated artists and members of The Academy’s official GRAMMY Glam Squad, the film reveals artists’ first steps on the red carpet, their most celebrated fashion moments and all of the transformations in between. Veteran beauty journalist Tai Beauchamp has been on the frontlines of many of these “wow” moments and transformations. As a member of the GRAMMY Glam Squad, Beauchamp has seen firsthand the painstaking preparations artists endure to stake a claim on the GRAMMY red carpet, and she’s witnessed many of the eye-catching moments that happen each year as a result of those preparations. Ahead of this year’s 55th Annual GRAMMY Awards, Beauchamp takes us behind the beauty — and into music’s hottest spotlight — with country superstars the Band Perry, style and pop icon Fergie and emerging rapper Wiz Khalifa.

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AllInTheFamily The Band Perry keeP music and fashion among kin

If what we often see portrayed on television or in film is true, any time a group of siblings gets together, havoc ensues. But the Band Perry have found common ground in two related areas: music and fashion. The Alabama-based GRAMMY-nominated trio are equal parts humble and handsome, each with ad-worthy hair. Comprised of siblings Kimberly Perry (lead vocals, guitar, piano), Reid Perry (bass) and Neil Perry (drums, mandolin, accordion), the band’s image is as sharp as their contemporary country sound. Since their official formation in 2005, the Perrys have dressed for a slew of occasions, from album cover shoots and interviews to busy days in the high-fashion hub of New York. But last February brought the trio to an entirely different fashion platform: their red-carpet and stage debuts at the 54th Annual GRAMMY Awards. “It was a bit surreal just because I can remember watching the GRAMMYs,” says Kimberly Perry, who recalls calling her vocal coach, Jan Smith, after seeing a tribute performance to the late Ray Charles by Jamie Foxx and Alicia Keys on the 47th Annual GRAMMY Awards in 2005. The voicemail she left was a prophetic plea: “‘Jan, you gotta help us figure out how to get [there].’” “We just wanted to go to the show,” Kimberly explains. “And [there we were seven] years later on the carpet.” How do three young country stars prepare for their big GRAMMY debut? Deciding what to wear was no difficult task for Neil and Reid Perry, who admit fashion has always been part of what they do. “Growing up, whenever Reid and I would go to one of our friend’s birthday parties, Mom would always dress [us] up much more than the other boys,” Neil says. “The other boys would be in these cut-off shorts with these graphic T-shirts, and there Reid and I would be in [ties].” “We graduated elementary school in bow ties,” Reid adds. In terms of style, Kimberly was a late bloomer, and as a child preferred basketball and cross-country uniforms to the tulle, lace and ruffles she gushes over today. “I think that the boys [were] quite faster than me, even with their hairstyles,” she says. But today, fashion plays a significant role in the group’s image. “Fashion is the visual extension of our art,” she says. “Stylistically, [we’re] a blend between rock and roll and country.” While she appreciates quality design, Kimberly is most concerned with achieving “a look.” “I’m all about the fabric,” she says. “And the fabric can be from a thrift

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The Band Perry aT The 54Th annual GraMMy awards in 2012 Jason MerriTT/GeTTy iMaGes

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store or Target or Madison Avenue, as long as [it] feels substantial. I love lace but I also have to put boots with things, you know?” The trio’s mother, Marie Perry, is the style maven who today serves as the band’s official stylist — a decade on the other side of prep school outfits and bowl haircuts for Neil and Reid, and tomboy days for the converted girly girl Kimberly. “[Mom] knows us better than anyone because we grew up [in front of her],” Reid adds. “I like to kind of [have] a very British fit to my clothes. But I like the kind of gritty Southwestern look. She gets that and it’s nice having her around because she can shop for us.” Marie orchestrated the band’s red-carpet look for the 54th GRAMMYs. After selecting close to 15 options from look books and orchestrating pickups, she oversaw a fitting with the group two days before their grand entrance and performance. While the trio remained color-coordinated on the red carpet, opting for a country edge in the case of Neil and Reid, and country glamour for Kimberly, their play with texture and fabrics created a fade-to-black optical illusion. Kimberly chose a tulle and sequin, empire-waist floorlength gown by Moschino for a goth-inspired princess look. Keeping her makeup fresh but radiant and her hair gently tousled, Kimberly gleamed. Like knights in shining armor, the brothers stood by their sister’s side, adding a hint of shimmer and air of their own. To break the monotony of black, Neil donned a white Peter Pan-collared shirt, Hugo Boss jacket and dark-rinse denim by James Jeans. Not to be outdone, Reid served a retro look that called to mind another family superstar from decades past, Donny Osmond. The bootcut pants, also by James Jeans, and slightly loosefitting jacket with white piping by Moschino atop an almost-missed plaid button-down had all the girls swooning over “Reid Suave.” The trio collectively decided the night before on both their all-black ensembles for the red carpet and the less-dressed-up earth-toned ensembles they wore for their performance with Glen Campbell and Blake Shelton. While Marie worked on dressing, makeup/hair stylist Neil Robison moved between two rooms to powder, dab, fill in, curl, and spritz each member’s face and hair. Robison, who has traveled with the group for three years, starts with Kimberly’s makeup and tresses, moves on to Neil for both hair and makeup and finishes with Reid, who only requires makeup as he prefers to style his own choppy-trimmed locks. “It’s like our superpower,” Kimberly says of the band’s hair. “And the bigger the better,” Neil adds. It’s safe to assume we’ll see a lot of the Band Perry on forthcoming GRAMMY red carpets … with their hair teased to perfection.

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Walking HerWay fergie’s rock and roll red-carPeT sTruT

Whether she is onstage, sketching designs for her eponymous shoe brand, testing hues for her Wet ‘n Wild cosmetics line, or showcasing well-shellacked pointers as she poses on the red carpet, when it comes to Fergie, one should expect a lot of rock and quite a bit of roll. Equal parts glam goddess, style-biz titan and pop star superhero, Fergie brought one of her most impressive looks to the 54th GRAMMY Awards red carpet last February. Her red-carpet choices have continued to bring the heat after several years of practice, with her chosen looks vacillating between rock star and old-school pinup model, depending on the persona she’s feeling most. For her red-carpet walk in February 2012, Fergie’s preparations involved much more than just finding an attention-grabbing dress, even though preparations usually revolve around the most important item. “It always starts with the dress and trying on the dress or suit,” Fergie says. “When I put the dress on [during the fitting] and it fits really well and the color speaks to me, then I know.” For last year’s 54th GRAMMYs, Fergie worked with stylist Renelou Padora, who has worked with other artists such as Kanye West. Padora proved to be perfect for the job because she was clear about Fergie’s vision. “She knew my style and she brought me options,” Fergie says. “For me, it’s about what I am feeling at [a] moment in my life. [For the 54th GRAMMYs,] I thought, ‘Hey, I’m not performing. It’s not so serious. I just want to have fun.’” For the Black Eyed Peas member, the fittings started about two weeks before the fun. Fergie notes that it’s really important to have “good people around” when choosing her attire. “We put on some music and I try on the dresses, not like

ferGie wiTh her MoTher, Theresa ann ferGuson

[at] a rushed pace,” she says. When she’s trying on dresses, Fergie pays particular attention to how the material feels, how it goes on and how it fits. Last year, Fergie chose a fiery-orange Jean Paul Gaultier lace dress that embraced her curves and was equal parts revealing, sexy and playful. Fergie knew this was “the dress” as soon as she tried it on, but her mother, Theresa Ann Ferguson, wasn’t so sure. “There was a pre-red-carpet disagreement with my mom … about my dress,” Fergie says. “She didn’t want me to wear the dress. There was a calmer, more classic, old-school glamour choice she wanted me to go with. I kind of went back to my rebellious teenage role and went, ‘No, it’s the GRAMMYs. It’s musicians, this is the awards show [where we are meant to] have fun.’ I said, ‘Mom, I feel great in this dress!’” “It was kind of a little rock and roll moment,” she continues. “I got there and Rihanna gave me a huge compliment, right in front of my mom before I [walked] the red carpet. She [said], ‘I love that dress!’ And my mom goes, ‘I’m wrong. OK. Rihanna loves your dress and I guess I don’t know the style these days’.” Representing equal parts sophistication, high fashion and rock star individuality, Fergie’s red-carpet statement was arguably one of the most talked-about appearances that night. Her look exuded confidence with bold assertion, which may be why fellow style envelope pusher Rihanna took notice. Few women would dare wear a flaming-orange dress. Fewer still would wear a seethrough floral lace dress. Shown on the spring 2012 runway with black thigh-high briefs and a push-up bra, Fergie’s Jean Paul Gaultier couture look at the 54th GRAMMYs was, as she put it, a thread more demure since she opted for a brief to cover her bottom in full. The sexy floor-length, mermaid-silhouetted gown with superhero shoulders fit Fergie to a curve. Fergie showed music and fashion aficionados alike that, on some, a little skin goes a long way.

Jason MerriTT/GeTTy iMaGes dan MacMedan/wireiMaGe.coM

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The Many Looks Of

Fergie

fergie is a pro at taking her look from sexy to superhero to glamorous, and everything in between

aT The 46Th annual GraMMy awards in los anGeles in 2004 kevin winTer/GeTTy iMaGes

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the Style Wizard Wiz khalifa comBines modern “sleaze” and vinTage chic

A statement maker with a penchant for fashioning looks that He’s also adamant that “sagging pants are a wrap.” Accordare slightly off-kilter, rapper Wiz Khalifa uses the term “sleazy” to ing to Khalifa, “Pants are meant to be worn on your waist,” with describe his style aesthetic. a nice belt. Both preferences seem to take an obvious cue “Like, it’s really, really sleazy,” he says. from Khalifa’s upbringing as a child of a military father. But But “sleaze” (think of deliberate carelessness he maintains that his choice of fitted trousers really seasoned with a dash of playful contradiction) comes down to maturity. can take one’s style quotient up a notch or two, “I’m older,” he says. “And I realize that people treat especially when it’s done right. With fashion you totally different when you are not sagging.” industry examples such as catwalk icon and Even though Khalifa appreciates a killer shoe, muse Kate Moss and design genius Rick such as the patent leather-studded Christian Owens (who Khalifa acknowledges as one Louboutin Mikaraja loafers he wore on the of his preferred dressers) as examples, 54th GRAMMY red carpet, “sneakers are his “sleaze” reference is spot-on. And definitely a culture. They’re not just shoes Khalifa is a master at pulling it off. … and I’m still definitely a sneak-head.” According to Khalifa, dressing right For Khalifa, the GRAMMYs are a doesn’t start with fabric, color, tailorwhole different ballpark. ing, or even a stylist. Those factors “The GRAMMY style is about class,” come into play later. For Khalifa, born he says. “And you set your own bar for Cameron Jibril Thomaz, true style class. … You just take it wherever you starts with inspiration, whether on want and naturally you’ll know [if and the red carpet with his equally bold how it works].” style provocateur Amber Rose, With fiancé Amber Rose by his cruising the streets of his homeside, Khalifa was all class at the 54th town Pittsburgh or lighting up a GRAMMYs. With Rose dressed to performance stage. the nines in a yellow Versace dress “[My style] just goes off what I’m paired with Christian Louboutin inspired [by],” he says. “I’m really shoes, Khalifa bared his tattooed inspired by ’60s and ’70s [style]. My skin in a black-and-white Dolce & musical selections are a lot of soul Gabbana tuxedo jacket with conand early rock. I think everybody trasting black satin lapels, a low-cut knows that I love Jimi Hendrix. [And] white T-shirt, leather pants, and the I listen to a lot of just straight ratchet aforementioned loafers, proving a hip-hop. I just mix everything.” rap star can bring crazy, sexy, cool, Aside from his threads, Khalifa and sleaze together while wearing an has also been making fashion stateeclectic mix of fashion’s most lauded ments from head to toe, literally. designers. As if to ensure his “Black “I started dying my hair when And Yellow” anthem didn’t go amiss, I was younger, so I guess the kid in he let two in-your-face gold chains with me just came out,” he says on dying diamond charms hang freely from his his hair blond. Acknowledging that colneck while his number one accessory, orful tresses are memorable and stand Rose, shined bright. out, especially on a man, Khalifa notes Perhaps the rapper will one day fashion the next time he takes a bottle to his locks, his own line to be worn by the masses. But “people will see it.” for now, there are a few things certain for When it comes to Khalifa’s own sight, he Khalifa. Style will never simply be blackalternates between freakishly colored contacts and-white, expected or forced. It will be such as gold, and preppy boy-style tortoise inspired, oozing with attitude, richly texframes. “I don’t prefer one over the other,” he says. tured and magically concocted. “Honestly, when I wake up, if I feel like wearing “I’m just free with it,” he says. “[Fashglasses, I wear them, or vice versa.” ion is] just doing what you want to do. When it comes to trousers, Khalifa requires a … That’s what fashion really is and special touch. Even usually rugged “camos” (camthat’s what style really is … how you ouflage) deserve extra attention, and Khalifa tailors wear it [and] the attitude behind it. them himself, usually ripping them into shorts. … In turn, I think that comes off as “Sometimes, if you want ripped jeans, you don’t really, really freakishly crazy, but I’m [have] to buy ripped jeans, you’re supposed to just cool with that.” wiz khalifa and aMBer rose rip your jeans,” he says. dan MacMedan/wireiMaGe.coM

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The Many Looks Of

Wiz Khalifa and Amber Rose Wiz khalifa doesn’t hit the spotlight without his partner in love and fashion, amber rose

in los anGeles in 2012

in las veGas in 2012 GreGG deGuire/wireiMaGe.coM

kevin Mazur/wireiMaGe.coM

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durinG GraMMy week in los anGeles in 2012 Jerod harris/wireiMaGe.coM

Veteran beauty journalist Tai Beauchamp is the style ambassador for InStyle. She appears regularly as an on-air style expert on TV, including the Style Network, E!, “Good Day New York,” and “The Wendy Williams Show.” She has served as an editor at publications such as O, The Oprah Magazine and Seventeen. She is also a recurring host for The Recording Academy’s GRAMMY Live and a member of the GRAMMY Glam Squad.

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Fashion Forward

Musicians are rolling up their own sleeves with boutique fashion lines for the ultra-hip, rockin’ clothes for toddlers and even threads for pets By TAMMy LA GORce

If there’s a link between above-average fashion IQs and making it big in the music business, no one has found the gene for it. But given the volume of musicians who have launched their own clothing lines, it may be a subject ripe for research. Star-driven fashion brands that have taken flight are as varied as the artists behind them: Gwen Stefani has earned plenty of Vogue spreads with the ultra-hip L.A.M.B. as well as her kids’ line, Harajuku Mini. Mötley Crüe’s Nikki Sixx has developed threads for the rock-inclined with Royal Underground. Liam Gallagher designs classic-style British attire with his Pretty Green clothing label. Justin Timberlake’s William Rast line offers a mixture of cool and comfort. And artists such as Kanye West, Lil Wayne and Carlos Santana are dabbling in signature shoe lines. Jennifer Hudson is among the most recent to add “designer” to a growing list of music accomplishments. The GRAMMY winner launched the Jennifer Hudson Collection in conjunction with QVC in September 2012. “I love fashion, and I see it as a natural part of being a performer. [Whether] you’re onstage or walking a red carpet, you have to look good,” says Hudson. Her designs are heavy on easy-to-wear leggings-based outfits — “I love leggings,” she adds — and meant to flatter women from size 6 to 16, “because I’ve been on both sides of that equation.” One of music’s most seasoned executives, Russell Simmons has become an expert in crisscrossing a career in music with one in fashion as the face behind a mass-market clothing brand. “It requires brilliance, dedication and resilience,” says the Def Jam Recordings co-founder. Of course, Simmons is not only referring to his own fashion empire, which launched in 1992 with the urban-slanting Phat Farm and now includes Argyleculture, a preppy line, as well as Tantris, yoga wear distinctive because it’s “an honest expression of yoga.” “Look at Sean Jean,” says Simmons. “Puffy had to stay focused to make that successful. He was a fashion person. He was invested spiritually.” According to Simmons, finding a solid fashion partner and establishing one’s target audience are important factors to consider prior to launching a clothing line. “[For Argyleculture] I’m working with Joseph Abboud, [who] is a great

match for us,” says Simmons. “He’s not only a great designer, he understands the fabrications and quality I was after. I’m designing for urban graduates. People like me, who grew up inspired by hip-hop. It’s a community that’s underserved.” Argyleculture, which is sold in department stores such as Macy’s and Dillard’s, “is for people who speak my language,” he adds. BreT Other artists are successfully designing threads Michaels for those who don’t speak their language — or any PeTs rock decipherable language for that matter. Bon Jovi TaTToo drummer Tico Torres makes clothes for babies. hoodie And Poison frontman Bret Michaels designs wearables for cats and dogs. “I had a lot of friends who were having babies, and I was buying gifts [but] I found there was a very limited amount of cool stuff you could buy,” explains GRAMMY winner Torres, who designs his Rock Star Baby collection with partner Louisa House. Torres says the line, which only recently launched in the United States after a successful 10-year run in Europe, includes tiny garments in black and gray “that have style. Like I’ll have a skull and crossbones on something, but not a mean one. I like making stuff that’s not that far removed from what you’d put your baby in every day, but has an edge.” Michaels lives in Arizona on a ranch populated by “dogs, cats, horses, and even rats,” thus his inclinations as a designer leaned toward dressing animals rather than people. Bret Michaels Pets Rock, his line of rock-inspired doo-rags, shirts and hoodies, and other accessories and toys for cats and dogs, debuted exclusively at PetSmart in summer 2012. He felt the call to promulgate the style fans have come to associate with him, and with the image-conscious rock of Poison. “We wanted a really fun way for people to give their pets a personality,” says Michaels. While personality is a key component to the success of any musician’s fashion endeavor, Simmons says credibility is crucial. “If you’re going to do it right, it has to be an honest investment in fashion. It can’t just be a loan on your image.”

Tammy La Gorce is a freelance writer whose work appears regularly in The New York Times, and on All Music Guide and Amazon.com.

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Whether itâ&#x20AC;&#x2122;s for business or pleasure, a select group of audio extremists are pulling out all the stops to create the ultimate environments for music

After more than a decade of a music revolution that has emphasized factors of cool and convenience, notably in the form of compressed music files, earbuds and tiny portable devices, another revolution in music seems well underway. This trend centers on cool and sonic quality, evidenced by the resurgence of 180-gram vinyl LPs, computerstabilized turntables, quality over-the-ear headphones, and the proliferation of subwoofers for compact desktop listening systems, among other pieces of hi-fi gear.

By Dan Daley

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Marsha VdoVin

For a select group of music lovers, their passion for pure sonic bliss has led to the creation of ultimate listening spaces, where immersion is the goal and the ability to pick out sonic textures and individual moments of music is a luxury worth the price. Jim Long developed a passion for music and technology at an early age. At 13, he built his first vacuum tube radio transmitter and proceeded to launch his own radio station in the basement of his parents’ house. Long would later earn his renown as an innovative entrepreneur in the broadcast and entertainment industries, founding music production library FirstCom in 1980. Today, he serves as chair of Internet-based music placement service Crucial Music and the Elias Arts Music Library, and as CEO of Telos Holdings, a company that owns Point Classics, an imprint offering an extensive catalog of “high-quality” classical music. When he purchased his Malibu, Calif., home, Long decided to construct a media room that would not only serve as a family home theater, but as a critical listening environment for music. “I can’t listen on earbuds. I never could,” says Long. “You mix and remix so much on near-field speakers that you never really know exactly what you have. You need someplace [where] you can step back from being in the music business and just be in the music.” Long’s media room is outfitted with a high-end system capable of 5.1 playback and a 7.1 surround system for theatrical

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The mastering studio used by Paul Stubblebine and Michael Romanowski

applications, designed by Carl Tatz of Nashville-based Carl Tatz Design. Tatz had the open side of the room walled up, conforming it to the symmetry of the rest of the room, designed a cloudlike acoustical membrane suspended above the listening area, and added a rear wall made of shelves that act as diffusers and house some of Long’s favorite pieces of gear, such as a Bryston 3B SST power amplifier. When it’s time to get into music for music’s sake, Long might put on Damn Right, I’ve Got The Blues, Buddy Guy’s 1991 recording that won a GRAMMY for Best Contemporary Blues Album. “I love every track on the album,” says Long. “When I listen to it on my system, I am witness to one of the greatest bluesmen to ever walk the planet, finally making the record he deserved [to make] — in my house.” The mastering studio is a unique way station in the music production chain. After spending months or sometimes years in the recording process, the music stops at one of the relative handful of these sonic finishing schools where a veteran pair of ears applies an elegant aural varnish that will, hopefully, see the music through various formats. The mastering studio used by Paul Stubblebine and Michael Romanowski stands apart even among this rarefied

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cohort. Their comfortable but spare space in San Francisco, created by acoustic visionary Bob Hodas, understates its audio firepower. Cost might offer the only reliable objective measure of the room: By the time the signal has passed through the powerful VTL Siegfried Reference Monoblock Amplifiers to the imposing Focal Grande Utopia EM loudspeakers via Siltech Emperor Crown cables, it has accumulated electronic real estate in the neighborhood of $275,000. Other gear, including custom E.A.R. electronics designed by Tim de Paravicini, a Manley Backbone mastering insert switcher, a Grace Design m904 monitor system, and highly modified Meyer Sound parametric filter sets, add another $200,000. A pair of ficus trees between the stately monitors reminds you that the ears the music is intended for are most definitely organic. Stubblebine and Romanowski are also co-owners of the Tape Project, a label that delves even deeper into the DNA of recorded music, specializing in remastering classics from GRAMMY winners such as Sonny Rollins (Saxophone Colossus, 1956) and the Band (Stage Fright, 1970), among others, onto the same audio medium on which they were originally created: analog tape. The Tape Project works solely from licensed original master tapes, producing limited runs of a maximum of 300 per title on quarter-inch and half-inch tape with the titles’ serial and catalogue numbers engraved in their flanges. In rare instances they have also had access to

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AIX Studios, operated by Mark Waldrep

the original machine on which the performance was recorded, such as the three-head Ampex tape deck used for GRAMMY winner Keith O. Johnson’s recording of the London Symphony Orchestra’s Arnold Overture. “It’s as though you can watch the artist creating what it is you’re listening to at that moment in your mind,” says Romanowski. Referring to the evolution of music production, he adds, “Music has become more physically accessible than ever before in history, yet at the same time it’s become less emotionally accessible than ever. When you can peel back the gloss of production and marketing that has built up around records over the years, [and] when you can go back to the original medium like this, it’s truly transformative.” Part high-tech Don Quixote, part mad scientist, Mark Waldrep has tilted at the chimerical windmill that is multichannel music for decades. While the Best Surround Sound Album GRAMMY category was instituted in 2004, the format remains a niche. Nonetheless, Waldrep has been pushing sonic boundaries since the ’90s, as well as constantly redefining what highdefinition music is, and can be. His AIX Records label, which is based out of his West Los Angeles studio, records using the 96kHz/24-bit format as a baseline, without any equalization, dynamics processing or digitally created room ambience.

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On AIX label performances recorded by GRAMMY winners and nominees such as Paul Williams, John McEuen and Willie Nelson, there are not even overdubs. Most recently, Waldrep, who actually is a scientist — he’s a professor at California State University, Dominguez Hills and holds a doctorate in music from UCLA — has taken the idea of 5.1 music even further by applying a sonic virtual modeling technology developed by Smyth Research that measures the Head-Related Transfer Function — a statistical representation of how the human ear perceives sound — to deliver his surround mixes using standard headphones. Waldrep uses a device called the “Realiser” to capture the characteristics of his mixing room as experienced through his own outer ear and then processes AIX’s music files with that personalized algorithmic signature. Given the growing use of headphones, his goal is to bring the immersion of surround music as heard in a home theater or studio to a younger, headphone-friendly, mobile-minded audience. It might sound like he’s making music for a scientifically inclined 1 percent, but Waldrep notes that he’s been adapting the technology for wider use and says the expanding popularity of over-the-ear headphones versus earbuds offers a platform for wider commercialization of personalized high-definition multichannel music recordings that virtually transport the listener to the site of the recording. (continued on page 158)

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Audio Research PH7 phono preamplifier PhotograPhy by galloP studios © audio research corPoration

Bryston 3B SST power amplifier

What do these bass players have in common? (Aside from an impressive collection of little gold gramophones)

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“When you can use technology to ‘bring’ an artist to your space for a private performance, that’s the ultimate experience in listening,” says Waldrep. Looking over the B&W Matrix Series 3 speakers and Bryston amplifiers that make up his listening domain, he adds, “Imagine taking all this and putting it into a download? It can be done.” Another kind of convergence of sonic alchemy comes together for Stephen Hays in a listening room/home theater in a self-described “bunker” in the basement of his Westchester, n.Y., residence. Hays’ company, 120dB Films, specializes in senior secured loans to the independent film industry. A former hedge fund executive, Hays founded his finance company in 2004 as a “less bureaucratic and friendlier” solution for film finance. The company has finalized production loans for more than 70 films such as The experiment starring Forest Whitaker and Bachelorette starring Kirsten Dunst, among others. What his listening room creates is a kind of fortress that allows him to crank his system — which is designed by a nASA-like team of specialists, including California Audio Technology, SH Acoustics and Audio Command Systems — to the namesake volume level of his company. “It’s definitely over the top,” says Hays, who adds that great music can take that kind of treatment when the system playing it is built correctly. From Kurt Masur’s recordings of Beethoven’s second and fifth symphonies on SACD to Pink Floyd’s The Wall on 180-gram vinyl disc, it’s all channeled through a technical Taj Mahal that includes a custom CAT MBX speaker

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Stephen Hays’ listening room/home theater

system comprised of 11 12-inch subwoofers and two 22-inch subwoofers — with all but two imposing speaker towers on either side of the 137-inch film screen built into the wall — and a 7-foot-tall equipment rack filled with CAT Monaco and ATI amplifiers. The music is drawn from either ends of this audiophile spectrum: a VPI TnT HR-X turntable with a Lyra Titan cartridge on the one hand or the ReQuest Multimedia Fusion Pro 400 music server, which holds thousands of FLAC lossless music files, on the other. It’s then warmed through two of Hays’ favorite pieces of gear, an Audio Research PH7 phono preamplifier and a Balanced Audio Technology VK31Se stereo tube preamplifier. It’s a 1 percent-type music experience, to be sure. But it’s also a reminder that music is the most democratic of art forms, and Hays’ collection of music — spanning thousands of CDs, vinyl records and digital files — is part of a larger universe. “I’m still searching for the perfect waveform,” he says. “But in the end, it’s about the emotion and drama in the music. It can be Beethoven recorded in the best concert hall in the world or reggae made in a little studio in Kingston, Jamaica. The magic is in the performance.” Dan Daley is a freelance journalist covering the entertainment business industry. He lives in New York and Nashville.

Black Widow Music, LLC congratulates all the 55th GRAMMY Award 速 Nominees.

The

Social Event Of ThE YEAR

The GRAMMY Awards set a record for social TV engagement last year. What’s next for the intersection of music and social media? B y N a ta N E d E l s B u r g

ess than three decades ago, cassette tapes were the height of mobile music, allowing us to play our music of choice in our cars or on our

Walkman players. For a time, cassettes outsold LPs. In the ’90s, CDs upped the ante for the mobile music market as a more reliable portable format. Both cassettes and CDs ushered in greater peak recorded music sales as music was more widely available for consumption outside the home.

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Don ArnolD/WireimAge.com

“Social media isn’t something I only do for fun, it’s an integral part of my life and the way I connect with the world as an artist, entertainer and mother.”

Psy’s omnipresent “Gangnam Style” became YouTube’s most-viewed video of all time within six months of its release

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But digital music made these tidal market shifts look like mere ripples in a pond. It’s now difficult in some areas to even find a music retailer, yet we are listening to and sharing more music today than ever before. The accessibility of platforms such as YouTube, Twitter and Facebook are becoming the primary forces driving digital music sales and brand awareness for musicians, bands and labels. Spotify, Pandora, SoundCloud, Last.fm, iTunes, and Shazam are changing the way we discover music and share our favorite albums, tracks and playlists across social media. According to Next Big Sound, a company specializing in music industry analytics, “Social media has a concrete and measurable impact on sales … and can serve as an aid to the industry when it comes to determining where to focus marketing efforts.” For example, Next Big Sound found that music discovery on YouTube, Facebook and Twitter “had a strong relationship to single sales.” The popularity of music and social media hit an unprecedented peak during last year’s 54th Annual GRAMMY Awards. According to Bluefin Labs, a social TV analytics company, there were more than 13 million social media comments about the telecast, a 2,280 percent year-over-year increase. Additionally, the GRAMMYs had more social media comments than the 2012 MTV Video Music Awards (12.8 million), Super Bowl XLVI (12.2 million), the 2012 BET Awards (8.1 million), and Game 5 of the 2012 NBA Finals (6.3 million). The more recent XIII Latin GRAMMY Awards also made a huge splash across social media. According to SocialGuide, a Nielsen social TV company, “#LatinGrammy was the top hashtag across all of social TV.” The GRAMMYs have taken another step forward this year with the “#TheWorldIsListening” campaign, a highly social marketing program for the 55th GRAMMY telecast and the first GRAMMY campaign to prominently feature a hashtag. At the heart of the campaign was a newly created website, www.grammyamplifier.com, which allowed musicians to share their tracks via SoundCloud for a chance to have their music tweeted out by a panel of music icons, including Linkin Park, RZA and Snoop Lion. Social media has transformed the entire music ecosystem, affecting not only Music’s Biggest Night, but top-tier stars and major labels as well as independent companies and indie artists. And when the full impact of social media’s possibilities kick in, the results can be astounding. When South Korean rapper Psy launched “Gangnam Style,” the video spread across the globe and in less than six months reached a record 1 billion views, becoming the most-viewed YouTube video ever. “Gangnam Style” and Psy’s signature galloping jockey dance move became so popular that even major worldwide brands began to adapt the rapper’s comic meme to market their products. According to the Shorty Awards (which honors the top social media users) and their official social media analytics and benchmarking partner, Unmetric, Intel garnered more than 500,000 likes for a “Gangnam …”-style photo they posted and promoted on their Facebook page. Brands such as Sharpie and Virgin Media, among others, also saw similar success in leveraging this viral piece of music for fun, sincere and simply effective social marketing. While in the past artists turned to their labels to create and manage marketing plans for their latest releases, artists today find social media allows them more direct access to fans and greater tools to reach them, sometimes in collaboration with their labels, but often truly hands-on, with artists checking in with their mobile devices. Since 2001, Alicia Keys has been nominated for 27 GRAMMYs and has won 14 awards. She launched her latest album, Girl On Fire, in November 2012 and the title track shot to No. 11 on the Billboard Hot 100 thanks in part to social media. Keys has more than 10.7 million Twitter followers and nearly 24 million Facebook “likes.” “In the past three years, social media has become such a big part of my life, bring-

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“The proliferation of social platforms … puts pressure on the artists to distribute — and differentiate — content and cultivate a following on the various networks.”

Bruce glikAs/FilmmAgic

kevin mAzur/WireimAge.com

Social media is a primary marketing tool for Jay-Z’s Roc Nation entertainment company

Alicia Keys says social media is a “big part of my life”

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ing me closer to my fans than ever before,” says Keys. “I love that I can quickly jump on Twitter or Facebook to share my work and gain insight on how my music makes someone feel; read about opinions on various topics related to politics or social issues; and get a better understanding of the joys, worries and concerns we unknowingly share in life. It’s so inspiring to see the ways in which we are all connected and relate to each other. With Instagram, I love how visual the platform is and how it brings us together through moments and perspectives we’ve captured in beautiful photos. I love to think it’s making us access a more creative place in ourselves. Social media isn’t something I only do for fun, it’s an integral part of my life and the way I connect with the world as an artist, entertainer and mother.” Keys has used social media platforms not just as another tool to market her music, but as a point of engagement and sounding board with fans. “I’ve been sharing my new album, Girl On Fire, with my fans since the day I felt ready to open the doors into my creative process,” she says. “They’ve been with me every step of the way and it has been such an exciting process. Social media has given me a place to share everything, from behind-the-scenes videos and photos to first looks at the music and creative art. We also partnered with Google to do the first-ever global album premiere with fans in a YouTube live stream and Google+ Hangout. It was crazy fun to share the music I’ve been working on for over a year directly with my fans and in such an intimate setting. I love how social media is like a meeting in someone’s living room.” In 2008 Live Nation joined Jay-Z to form Roc Nation, an entertainment company that encompasses artist management, music publishing, touring, merchandising, film, television, and new business ventures. Roc Nation now boasts artists such as J. Cole, Calvin Harris and Rihanna. The company is devoted to investing in popular music platforms and social technologies. Dorothy Hui, Roc Nation’s vice president of digital marketing, recognizes that “mobile and tablet media consumption will continue to grow and become primary viewing platforms,” further changing the music industry. “We’re using artist social media to lead the launch of new content and news,” says Hui. “We look at fan comments and feedback to get a sense of general sentiment and what’s working and what’s not. We look at stats, data trends over time and demographic information, as these can be powerful early indicators of market response, especially during early stages of artist development.” Hui notes that social media has created both new opportunities and new challenges for artists. While artists have greater control of their messaging and the ability to shape their persona, once the province of traditional media outlets, they also have more responsibility to invest time in the business side of their careers. “The proliferation of social platforms … puts pressure on the artists to distribute — and differentiate — content and cultivate a following on the various networks,” she says. “This is a significant new responsibility that was not present say, 10 years ago. The artists’ network of fans play a central role in spreading information quickly and comprise the new ‘mass media.’” Hui sees artists’ participation in social media growing in ways that are difficult

future multi-platinum artists and GRAMMY winners will not only know they need to be on social media but will thrive in innovating how they engage fans and leverage the industry and partners around them more than ever before.

The GRAMMYs are taking another social step forward this year with the “#TheWorldIsListening” campaign, the first GRAMMY campaign to prominently feature a hashtag

to anticipate, but certainly assured. “Mobile and tablet media consumption will continue to grow and become primary viewing platforms. Look to responsive Web design as a must for site destinations. Who knows, something else new will pop up. Things change quickly. What worked six months ago may not work now. Always analyze, reanalyze and adapt.” In December, in the aftermath of Hurricane Sandy, GRAMMY winners such as Bruce Springsteen, the Rolling Stones, Kanye West, and Paul McCartney came together to raise money for storm victims with the 12-12-12 Hurricane Sandy benefit concert. Funds were raised for the Robin Hood Foundation, an organization dedicated to ending poverty in New York. The benefit concert drew participation from Twitter, Facebook, Foursquare, Tumblr, YouTube, GetGlue, Shazam, and many more social media partners. “It was great to collaborate with so many strong social producers … as well as cuttingedge partners like Foursquare to a startup called Mahaya, who were all integral in helping amplify the event and our cause,” says Harish Bhandari, Robin Hood Foundation’s digital media manager. “The main challenge was the timing and how everything had to get figured out right away. As soon as we fired up the social media channels, there were tons of questions that we didn’t have answers for that we had to triage. “To promote the show we worked with GetGlue on exclusive stickers, Google+ on integrating the live stream on our profile pages, and received a very generous Twitter for Good grant. Viewers could Shazam the concert, which brought up a donation link, buy a $25 Facebook Gift, and via Foursquare they could virtually check in to receive a Be Robin Hood badge and trigger a donation from Samsung Mobile USA. We also relied heavily on the artists promoting the hashtag and concert on their Twitter and Facebook accounts, as well as on viewers who were using Instagram.” Bhandari emphasizes that the social media outreach has continued following the concert, a major advantage fundraising events didn’t have in the past. “Our main focus is connecting fans with the merchandise and concert album on iTunes, both benefiting the Robin Hood Relief Fund,” he says. “We are also promoting our celebrity auction on Charitybuzz, which features a large range of concert items, donated goods, and experiences. And soon will begin showcasing how the money raised is going to help those affected by the storm.” What’s next for social media and music? Major artists such as Keys are building such large followings on social media that these channels may grow into the number one place for artists and labels to help fans discover music. Viral YouTube videos, popular Spotify playlists and featured iTunes tracks will continue to grow in importance and impact. Future multi-platinum artists and GRAMMY winners will not only know they need to be on social media but will thrive in innovating how they engage fans and leverage the industry and partners around them more than ever before.

Natan Edelsburg is senior vice president and senior supervising producer at Sawhorse Media where he’s the supervising producer of the Shorty Awards (honoring the world’s top social media users and influencers) and handles the business side of Muck Rack (the largest community of journalists on the social Web). Edelsburg covers social TV for Lost Remote where he interviews top executives at TV networks about the impact social media is having on their companies.

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The American Federation of Musicians and the officers and members of Local 10-208 (Chicago, IL), Local 47 (Los Angeles, CA), Local 257 (Nashville, TN), and Local 802 (New York, NY) proudly congratulate our members on their 55th GRAMMY nominations and awards. We also congratulate those artists whose recorded works are supported by musicians who record for signatory companies.

AFM musicans who record under our agreement share in the following funds:

The American Federation of Musicians of the United States and Canada â&#x20AC;˘ 1501 Broadway, Suite 600; New York, NY 10036 â&#x20AC;˘ www.afm.org

Reeling In The is

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here may not be anything truly new about creating art from found objects, or recycling materials into wholly new and inspirational objects. But Princeton, N.J.-based artist Erika Iris Simmons has put a new spin on the idea, literally, by unspooling reels of cassette, video and studio recording tape and forming the ferric oxide strips into portraits of artists. The end result? Artists rendered with the medium that made them famous. What could be a more perfect way to Erika Iris Simmons depict the GRAMMY in the heart of the digital age? Building the GRAMMY image, which represents the best in contemporary music as well as the cultural legacy of recorded music, from the bottom up with classic half-inch studio recording tape (see cover) creates an essential roots-of-music metaphor. “When I was offered the opportunity to work on this project I was thrilled,” says Simmons. “I thought the symbol of The Recording Academy, the gramophone, was the perfect subject. It is the ultimate expression of what I try to capture and interpret — our connection to the past.” The project started with discussions between The Academy and Simmons regarding the best way to apply her technique to the GRAMMY. A series of sketches followed. “The idea was to have the image of the gramophone composed entirely out of recording tape,” she says. Simmons then acquired the materials and started gluing and positioning the tape on a AudrEy HEpburn

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primed wooden board. The process began with precisely cut pieces of tape representing the smallest details, carefully glued in place. She subsequently went back over the gramophone, adhering long strips of tape that slither and curl, giving a 3-D effect. The entire process took approximately one month, including numerous edits and revisions. The original artwork was then lit and photographed to emphasize the shiny tape and delicate shadows. Simmons, who is also professionally known as iri5, is a self-taught artist whose whimsical creations fuse pop art and postmodernism. She disassembles objects that one might find at a garage sale and uses the pieces to tell a story, revealing a world within a world. Many of her projects are made from recycled cassette tapes and old film reels for a series she calls “Ghost In The Machine,” which is named after a famous metaphor coined by British philosopher Gilbert Ryle. In this series the ribbons of cassette tape are arranged into portraits of various musicians, as echoes of the data. Her elegant and imaginative portraits have garnered attention from publishers and many of her pieces are on display internationally. In 2009 her artwork inspired the music video for GRAMMY winner Bruno Mars’ “Just The Way You Are.” Simmons joins a growing list of artists and creators, from Peter Max to Frank Gehry, who have brought their talents to the official GRAMMY artwork, further demonstrating the connection between all the arts.

JImI HEndrIx

55th Annual GRAMMY Awards

169

E Street The World From

MusiCares Person of the Year honoree Bruce Springsteen is committed to his music, his audience and a more just society By R oB e Rt Sante lli

Perhaps more than any other recording artist today, Bruce Springsteen celebrates the power and glory of the gospel of rock and roll. After more than 40 years of strapping on a guitar and fronting a band, Springsteen has reached a point in his career where he could rest on his laurels and few would

DANNy CliNCh

blame him. Only he hasnâ&#x20AC;&#x2122;t. And wonâ&#x20AC;&#x2122;t. Not now. Not tomorrow. Probably not ever.

M us iCar e s P e r son of th e Year

ART MAillET

KEviN MAzuR/WiREiMAGE.COM

“I was lookIng for some way to put my musIc to some servIce on a nIghtly basIs. you go Into a town, you play a lIttle musIc, you leave somethIng behInd.”

From top: Patti Scialfa, Bruce Springsteen, Mariah Carey, Tom Hanks, and Rita Wilson at the 48th Annual GRAMMY Awards in 2006 • Springsteen, circa 1973

here’s proof: instead of slowing down, he’s sped up. instead of playing less, he’s playing more. instead of becoming soft and more forgiving, he’s become hard and more pressing. Springsteen used to play three-hour-plus shows — with an intermission. Now he plays four hours — with no intermission. Given a long, distinguished career that includes world tours, sold-out stadium shows, No. 1 albums, 20 GRAMMy Awards, a Rock and Roll hall of Fame induction, and a Kennedy Center honor, Springsteen could write safe and secure albums that cater to modern pop sensibilities and the charts. But Wrecking Ball, his latest effort, is a masterpiece of intensity and fury. it pokes a finger in the chest of our national leaders and demands answers as to why we’ve come to a place where the American dream is in jeopardy of losing its soul and promise. Recently, i met up with Springsteen in Portland, Ore., at the Rose Quarter where he and the E Street Band were to perform. he had just finished soundcheck, which, after finalizing sound levels and lighting cues,

turned into a playful romp through the catalog of Paul Revere And The Raiders, a Pacific Northwest group from the ’60s particularly popular in Portland. i first interviewed Springsteen in 1973 when i was a budding music journalist for the Asbury Park Press on the Jersey Shore. Back then he was hoping to make an impression beyond the bars and boardwalk of the Shore with his debut album, Greetings From Asbury Park, N.J. To say he’s come a long way is an understatement. Now, he participates in presidential campaigns and owns a body of work that tells us as much about America as reading John Steinbeck or listening to Woody Guthrie. Thoughtful and certainly aware of his musical and cultural importance, Springsteen takes his role as one of our greatest music treasures quite seriously. Giving back is something that he’s most concerned with, be it through his charitable endeavors, his benefit concerts, or his committed care for people who have been dealt a lesser hand. it’s the main reason why Springsteen is the 2013 MusiCares Person of the year. (continued on page 174)

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M u s i Ca r e s P e r s o n o f t h e Y e a r

“I thInk It’s Important to maIntaIn your sense of beIng a fan, even when you’ve experIenced success of your own. I go onstage every nIght as a performer, but I also go onstage as a fan, whIch Is what I was on grammy nIght.”

What does it mean to be honored as MusiCares’ 2013 Person of the year? you’re joining an impressive list of honorees.

It’s really nice, really an honor. I remember I was a part of the program when MusiCares honored James Taylor. As a music event, it was very enjoyable. It’s a great organization. I’m glad to be a part of it. over the years you’ve supported many causes and charities, but none seem closer to your heart than feeding the hungry. How did this act of philanthropy get to the top of your list?

In the early 1980s, at the start of the Born In The U.S.A. tour, I went to Pittsburgh and met a labor organizer there who told me about how the area had been affected by deindustrialization and widespread unemployment. He had set up a food bank for steel workers who were having problems feeding their families. The whole food bank program was just beginning to form back then. I was looking for some way to put my music to some service on a nightly basis. You go into a town, you play a little music, you leave something behind. That idea connected us to the local community. It was a very simple idea, but it really resonated with me.

From top left clockwise: Keith Urban and Springsteen at the 2006 MusiCares Person of the Year tribute to James Taylor • Springsteen and Steven Van Zandt perform at the 54th Annual GRAMMY Awards in 2012 • Springsteen and Tony Bennett at an after-party for the 45th Annual GRAMMY Awards in 2006

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More recently, you’ve been very involved with relief efforts for the victims of Hurricane Sandy. Being from the Jersey Shore, where so much damage has occurred, must make this a very important project for you.

Anyone who’s grown up or lived on the Jersey Shore knows the place is unique. I’ve watched Asbury Park try to get back up on its feet for 25 years. It’s hard to see any setback at all. The Jersey Shore is the kind of place where the policeman has a little cottage that might have been in the family for years and many other people call home. The destruction was unimaginable. It’s going to take years to overcome. I’m trying to do whatever I can to help my neighbors get back to some sort of normal life.

in 2012 the United States celebrated the centennial of the birth of Woody Guthrie, one of our greatest songwriters. Can you describe his influence on your music as well as your life?

I was in my late 20s, in the process of shaping my musical outlook and what I wanted it to be about, when I first encountered Woody Guthrie. I had made my way through rock music and then turned to country music. But I still hadn’t quite found something that addressed the issues I was interested in at the time. Woody was like a path to a full and active musical citizenship. With him, there was a deep awareness of the social forces at work in people’s lives. I was interested in addressing those ideas and having them become a part of the music I made. (continued on page 176)

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222* and Counting Berklee College of Music is proud to salute our 55th Annual GRAMMY Awards速 Alumni and Faculty Nominees.

*Number of GRAMMY Awards速 received by Berklee alumni and faculty.

M u s i Ca r e s P e r s o n o f t h e Y e a r

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“for the past three presIdentIal electIon cycles, I have been a part of a polItIcal campaIgn. thIs tIme It was dIfferent because It was for the president, not just a candIdate who wanted to be presIdent.”

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Many of your songs, like Guthrie’s, reach out to people who don’t necessarily have a voice in our democracy. the songs echo their fears and frustrations and perhaps their diminished belief in the american dream.

From top left clockwise: Stevie Wonder and Springsteen at the 48th Annual GRAMMY Awards in 2006 • Springsteen and President Barack Obama at We Are One: The Obama Inaugural Celebration At The Lincoln Memorial in 2009 • The Edge, Springsteen and Elvis Costello perform at the 48th Annual GRAMMY Awards in 2006

In a way, I guess you could say that. You could hear someone sing the blues. You could hear frustration and anger in rock music. But you couldn’t quite experience or hear a broader human thoughtfulness about where you could go with those feelings. Where do you put that energy? Woody was the first guy that showed me what to do with it. Bob Dylan has also been an influence, especially early in your career.

That’s true. After Bob, I went, more or less backwards, to pop music’s antecedents. The thing about Bob’s music is that it was beautiful — beautifully written, kind of wry and tough-minded and I liked that. It was direct and quite colloquial and I liked that too. He was writing about a whole number of broader issues that were touched upon in rock music at the time, but not directly addressed. you had the opportunity to sing Woody Guthrie’s “this land is your land” with Pete Seeger at President Barack obama’s first inauguration in 2009. i imagine that was a memorable event for you.

Yeah, that was quite a moment. Pete’s bottom line was that we sing all verses — including the politically charged ones — and that we get all the kids in the choir who backed us up to sing them as well. It was a lovely moment, you know, a very lovely moment. a few months ago, you were active in the president’s re-election campaign, squeezing in appearances at rallies between tour dates.

For the past three presidential election cycles, I have been a part of a political campaign. This time it was different because it was for the president, not just a candidate who

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wanted to be president. For me, the choices were particularly stark this time around. I was really glad to be there. I’d been a supporter of President Obama all along. How is playing for a campaign audience different from playing for a Bruce Springsteen concert audience?

JOE lOPEz

Well, the campaign audiences are incredibly broad. I go to Ohio with Jay-Z, so Jay-Z’s audience is there, my audience is there, and then there is a purely political audience that’s there. So you’re playing to an enormous cross section of people, including children. On tour, I don’t quite have an opportunity to reach this varied audience when I’m playing just to my fans. Basically, you walk onstage and you’re looking at this broad spectrum of America. The people may or may not know some of your music. So you’re depending on how good your language is. You need to communicate in a very fresh and direct way. For all three times I’ve helped out on a campaign, that’s what I enjoyed the most. you’ve never held back from inserting political messages in your own concerts.

If you come to one of our shows, the political is usually a subtext. On the campaign trail, that reverses itself. The subtext becomes the main text, because that’s how everyone is hearing it. Every line and every bit of your language is shaded towards the things people are fighting for and caring about. It’s wonderful to hear your music come to life in that context. It’s been an honor to have that experience. If you’re lucky, you get the chance to just nudge the country in this direction, or that. It was the reason why I wrote a lot of those songs. (continued on page 181)

ERiC MEOlA

From top: Springsteen in concert • Springsteen and Clarence Clemmons

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you come from working-class roots. you’ve obviously gone well beyond them. How do you stay connected to where you came from?

People always ask that question like there’s some trick to it [laughs]. Really, that was something that came very natural to me from the beginning. I could look back and see that there were a lot of my heroes who came before me that got distracted or lost in the confusing life that came with their success. So, I had a deep sense of where my power source was coming from, you know. It came from memory and experience, rooted in geography, locality, a sense of place, a certain people. These are the things that are at the heart of the engine on a nightly basis. Maintaining a connection to those things, to me, was always a survival instinct. It was necessary. The things that pulled you away from that, I viewed with some suspicion. I’ve certainly enjoyed the life and privilege that I’ve had because of my success. But there’s been a fundamental focus on those things that we carried over the years with the E Street Band. I’m lucky I’ve had the band I’ve had, one that was surrounded by those things and believed in those things as well.

From top left clockwise: Springsteen and Eminem at the 45th Annual GRAMMY Awards in 2003 • Springsteen and Sam Moore perform at the 48th Annual GRAMMY Awards in 2006 • Dave Grohl, Paul McCartney, Springsteen, and Joe Walsh at the 54th Annual GRAMMY Awards in 2012

you say that you were suspicious of success. How so?

I was suspicious of the easy things that your talent brought you, you know. You have to be wary to survive. I think it was something that was natural to my character, so I don’t take too much credit for it. (continued on page 182)

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Bruce Springsteen And The E Street Band

“I don’t ever gIve up on anythIng, really. I do somethIng for a whIle and then I put It asIde, you know. I’m always returnIng to what I have, the raw materIal.”

your most recent album, Wrecking Ball, has been described as one of your angriest. is that an accurate description?

Yeah, I suppose it is. There’s a lot to be angry about, you know. The distortion and corruption of the American dream and a certain way of life, the loss of the full meaning of community. To me, those things felt under attack. My concern was that this all added up to a nation in decline. Like other people, I know folks who were affected by the financial crisis, who lost their homes, lost their retirement savings. So it was all very, very real for me. You can have these feelings of frustration and not be able to write about it. That happened to me before. But in this particular case, I was working on another record that wasn’t about those things at all. Then I wrote a song that moved in that direction and the rest came very quickly. aside from simply being a concerned american citizen, as an artist how do you negotiate the waters of politically motivated music?

I’d been thinking and reading a lot about what’s been going on in the country in the past 30 years, back to the Carter recession, the Reagan deregulations, and you see this long historical arc that was moving the country in one direction. On Wrecking Ball you hear rebel music, gospel music. I wanted both a current and historical sweep, musically speaking. In the end, it was hard to stand by and see what was happening in the last seven or eight years. The record was a response to that. (continued on page 184)

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“onstage, It’s me and It’s thIs person In the audIence, rIght now, not later, not tomorrow, rIght now. our fans are Immersed In a world that we’ve created. It’s the one place where people go to forget about theIr troubles.”

Bottom: Springsteen performs at the 2006 MusiCares Person of the Year tribute to James Taylor When i had the privilege to help you with your book, Songs, back in the late ’90s, i remember going to your house and being amazed at the books in your study that were about american history, politics, art, and music. you really seemed to be immersing yourself in the american experience.

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Reading those books and listening to that music, to me it was always a tool, a part of seeking out your truest identity. It was all part of trying to find out who I was, where I came from, and I was always interested in writing about what I found. So, yeah, I did become quite a student, and still am.

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Speaking of books, this seems to be the era of the music memoir. everyone from neil young and Gregg allman to Pete townshend and Clive Davis has written one. i read that you, too, were working on one, and then i read that you’ve given up on it.

I don’t ever give up on anything, really. I do something for a while and then I put it aside, you know. I’m always returning to what I have, the raw material. A while back, I recorded a country record and put it aside. I returned to it a couple of months ago and thought, “What am I going to do next?” As for the memoirs, I got some stuff I’ve worked on, but I don’t have anything fixed. I worked on it for a while, then the music came along and the tour came along. There doesn’t seem to be an urgency to return to it at the moment. It’ll present itself and I’ll see what happens. Like you said, there’s plenty of others to read at the moment. (continued on page 186)

not hIgh res

M u s i Ca r e s P e r s o n o f t h e Y e a r

The GRAMMY Boss A HANDFUL OF HIGHLIGHTS FROM THE 2013 MUSICARES PERSON OF THE YEAR’S STORIED GRAMMY HISTORY B y Ly n n e M a r g o L i s

With nominations for Best rock album, Best rock Performance and Best rock song, 20-time GraMMY winner Bruce springsteen looks to add to his golden résumé at the 55th annual GraMMY awards. following is a sampling of highlights of springsteen’s impressive GraMMY legacy to date, providing historical context around some of the 2013 MusiCares Person of the Year’s notable GraMMY wins. 1984 | “Dancing in the Dark”

The sultry “Dancing In The Dark,” a last-minute addition after manager Jon Landau cajoled Springsteen into writing a hit, was one of seven Top 10 tracks from Born In The U.S.A. Inducted into the GRAMMY Hall Of Fame in 2012, Born In The U.S.A. was Springsteen’s second big breakout, catapulting him from arenas to stadiums worldwide and becoming one of the best-selling albums of all time. Its title track, an indictment of America’s treatment of its returning Vietnam War veterans, was widely misinterpreted for years as a patriotic anthem. Springsteen’s other GRAMMY Hall Of Fame entry, 1975’s Born To Run, was inducted in 2003.

1994 | “Streets of Philadelphia” song of the Year, Best Male rock Vocal Performance, Best rock song, Best song Written specifically for a Motion Picture or for television: 37th annual GraMMY awards

When director Jonathan Demme requested a song for his 1993 film about a lawyer (played by Tom Hanks) who is fired for contracting AIDS, Springsteen, an expert at drawing sympathy for those shunned by society, wrote this haunting, elegiac tune. At the time, the disease was still misunderstood and evoked much prejudice against its then-mainly gay victims. One of the most moving ballads of his career, which Springsteen delivered to Demme as an unfinished demo, the song became a Top 10 hit, earning four GRAMMY Awards as well as a Golden Globe and Academy Award. In accepting his Oscar for Original Song, Springsteen said, “You do your best work and you hope that … some piece of it spills over into the real world and into people’s everyday lives, and it takes the edge off of fear and allows us to recognize each other (continued on page 188) through our veil of differences.”

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Best rock Vocal Performance, Male: 27th annual GraMMY awards

i know you’re a big reader. What have you read lately that has stuck with you?

One of the things I’ve done recently was read all the Western stories of Elmore Leonard. If you’re interested in character study, he’s just the master of nailing someone in a few lines. He’s good for songwriters because that’s about all the time you have. And what else? Let’s see. [Springsteen goes to his iPad for his book list.] I’ve also read Christopher Hitchen’s collection of essays, and Why Does The World Exist? by Jim Holt to get my existential buzz [laughs]. Another book I read was Matterhorn [Karl Marlantes’ Vietnam War novel].That was great along with Stoned by Andrew Loog Oldam and the follow-up, 2Stoned. Very, very good books on the music industry. Then some baseball books. Finally, I have quite a fixation on the Apollo astronauts, so I read a few books on them. Basically, I’ll get on a topic and read two or three books in a row, and then I’ll move on to something else. at the GRaMMys last year, you had the opportunity to perform onstage with Paul McCartney. What was that like for you?

When I was 15, back in Freehold, N.J., his music spoke directly to me. This was that man. This was the man that got me to pick up a guitar early in my life and go down a particular road. I think it’s important to maintain your sense of being a fan, even when you’ve experienced success of your own. I go onstage every night as a performer, but I also go onstage as a fan, which is what I was on GRAMMY night. What was the first real concert you attended as a kid?

It was in Asbury Park at Convention Hall. Here’s the lineup: the Who, the Blues Magoos and Herman’s Hermits. I remember with the Who, people in the audience were semishocked at the destruction of perfectly good instruments [laughs]. That was the first concert, outside of my mother taking me to see Chubby Checker and Anita Bryant in Atlantic City [laughs]. i’ve seen many of your concerts over the years, but never one in italy — until this summer. your show in trieste was amazing. (continued on page 188)

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in fact, it ranks as one of the best i’ve ever seen. How do you explain the italians’ love of your music, and your ability to so deeply connect to them?

2002 | the Rising Best rock album, Best rock song and Best Male rock Vocal Performance (“the rising”): 45th annual GraMMY awards

It somehow fell to Springsteen and his reunited E Street Band to soothe a grief-stricken nation and express the complex emotions aroused by the tragic events of Sept. 11, 2001. In fact, much of The Rising was Springsteen’s response to a fan’s beseeching shout of “We need you!” upon spotting the Boss in a New Jersey parking lot. The Springsteen family was acutely aware of the impact of Sept. 11; many of the lives lost belonged to people from Monmouth County, N.J., where Springsteen lives with wife Patti Scialfa and their three children. Though “Further On (Up The Road),” “My City Of Ruins,” “Waitin’ On A Sunny Day,” and “Nothing Man” had been in the works before the making of the album, according to The Ties That Bind: Bruce Springsteen A To E To Z, they gained deeper meaning alongside the gospelinfluenced title song and tracks such as “Into The Fire,” “Mary’s Place,” “You’re Missing,” and “Lonesome Day.” In a 2002 piece on the album, Time magazine wrote, “The songs are sad, but the sadness is almost always matched with optimism, promises of redemption and calls to spiritual arms. There is more rising on The Rising than in a month of church.”

I don’t know. Every night is an opportunity. For me, it’s a pathological opportunity [laughs]. You come out onstage and you’re in the presence of some like-minded people, you know. You’re also in the presence of some people that had never seen the band live before. Last night in Vancouver, probably 20 percent of the audience had never seen the band with Clarence Clemons before. Amazing. So, there’s this ongoing … I guess you would call it a conversation with your fans that’s always renewing itself. I’ve been dedicated to that my whole life. Why? We can talk about that all night. There’s good reasons, bad reasons, straight-up reasons, convoluted ones, sane ones, insane ones. I think the best way to look at it is this way: onstage, it’s me and it’s this person in the audience, right now, not later, not tomorrow, right now. Our fans are immersed in a world that we’ve created. It’s the one place where people go to forget about their troubles. They let themselves go and trust someone. They come into the arena or concert hall and they feel safe and they reveal by their actions their hopes, their dreams, their fears, what’s hurt them, what’s given them joy. You get an opportunity to witness that on a nightly basis. I have an opportunity — and an honor — to witness that on a nightly basis. And I don’t take that lightly. Robert Santelli is the Executive Director of the GRAMMY Museum. His books include Greetings From E Street: The Story Of Bruce Springsteen And The E Street Band.

2007 | “Radio nowhere” Best rock song, Best solo rock Vocal Performance: 50th annual GraMMY awards

“Radio Nowhere,” the opening track on 2007’s Magic, laments what its author regards as increasingly soulless airwaves. “I want a thousand guitars,” Springsteen sings. “I want pounding drums. I want a million different voices speaking in tongues.” In a way, it continues the thread of “57 Channels (And Nothin’ On),” his mass media indictment from 1992’s Human Touch. 2009 | “Working on a Dream” Best solo rock Vocal Performance: 52nd annual GraMMY awards

Austin-based journalist Lynne Margolis currently contributes to American Songwriter, NPR’s Song of the Day and newspapers nationwide, as well as several regional magazines and NPR affiliate KUT-FM’s “Texas Music Matters.” A contributing editor to The Ties That Bind: Bruce Springsteen A To E To Z, she has also previously written for Rollingstone.com and Paste magazine.

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Springsteen has achieved the remarkable feat of winning at least one GRAMMY in each of eight consecutive years. The title track from an album released just after President Barack Obama’s first inauguration, “Working On A Dream” tempers the optimism of hope with the fear that perhaps that dream is impossible. Optimism seems to win, but in the wake of losing longtime bandmate Danny Federici, it’s not surprising that Springsteen didn’t go for unbridled exuberance.

Springsteen performs at the 54th Annual GRAMMY Awards in 2012

The Recording Academy Today ®

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Advocacy The Digital Academy The GRAMMY Awards Process ®

Behind The Statue

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The Recording Academy’s headquarters in Santa Monica, Calif.

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Membership And Member Services Recording Academy Membership Membership in The Recording Academy is open to individuals who are actively working in all realms of music and recorded sound, from its creation to presentation, dissemination and protection. Through active participation in The Recording Academy, members help ensure that the proposed activities of The Academy are current and relevant to the industry. Individuals may join The Recording Academy in three separate categories. Voting Members are professionals with creative or technical credits on six commercially released tracks (or their equivalent) or 12 digitally released tracks (or their equivalent) released through recognized online music retailers. These may include vocalists, conductors, songwriters, composers, engineers, producers, instrumentalists, arrangers, art directors, album notes writers, narrators, and music video artists and technicians. Associate Members are creative and technical professionals with fewer than the required credits for voting membership eligibility, and other individuals whose careers are focused on music, or who are employees of companies involved in the recording industry, including writers, publishers, attorneys, business managers, artist managers, artist agents, executive producers, music educators, music therapists, and music merchants.

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Student Members are students enrolled in a college or trade school who are in a music-related field or thinking of pursuing a career in music. All student members are part of the GRAMMY University Network (GRAMMY U), The Recording Academy’s college outreach program.

Programs And Services The Recording Academy has regional Chapters in 12 cities across the United States. Chapters serve as a direct connection between The Academy and the music community. They conduct educational and professional programs that explore issues and trends in the field of recording not only in their home city but also in the surrounding areas. Additional programs include showcase and networking opportunities, professional development events and discounts for select services and goods. The Academy serves its national membership through these 12 Chapters located in Atlanta, Austin (Texas Chapter), Chicago, Los Angeles, Memphis, Miami (Florida Chapter), Nashville, New York, Philadelphia, San Francisco, Seattle (Pacific Northwest Chapter), and Washington, D.C. Launched in 2007, GRAMMY U is The Academy’s collegiate outreach program designed to enhance a student’s academic curriculum by providing access to professionals working in the recording industry today. Through educational and networking events, GRAMMY U

provides college students with unique experiences and a working knowledge of a multitude of career paths in the recording and music industries, both performanceand business-based. The Producers & Engineers Wing is a Recording Academy membership division created to serve the needs of producers, engineers, remixers, manufacturers, technologists, and other related music-recording professionals. A network with more than 6,000 members, the P&E Wing is comprised of experts whose work spans all genres, regions and styles. As a powerful, organized voice for the creative and technical recording community, P&E Wing members address critical issues that impact the art and craft of recorded music. Sound quality, development of new technologies, technical best practices, education in the recording arts, and advocacy for the rights of music creators are all part of the P&E Wing mix. As advocates on behalf of its membership, The Academy works with Congress and federal agencies and is active throughout the country, utilizing its membership to advance artists’ rights. The Academy’s annual GRAMMYs on the Hill Advocacy Day is the music community’s only national advocacy day in Washington, D.C., while Chapter events across America bring legislators, artists and music industry leaders to the membership through panel discussions and GRAMMY Town Halls.

In 2005 The Academy launched GRAMMY, a digital newsletter/magazine that brings together news about Academy programs with feature content in a publication geared specifically to members but of interest to all music fans. Additionally, in spring 2010 The Academy launched GRAMMY365, a memberdedicated website that provides tools for full interaction between members in a password-protected environment. Academy members can post blogs, photos, videos, and music and engage with other members in a true professional network. Members of The Recording Academy are involved in the GRAMMY Awards process. The GRAMMYs are the only peerpresented award to honor artistic achievement, technical proficiency and overall excellence in the recording industry. Member involvement is essential to the integrity of the GRAMMY Awards. The staff headquartered in Santa Monica, Calif., as well as in the 12 Chapter offices, conducts the daily operations of The Recording Academy with guidance provided by the National Board of Trustees. The Trustees are elected by the Governors of each Chapter to provide vision and ensure effective corporate governance of The Academy. For more information on Recording Academy membership, visit www.grammy365.com.

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GRAMMY Week ®

From helping to preserve our nation’s musical heritage to honoring luminary industry figures, the world is listening during GRAMMY Week, seven days of cultural events leading up to the GRAMMY Awards. The Recording Academy takes advantage of the days prior to the highly anticipated GRAMMY Awards telecast to produce a colorful schedule of private and public programs that celebrate and illuminate the indelible place of music in our society. The Academy pays honor to the spirit and style of groundbreaking artists and industry leaders with our Salute To series. This year GRAMMY Week included the GRAMMY Salute To Industry Icons, celebrated during the

Top: Dr. Dre, Skylar Grey and Jimmy Iovine attend the Producers & Engineers Wing’s GRAMMY Week celebration in 2012 Lester Cohen/WireImage.com Bottom: Lifetime Achievement Award recipients George Jones, Diana Ross and Glen Campbell at the 2012 Special Merit Awards Ceremony Michael Kovac/WireImage.com

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Pre-GRAMMY Gala, an exclusive event that saw The Academy team with music executive Clive Davis to produce this legendary annual GRAMMY party. Honored by The Academy at the Special Merit Awards Ceremony are the recipients of the Lifetime Achievement, Trustees and Technical GRAMMY Awards and GRAMMY Hall Of Fame selections. Immediately following the ceremony is our official GRAMMY Nominees Reception, an event that brings together GRAMMY nominees in a night of celebration prior to the GRAMMY Awards telecast. During a high-profile gala, the Producers & Engineers Wing celebrates excellence in music and audio and the professionals working “behind the glass” whose visionary talents have significantly impacted the landscape of audio production. The GRAMMY Foundation sponsors a number of events focused on music education and preservation throughout the week. High school students are invited to participate in GRAMMY Camp — Basic Training, presented with support from Ford Motor Company Fund and the Starkey Hearing Foundation, which provides students with advice from industry professionals and allows them to participate in career-specific workshops and panel discussions. Members of GRAMMY Camp — Jazz Session, comprised of the nation’s top high school instrumentalists and vocalists,

travel to the host city of the GRAMMY Awards and perform at key events, including the GRAMMY Celebration afterparty, the Special Merit Awards Ceremony & Nominees Reception, and more. GRAMMY In The Schools Live! celebrates music and music education by showcasing the activities of the GRAMMY Foundation through performances featuring young program participants with special guest artists. The fundraising dinner and concert support a wide range of GRAMMY in the Schools music education programs for high school students and schools. The GRAMMY Foundation’s Music Preservation Project event spotlights the Foundation’s role in preserving our recorded heritage by showcasing restored films and other media that contain unique and historical musical content together with prominent speakers and live musical performances. The Entertainment Law Initiative aims to promote future careers in entertainment law by inviting the nation’s top law students to participate in a legal writing contest and scholarship competition. ELI is toasted with a high-profile luncheon and awards ceremony attended by students, music attorneys, executives, and members of The Recording Academy. MusiCares hosts the prestigious Person of the Year tribute dinner and concert two nights before the GRAMMY Awards. The event honors individuals (the most recent honorees include Paul McCartney, Barbra Streisand, Neil Young, and Neil Diamond) for their philanthropic and creative achievements. Funds raised from

the annual Person of the Year tribute benefit MusiCares’ human service programs and the event draws attention to the important work of the organization. The GRAMMY Charity Online Auctions, which raise money for the GRAMMY Foundation and MusiCares, are held in conjunction with the GRAMMY Awards at www.ebay.com/grammy. For the fourth consecutive year, the GRAMMY Museum staged a variety of events highlighting GRAMMY categories and nominated music and artists. Meanwhile, nearby on the L.A. Live campus, The Academy shined a spotlight on social media with the fourth annual Social Media Rock Stars Summit. Finally, the week ends with the GRAMMY Awards PreTelecast and telecast ceremonies and the GRAMMY Celebration after-party, a glamorous post-show affair that allows attendees the opportunity to celebrate not just the 55th Annual GRAMMY Awards nominees and recipients, but also the spirit and importance of music in everyone’s lives. GRAMMY Week is a concentrated, high-profile showcase of The Academy’s year-round commitment to a mission dedicated to cultural enrichment, arts advocacy, education, and honoring musical excellence — a commitment mirroring the impact, magnitude and scope of the iconic GRAMMY Award itself.

The Recording Academy’s full calendar of GRAMMY Week programs differs slightly each year. For complete news and information on GRAMMY Week, visit www.grammy.com.

CELEBRATING 25 YEARS

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CONGRATULATIONS TO ALL OF TONIGHT’S NOMINEES AND WINNERS. GRAMMY® and the gramophone logo are registered trademarks of The Recording Academy® and are used under license. ©2013 The Recording Academy. ©2013 Hilton Worldwide

creative process of making music with a number of interactive and experiential exhibits. At its essence, the GRAMMY Museum supports and recognizes artistic excellence and the art of making music across all genres. Since opening its doors in The GRAMMY Museum serves December 2008, the GRAMMY Museum has served as a dynamic as home to a living archive of the GRAMMY Awards’ colorful history. educational and interactive Dedicated computer databases institution dedicated to the contain information on more than power of music. The four-story, 50 years of GRAMMY recordings 30,000-square foot facility is and artists, and rare artifacts part of L.A. Live, the premier connect visitors to the legendary sports and entertainment recordings and artists that have destination in downtown been honored by the GRAMMY Los Angeles. A joint venture Hall Of Fame and The Recording of The Recording Academy Academy’s Special Merit Awards. and Anschutz Entertainment The Museum also shares the Group, the Museum serves the process through which GRAMMY community with an array of winners are selected as well as public and education programs. how the telecast comes together. The GRAMMY Museum Since its inaugural year, the explores and celebrates the Museum has housed exhibits enduring legacies of all forms including the political Songs Of of music; the creative process; Conscience, Sounds Of Freedom; the art and technology of the a Michael Jackson memorial recording process; and not least, retrospective; an expanded Latin the history of the GRAMMY GRAMMY Awards exhibit; Elvis Awards, the premier recognition At 21, a Smithsonian-curated of accomplishment in the collection of Alfred Wertheimer’s recording arts. Four floors of cutting-edge exhibits, interactive insightful photographs chronicling arguably the most experiences and films provide a one-of-a-kind visitor experience — pivotal year in Presley’s career; engaging, educational, celebratory, Strange Kozmic Experience, exploring the innovations, and inspirational. In addition to legacies and continued impact of more than two dozen exhibits the Doors, Jimi Hendrix and Janis exploring GRAMMY-winning Joplin; George Harrison: Living music including everything from In The Material World; and the rock, hip-hop and country to Songwriters Hall of Fame Gallery, classical, Latin, R&B, and jazz, which premiered the exhibit the Museum offers the 200-seat, John Lennon, Songwriter. The state-of-the-art Clive Davis Theater as well as curated special Museum’s most recent exhibits programs, lectures and film series. are Golden Gods: The History Of Heavy Metal, This Land Is Although the GRAMMY Your Land: Woody At 100 and Museum isn’t a traditional Whitney! Celebrating The Musical museum, there are many iconic and historical artifacts on display. Legacy Of Whitney Houston. The GRAMMY Museum also The Museum aims to have visitors hosts a wide range of public experience the artistic and

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The GRAMMY Museum®

programs in the Clive Davis Theater. Programs include artist interviews, live performances, film series, lectures, continuing education classes, town hall meetings, and more. The past year has seen an exciting lineup of critically acclaimed programs with the Beach Boys, the Belle Brigade, Blind Boys Of Alabama, Ken Caillat, Glen Campbell, John Doe, Donovan, Arlo Guthrie, LP, Steve Lukather, John Mayer, Stevie Nicks, LeAnn Rimes, Loudon Wainwright III, Jack White, Bill Withers, and Zakk Wylde, among others. The Museum’s Education Division also offers a variety of multidisciplinary programs to inspire, teach and engage students, teachers and families. The education staff uses music as a gateway to learning by providing hands-on experiences that allow students to deepen their understanding of music, culture and history. From education workshops that are developed based on state and national educational content standards, to digital music production, DJ and photography workshops emphasizing various

career pathways, and outreach programs designed to bring music to disenfranchised communities, the Museum aims to enrich those of all ages interested in learning. Additionally, in 2012 the GRAMMY Museum launched the Music Revolution Project, a new program that offers talented youth the opportunity to engage in musical discourse and performance with their peers. Membership dues support the Museum’s public and educational programs as well as maintain the Museum’s cutting-edge exhibits. There are a variety of membership packages available, including corporate packages. All members enjoy exclusive access to the Museum and its programs. To learn more about the GRAMMY Museum and its various programs, or to become a member, visit www.grammymuseum.org or call 213.765.6800. For updates and news, please visit the Museum on Twitter (@TheGRAMMYMuseum) and Facebook (The GRAMMY Museum).

The MusiCares Foundation

The Mission MusiCares was established in 1989 by The Recording Academy to provide a safety net of critical assistance for music people in times of need. MusiCares’ services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. Since its inception, MusiCares has developed into a premier support system for music people and its innovative programs and services are designed to meet the specific needs of its constituents. Last year MusiCares distributed close to $3.1 million in direct financial assistance.

Emergency Financial Assistance Program With a commitment to providing help to those in need as quickly as possible, the Emergency Financial Assistance Program provides assistance for basic living expenses including rent, utilities and car payments; medical expenses including doctor, dentist and hospital bills; psychotherapy; and treatment

for HIV/AIDS, Parkinson’s disease, Alzheimer’s disease, hepatitis C, and other critical illnesses. Following the hurricane that struck the East Coast in October 2012, MusiCares established the MusiCares Hurricane Sandy Relief Fund to assist music people affected by the natural disaster. The program is open to music people who are able to document at least five years of employment in the music industry and/or credited contribution to six commercially released recordings or videos, and who can demonstrate proof of need. MusiCares operates toll-free phone lines in the West region (800.687.4227), East region (877.303.6962), and South region (877.626.2748).

Outreach Programs MusiCares has developed a range of nationwide educational programs that cover a variety of subjects, including financial, legal and substance abuse issues, as well as topics of concern to specific constituencies such as vocal health. MusiCares also promotes medical well-being and brings together health care providers offering services such as flu shots, hearing tests and medical and dental screenings.

Christopher Polk/WireImage.com

Addiction Recovery The MusiCares MAP Fund, launched when MusiCares joined with the Musicians Assistance Program, has become a leading force in the effort to identify and address the problems of addiction in our industry by utilizing a pool of resources

set aside specifically to provide members of the music community access to addiction recovery treatment and sober living support. The MusiCares MAP Fund benefit concert is held annually to generate resources for our addiction recovery services. Staffed by qualified chemical dependency and intervention specialists, MusiCares Safe Harbor Rooms, supported by the Bohemian Foundation, offer a support network to those in recovery while they are participating in the production of televised music shows and other major music events. In addition, MusiCares offers addiction support groups for people in the music industry to discuss how to best cope with the issues surrounding the recovery process, and the MusiCares Sober Touring Network provides a resource of individuals across the United States who take music people to recovery support meetings while on the road.

Person Of The Year Tribute The annual MusiCares Person of the Year tribute dinner and silent auction take place during GRAMMY Week. Each year, the dinner honors a recording artist who has made important contributions to the world of music and has demonstrated extraordinary humanitarian and philanthropic efforts. The event generates significant financial support for MusiCares and draws attention to the critical work of the organization. The 2013 honoree is Bruce Springsteen; previous honorees include Tony Bennett, Bono, Natalie Cole, Phil Collins, David Crosby, Neil Diamond, Gloria Estefan, Aretha Franklin, Don Henley, Billy Joel, Elton John, Quincy

2012 MusiCares Person of the Year Paul McCartney

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Jones, Paul McCartney, Luciano Pavarotti, Bonnie Raitt, Paul Simon, Sting, Barbra Streisand, James Taylor, Brian Wilson, Stevie Wonder, and Neil Young.

MusiCares 20th Anniversary Campaign MusiCares has successfully completed its 20th Anniversary Campaign, raising $12.5 million. The campaign launched in 2010 with a $5 million matching gift from the ELMA Music Foundation, and a significant gift from Olivia Harrison and the Material World Charitable Foundation in memory of George Harrison. Nearly 100 generous donors from across the music industry contributed to the campaign, helping to ensure that MusiCares can continue to serve the needs of our community for many years to come.

How Can I Help? Your help is more important now than ever. Please talk to us about the people you know who are in need. Invite us to your company, studio or other gathering to talk about how we can help, and please consider MusiCares for your personal or professional charitable contribution. Your contribution can make a real difference in the lives of the members of our music family. Throughout the year, the GRAMMY Charity Online Auctions raise funds for these programs by bringing exclusive VIP experiences and autographed memorabilia to the public at www.ebay.com/grammy. To learn more about MusiCares’ programs and services, visit www.musicares.org or call 310.392.3777.

WAS MY THEME SONG LAST SUMMER.

WHEN I HEAR

, I HAVE TO DANCE.

WHEN WE BROKE UP, I LISTENED TO

I ALWAYS SING

WE LISTENED TO

EVERY TIME I HEAR

I DANCED TO

ON REPEAT.

AT KARAOKE.

THE ENTIRE ROAD TRIP.

, I THINK OF MY DAD.

AT MY WEDDING.

THE PLAYLIST OF OUR LIVES: PRICELESS

@priceless #GRAMMYs #PricelessLA

GRAMMY®, GRAMMY Awards® and the gramophone logo are registered trademarks of The Recording Academy® and are used under license. ©2012 The Recording Academy. MasterCard, Priceless and the MasterCard Brand Mark are registered trademarks of MasterCard International Incorporated. ©2012 MasterCard.

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The GRAMMY Foundation

Foundation, EMI (Capitol Studios & Mastering), Guitar Center, JBL, Les Paul Foundation, The GRAMMY Foundation was Mackie, Shure, USC Thornton established in 1989 to cultivate School of Music, and Zildjian. the understanding, appreciation GRAMMY Camp is a residential and advancement of the summer camp for high school contribution of recorded music to students with a focus on the many American culture. The Foundation careers in the music industry. accomplishes this mission through In 2012 GRAMMY Camp was programs and activities designed presented in Los Angeles, New to engage the music industry and York and Nashville. Applications cultural community as well as the are currently online at general public. The Foundation www.grammyintheschools.com works in partnership year-round and the deadline is March 31. with its founder, The Recording GRAMMY Camp — Basic Academy, to bring national Training is a one-day event attention to important issues that brings top music industry such as the value and impact of professionals together with high music and arts education and school students to make them the urgency of preserving our aware of careers that are available rich cultural legacy. An important in music and present a behindpart of this mission includes the-scenes look into the industry. the direct involvement and GRAMMY Camp — Jazz interaction of music professionals. Session selects top high school instrumentalists and singers to form a band, choir and combo. Under the banner of GRAMMY They receive an all-expensesin the Schools, the GRAMMY paid trip to Los Angeles during Foundation achieves its goals GRAMMY Week to perform at in music education through GRAMMY-related events, record an programs that draw public album, and attend the GRAMMY attention to the importance of Awards, and they are eligible to maintaining music education as receive $2 million in scholarships. a curriculum element; bringing GRAMMY Signature Schools students together with working provides awards and grants professionals for “real-life” to public high school music exchanges of information and programs in two categories: inspiration; and recognizing need and excellence. excellence in musical The GRAMMY Foundation, Best achievement nationwide Buy Mobile and the Hot Topic among individual students and Foundation partnered, using the school music programs. These model of the GRAMMY Signature programs are sponsored by Schools program, to create the Best Buy, Best Buy Mobile, GRAMMY Signature Schools Black River Entertainment, Community Award, which Converse, Ford Motor Company provides grants to high Fund, Hot Topic Foundation, school music programs Starkey Hearing Foundation, across the United States. and The Recording Academy The Recording Academy with support from the and GRAMMY Foundation ASCAP Foundation, Avid, BET, will debut a new award for CenterStaging, Coca-Cola, the music teachers during GRAMMY Ella Fitzgerald Charitable Week in 2014. Applications

Education Programs

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Jesse Grant/WireImage.com

GRAMMY Camp participants perform during the GRAMMY Camp Los Angeles showcase concert on July 22, 2012, in Los Angeles

will be available beginning Feb. 11 at GRAMMY.com and GRAMMYintheSchools.com.

Preservation & Advancement The GRAMMY Foundation’s preservation and advancement initiatives are designed to foster dialogue about the compelling issues facing the music industry, support projects that increase the understanding of music and its role in society, and raise public awareness about the urgent need to preserve our nation’s recorded sound legacy. The Entertainment Law Initiative is comprised of a legal seminar series, a national scholarship essay competition for law students and a high-profile luncheon during GRAMMY Week. Now in its 15th year, ELI has awarded more than $150,000 in scholarships and prizes since its inception. Winners’ essays are also published in professional law journals. The GRAMMY Foundation Grant Program, with funding generously provided by The Recording Academy, awards grants each year to organizations and individuals in two categories: scientific research and archiving and preservation. The Grant Program awarded approximately $250,000 in grants in 2012. The GRAMMY Living Histories program preserves on visual media the life stories of key recording industry professionals and visionaries who helped create the history of recorded sound. This footage is utilized by the

GRAMMY Foundation and its partner organizations to develop educational video programs. To date, the Foundation has completed more than 200 interviews with artists, producers, executives, and technology pioneers. Entering its 15th year, the Music Preservation Project partners with organizations and archives to preserve and feature historic music performances and materials. To add public awareness to the program, the GRAMMY Foundation produces a special event each year during GRAMMY Week to highlight this effort. This year the celebration was again presented by Seagate. The GRAMMY Foundation was instrumental in writing and successfully passing the National Recording Preservation Act in 2000. This legislation created a National Recording Preservation Board that works with the Librarian of Congress and the public to select entries for the National Recording Registry, ensuring the preservation of these designated historic recordings. To date, 350 recordings have been added to the Registry. Throughout the year, the GRAMMY Charity Online Auctions raise funds for Foundation programs by bringing exclusive VIP experiences and autographed memorabilia to the public at www.ebay.com/grammy. For more information on the GRAMMY Foundation, visit www.grammyfoundation.org, or for more information on its education programs, visit www.grammyintheschools.com.

The Latin Recording Academy

In 2012 The Latin Recording Academy celebrated a decade and a half of honoring Latin music. Established in 1997 as the first international venture launched by The Recording Academy, The Latin Recording Academy is a unique membership-based association dedicated to improving the quality of life and cultural condition for Latin music and its creators. The Latin Academy has offices in Miami and Santa Monica, Calif., and conducts outreach through educational and other events in cities such as Sao Paulo, Mexico City and Madrid. The Latin Recording Academy is a virtual meeting place for members, including music professionals in Spanishor Portuguese-speaking communities from more than 35 countries around the world. Since 2002 The Latin Recording Academy Board

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of Trustees has guided the organization from its initial stages of growth to last year’s XIII Latin GRAMMY telecast. The Board members, who rotate after serving their respective terms, drive the organization’s efforts in staging the annual Latin GRAMMY Awards and ancillary events while achieving annual goals. The Latin GRAMMY Awards aim to recognize artistic and technical excellence, not sales figures or chart positions, and the nominees and respective winners are determined by their peers — the qualified voting members of The Latin Recording Academy. A main purpose of the Latin GRAMMY Awards is recognizing achievement and creating a greater public awareness of the cultural diversity of Latin music artists and creators, both domestically and internationally. The Latin GRAMMY nominees and winners are chosen via a process that is similar to the GRAMMY Awards, with a few subtle but important differences: membership and voting are international and the releases eligible for awards can be issued both inside and outside the United States. The Latin GRAMMYs, the most high-profile celebration of Latin music culture, was the first primetime English-, Spanish- and Portugueselanguage telecast on U.S. television. After redefining the international market approach to the Latin GRAMMY Awards telecast, the show was sold to approximately 50 international markets (representing more than 100 countries), with a focus on branding, long-term objectives, and social media impact — as well as a goal of reaching more than 75 million pairs of eyes and ears with the best in Latin music. Jesse & Joy’s Joy Huerta performs at the XIII Annual Latin GRAMMY Awards Kevin Winter/WireImage.com

55th Annual GRAMMY Awards

The XIII Latin GRAMMY telecast aired on the Univision Network and was telecast live from the Mandalay Bay Events Center in Las Vegas. A total of 10 million David Bisbal performs at the XIII Annual Latin GRAMMY Awards viewers tuned in Kevin Winter/WireImage.com to all or part of the live threehour broadcast. The show also for the first time in Mexico delivered an average audience City and Rio de Janeiro, in of nearly 5 million total viewers addition to several U.S. cities. 2+, 2.6 million adults 18–49 The recently refreshed and 1.4 million adults 18–34, LatinGRAMMY.com will and positioned Univision as continue to be the preferred the No. 2 broadcast network communication tool with for the entire night among members, media and Latin music adults 18–34, beating ABC, CBS, fans. The Latin GRAMMYs’ Twitter NBC, and the CW. Additionally, account is on pace to reach the telecast attracted more 1.5 million followers before Hispanic viewers than any the end of the fiscal year and other broadcast that evening. the organization’s presence on The Latin Academy continued Facebook provides a connection another longstanding tradition for more than 150,000 when Brazil’s Caetano Veloso constituents. In addition, music was celebrated as the 2012 fans can learn more about how Latin Recording Academy The Latin Recording Academy Person of the Year. The day prior, operates and obtain information The Latin Recording Academy about Latin GRAMMY winners recognized the impressive and the awards process. careers of Luz Casal, Leo Dan, The active, generous and Rita Moreno, Milton Nascimento, selfless participation of The Daniela Romo, Poncho Sánchez, Latin Recording Academy’s and Toquinho as 2012 Lifetime Trustees and various committees Achievement Award recipients; and members around the and Juan Carmona “Habichuela” world, along with the help and the late Yomo Toro as 2012 of its sister organization, The Trustees Award recipients. Recording Academy, ensures Through the Latin GRAMMY that programs and activities Street Parties, a successful are current and relevant to signature event for 10 years, the music community. The Latin Recording Academy For more information, visit brought music and the Latin www.latingrammy.com, or GRAMMY brand to top U.S. contact The Latin Recording Hispanic markets. Additional Academy’s headquarters in efforts include educational Miami at 305.576.0036 or sessions in the United States, the Awards office in Santa Mexico and the Dominican Monica at 310.581.8689. Republic as well as launching Latin GRAMMY Acoustic Sessions

Rebecca Sapp/WireImage.com

Leigh Vogel/WireImage.com

Kris Conner/WireImage.com

Advocacy & Industry Relations: Advancing The Rights Of Music Creators

Recording Academy Chair Emeritus Jimmy Jam and Chairman of the House Judiciary Committee Rep. Bob Goodlatte (R-Va.) after Jam’s testimony before Congress on Nov. 28, 2012

In 1998 The Recording Academy established an office in the nation’s capital, seeking to amplify the voice of music creators in national policy matters. Today, called the “supersized musicians lobby” by Congressional Quarterly, The Academy’s Advocacy & Industry Relations office in Washington, D.C., is the leading representative of the collective world of recording professionals — artists, songwriters, producers, and engineers — through its GRAMMYs on the Hill Initiatives. The Recording Academy’s advocacy efforts in the fight for a terrestrial radio royalty for sound recordings led to the first-ever negotiations between the music and broadcasting industries, and paved the way for some broadcasters to begin to pay some royalties from terrestrial revenue, with the admission that the status quo is “clearly not enough.” Meanwhile, the legislative initiative to have all broadcasters pay this royalty continues in Congress through the efforts of the

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Secretary of the Department of Health and Human Services Kathleen Sebelius (left) and Recording Academy President/CEO Neil Portnow (right) present the Recording Artists’ Coalition Award to John Mayer at the 11th Annual GRAMMYs on the Hill Awards in 2012

musicFIRST Coalition, which was co-founded by The Academy. On the industry relations front, The Academy launched “Give Fans The Credit,” a campaign to include credits for all music creators on digital players. To create significant grassroots support for music issues, each year Recording Academy members are invited to Washington, D.C., to participate in the GRAMMYs on the Hill Awards and Advocacy Day. The awards ceremony honors leading music and political figures who have shown a commitment to creators’ rights, while the lobbying day consists of hundreds of music makers meeting with legislators to advance pro-music legislation. The 2012 GRAMMYs on the Hill events marked the awards’ 11th year and the largest-ever presence in Washington, D.C., with approximately 400 people attending. The celebration honored Rep. Howard Berman (D-Calif.) and GRAMMY-winning musician John Mayer for their commitment to improving the working environment for the nation’s music community. Past recipients of the award include Vice President Joe Biden, Sens. Lamar Alexander (R-Tenn.), Hillary Clinton (D-N.Y.), Bob Corker (R-Tenn.), Dick Durbin

(l-r, standing) Rep. Ted Deutch (D-Fla.), The Recording Academy’s Daryl Friedman, and Reps. Jim McDermott (D-Wash.) and Joseph Crowley (D-N.Y.) (l-r, seated) Rep. Marsha Blackburn (R-Tenn.), Blake Shelton, Miranda Lambert, and Rep. Louie Gohmert (R-Texas) attend a GRAMMY Industry Roundtable in 2012

(D-Ill.), Dianne Feinstein Congress, cultural stakeholders (D-Calif.), Ted Kennedy (D-Mass.), and Academy members Patrick Leahy (D-Vt.), and John • Social media platforms to McCain (R-Ariz.); Reps. Marsha inform music professionals Blackburn (R-Tenn.), Howard about current issues and Coble (R-N.C.), Steny Hoyer (Dconnect them directly to their Md.), and Darrell Issa (R-Calif.); elected representatives and GRAMMY-winning musicians, including Garth Brooks, Kelly Clarkson, Natalie Cole, Gloria • The GRAMMY Industry Estefan, Don Henley, Quincy Roundtable, bringing Jones, and Martina McBride. together policy leaders Through advocacy, and music professionals education and dialogue, The to discuss critical issues in Recording Academy protects an off-the-record setting the rights of music makers • “Give Fans The Credit,” an and advances their interests industry-wide discussion on on important policy matters. ways to include the credits of songwriters, musicians Programs include: and studio professionals on digital players • Music Leaders Retreat, co•G RAMMYs on the Hill Advocacy hosted by Recording Academy Day gives music professionals President/CEO Neil Portnow, the opportunity to meet giving the leaders of every with national leaders in major music association Washington. The GRAMMYs an opportunity to jointly on the Hill Awards, held the address community issues in a preceding evening, honors productive working session legislators and music creators • Congressional testimony from For more information about Academy music creators who Advocacy & Industry Relations serve as expert witnesses at The Recording Academy, visit before Capitol Hill committees www.grammy.org/advocacy. To learn more about the “Give Fans The Credit” campaign, visit • C apitol Tracks, a regular www.givefansthecredit.com. publication for members of

Dialogue

Advocacy

Education

The Digital Academy As The Recording Academy has grown its mission, programs and services to meet the needs of the 21st century music community, so too has it evolved its methods for interacting with that community. The organization’s digital initiatives reveal an embrace of new technologies to communicate and advance our mission and the GRAMMY brand. GRAMMY.com has been the exciting online extension of the GRAMMY telecast for nearly two decades. While helping build awareness for and drive viewership to the GRAMMY Awards, the site presents Recording Academy news, events and information; engaging features, video and photos; and its own unique content and creative coverage of the GRAMMYs. And with GRAMMY365, GRAMMY websites now provide a 24/7 connection for all Recording Academy members. For the 55th GRAMMY Awards, GRAMMY.com offered more video, more photos, and a more live and interactive “second-screen” GRAMMY experience than ever before. For the fourth year, The Recording Academy presented GRAMMY Live — a three-day live video stream of GRAMMY activities that included a live webcast of the PreTelecast Ceremony

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and special behind-the-scenes cameras and backstage coverage during the GRAMMY telecast. Nearly 70 categories of awards are presented in the Pre-Telecast, and until 2008 the presentation was only available to those in attendance. Social engagement, live event blogs, real-time video, photo uploads, and user comments enhanced the lively GRAMMY dialogue on the site. Now mobile-optimized, GRAMMY.com accommodated a growing community of visitors viewing the site on mobile devices. Additionally, The Academy continues to expand its digital presence for both the GRAMMY Awards and the organization’s year-round initiatives by creating unique pages on YouTube and

such social networking sites as Twitter, Facebook, Tumblr, Instagram, and others where users can interact with the GRAMMY brand in a meaningful and authentic way. The success of this engagement led to the 54th GRAMMY Awards setting a record as the biggest social TV event at the time. GRAMMY365 now gives Academy members a proprietary community and social network where they can share, connect and learn from one another. All Academy members have access to GRAMMY365 to create a personal profile page and post status updates as well as audio, video and photo files. To better serve its members, The Academy will launch a newly redesigned, mobile-optimized member site in 2013.

Meanwhile, GRAMMY.com remains an invaluable and growing year-round destination and key content syndication hub for music news, a GRAMMY winners database, blogs, unique performance and interview video such as the GRAMMYs On The Road and ReImagined series, content from The Academy’s vaults, the GRAMMY.com First Listen series, exclusive interviews, and enlightening features. GRAMMY.org launched in 2010 as a platform dedicated specifically to our mission — the work of The Academy (including our advocacy efforts and the Producers & Engineers Wing), as well as the MusiCares and GRAMMY Foundations. And this GRAMMY season, The Academy provided voting members with the ability to listen to full tracks of more nominated music than ever before in a streaming, on-demand format. This online evaluation tool continues to evolve into a powerful resource to support our GRAMMY Awards process. It’s all part of The Academy’s growing digital development, with powerful tools providing members as well as the general public greater access to and interaction with The Academy.

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The GRAMMY Awards® Process

Each fall at the annual GRAMMY Awards screening meetings, hundreds of music experts from around the country — musicians, producers, A&R representatives, journalists, and other music professionals — gather in Los Angeles to pour through every entry for the upcoming GRAMMY Awards and endeavor to place each recording in its appropriate category. For two days this past September, The Recording Academy hosted the “core” screening meeting, where a musical evaluation committee dedicated itself to defining the proper category placement for entries in the General, Rock and Pop Fields. Similar panels of people knowledgeable in their fields worked through the same process for recordings in the American Roots Music, Classical, Country, Dance/Electronica, Gospel/ Contemporary Christian Music, Jazz, Latin, and R&B Fields. As much as these folks love music, eight-hour days analyzing it can be exhausting. Add to that the collective hours spent debating in which category a song or album belongs — an often lengthy process of barely controlled passions and thoughtful, if determined, argument — and these volunteers are spent. But they fight for the music they love, learn minute details about other music, and in the end walk away satisfied with the committee’s final decision. These screening meetings are one of the many vital steps in the complete GRAMMY

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Awards process. From the time entries are first submitted to the big night when the GRAMMYs are proudly bestowed and accepted, there are long months of painstaking preparations. The Awards process is more complex and involved than many casual observers realize. Each entry is subjected to verification, screening and nominating procedures that ensure fairness for every genre and the integrity of the process as a whole. From early July through August 2012, The Academy received approximately 17,400 entries, which were processed and verified for eligibility. A total of 10 preliminary screenings were held during which committees of specialists in specific genres of music made the first round of categorization. At these preliminary screenings, a team of authorities on world music might listen to a recording and come to the conclusion that it’s not world music as The Academy defines it. They would then recommend it for consideration in a different genre by another committee at the full-scale annual screening meeting taking place the following week. It’s at this meeting that all entries eventually find a home. When the rigorous two days are finished and the staff has processed all the category moves, the Entry List is developed and sent

® with a Nominating Ballot to all voting members of The Recording Academy. This voting body, comprised of more than 12,000 artists, producers, songwriters, engineers, and other qualified creative music professionals, votes to determine the final nominations. For the 55th GRAMMYs, these final nominations were announced Dec. 5 during a special live telecast, “The GRAMMY Nominations Concert Live!!”

Approximately two weeks later, final ballots were sent to the voting members of The Academy, who selected the GRAMMY winners. It’s then up to the accounting firm to tabulate the votes and seal the results in envelopes that are opened for the first time on the GRAMMY telecast and Pre-Telecast. It’s only then that the world learns who will receive these coveted gramophones.

Behind The Statue

“I’ve always considered myself a tinker,” says John Billings, “until I saw the definition of a tinker in the dictionary. It says a tinker is ‘a person who spends his time in an unworthy pursuit.’ But I’ve finally gotten to the point where I can call myself an artist.” Billings is only the second man to create, by hand, each lustrous gold gramophone statue that is presented to GRAMMY recipients. He apprenticed under the original GRAMMY maker, Bob Graves, until Graves’ death in 1984. As a child, Billings lived down the street from Graves in the suburbs of Los Angeles. Although he hung around Graves’ workshop for most of his childhood, it wasn’t until 1977, when Billings was in dental college, that Graves approached him about becoming a mold-maker. The art of mold-making, passed on from artist to artist over hundreds of years, was something Graves took very seriously. Eventually, Billings would too. At the time Billings began to work by Graves’ side, the elder artisan was beginning to

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lose his sight, a complication of kidney failure. “He was very anxious to pass on his knowledge to me before it was too late,” Billings said several years ago. “A mold-making apprenticeship involves a seven-year commitment. We knew we were facing an impossible deadline, but we were both determined — me to learn and him to teach.” The two men worked sideby-side until Graves’ death. “His final words were, ‘Don’t let anyone else get those GRAMMYs; you do them!’ I promised Bob I wouldn’t let anyone else take it away. “It’s a unique and interesting process. [Most] people have never had the privilege of seeing how it’s done. They think [the awards] just come from the store,” says Billings, who makes GRAMMYs and Latin GRAMMYs year-round. The design of the GRAMMY Award has evolved over the years, mostly for practical reasons. The original award had a walnut base and a delicate gramophone with a hand-crank on the side. Over-enthusiastic recipients frequently broke off the hand-crank, which was eventually deleted from the

award’s construct when Billings redesigned the GRAMMY in 1991. The overall size of the award grew by 30 percent so that television audiences could see it easily. Also, in the early years, GRAMMY winners took home their awards on the night of the ceremony. Today, the trophies feature engraved plaques and are shipped to the winners several weeks after the telecast. The calendar may reflect 2013, but the painstaking process of making a GRAMMY is derived from a tradition that is hundreds of years old. The statue is cast out of Grammium, a patented custom zinc alloy, melted at 650 degrees and poured into a mold. After it’s removed from the mold, it’s filed and the details are refined. Laboriously sanded and polished, the trophy is finally gold-plated. In addition to the trophy’s three metal-cast components, the gramophone’s bell is made on a lathe out of a sheet of spun brass. The base, also cast in the same metal, is sanded down, primed and painted in black automotive urethane. It’s a long and meticulous process. When Billings began working with Graves in 1977, there were only 51 GRAMMY categories — today there are 81, though the number had grown to as many as 110 in recent years. In September 2000 The Latin Recording Academy debuted the inaugural Latin GRAMMY Awards show, now with 47 categories for which Billings also meticulously handcrafts awards. Additionally, Billings creates special variations of

the GRAMMY statuette for The Recording Academy’s Special Merit Awards. Each GRAMMY takes 20 hours to craft, but Billings has yet to tire from the process. “Somehow I get enthusiastic. These awards are special to me. I’ve been around them since I was a kid.” Today, Billings Artworks is located in the San Juan Mountains of southern Colorado. Billings and his small crew also produce by hand other prominent awards show trophies. They create the Annie award (ASIFA-Hollywood’s award for excellence in animation) and the John R. Wooden Award (for the NCAA basketball player of the year). Aside from making hundreds of GRAMMYs each year, Billings does find time for other creative outlets. He paints, and dabbles as a musician himself. Does Billings, the musician, ever dream about being presented with one of his own gold statues on GRAMMY night? “You know, I can’t imagine what it feels like. I have sat in the audience for so many years, and I sit there and cry. To see something that I have made to honor this person, and they’re standing there holding it up in the air like it’s an Olympic medal. There is really a lot of pride in that, and I think that’s what keeps me going.” (John Billings is the subject of an award-winning short film produced by The Recording Academy’s Media Productions department. To view the film, go to YouTube and search The GRAMMY Man Part 1.)

Find Your True Rhythm

The rhythm of America’s music was born in Mississippi. Blues, country music and rock ‘n’ roll started right here in the most Southern place on earth, the one mother of True Southern Culture—Mississippi. From juke joints and country music stages to rock ‘n’ roll concerts, you will hear the authentic and sincere sounds and stories that make this special place the center stage of the musical world. From festivals and fairs to impromptu jam sessions, Mississippians are right in the spotlight making the music that is defined, appreciated and preserved by generations past, present and future. Mississippi was, is and always will be the most inspiring place to Find Your True South.

Blues Mural, Leland

V i s i t M i s s i s s i p p i . o r g • 1. 8 6 6 . S E E M I S S

The Recording Academy速 Executive Staff

NEIL PORTNOW

WAYNE ZAHNER

PRESIDENT/CEO

Branden Chapman Executive In Charge Of Production & Chief Business Development Officer

Daryl Friedman

Chief Advocacy & Industry Relations Officer

CHIEF FINANCIAL OFFICER

Barb Dehgan

Rick Engdahl

Vice President, Communications & Media Relations

Gaetano Frizzi

Bill Freimuth

Chief Information Officer

Vice President, Awards

Vice President, Human Resources & Development

Chief Marketing Officer

Evan Greene

David Konjoyan

Kristen Madsen

Scott Goldman

Dana Tomarken

Chuck Ortner

Bobby Rosenbloum

Vice President, Creative Services

Nancy Shapiro Senior Vice President, Member Services

MusiCares and GRAMMY Foundations

Senior Vice President

Vice President

Advisors

Joel Katz

General Counsel

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55th Annual GRAMMY Awards

National Legal Counsel

Deputy General Counsel

Gary Smith

Managing Partner, Deloitte & Touche

The Recording Academy

速

National Trustee Officers And Trustees Trustee Officers

George J. Flanigen IV

Christine Albert

Glenn Lorbecki

Carlos Alvarez

Peter Asher

Larry Batiste

Michael Bearden

Jennifer Blakeman

Scott Bomar

Darrell Brown

John Burk

Sheila E.

Sue Ennis

Pete Fisher

Bill Gibson

Malcolm Harper JR.

Anne Harris

Chair Of The Board

Vice Chair

Secretary/Treasurer

Jimmy Jam Chair Emeritus

Trustees

Florida

New York

Pacific Northwest

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55th Annual GRAMMY Awards

Memphis

Nashville

Los Angeles

Nashville

Pacific Northwest

San Francisco

Los Angeles

Texas

Los Angeles

Chicago

FROM THE RUNWAY TO DANCE FLOOR. DELTA BRINGS YOU CLOSER TO THE MUSIC YOU LOVE ACROSS THE GLOBE.

DELTA.COM

The Recording Academy

速

National Trustee Officers And Trustees Trustees

Stephen Hart

Terry Hemmings

Daniel Hill

Tammy Hurt

David Ivory

Scott Jacoby

Johnny K

Mike Knobloch

Sebastian Krys

Ruby Marchand

Kitty Margolis

Harvey Mason Jr.

James McKinney

Kurosh Nasseri

Phil Nicolo

John Poppo

Nicki Richards

Glenn Schick

Eric Schilling

Ken Shepherd

Karen Sherry

Peter Strand

Paul Wall

San Francisco

Philadelphia

New York

Philadelphia

Memphis

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55th Annual GRAMMY Awards

New York

San Francisco

New York

Nashville

Chicago

Los Angeles

New York

Chicago

Nashville

Los Angeles

Washington, D.C.

Atlanta

Texas

Atlanta

Los Angeles

Washington, D.C.

Florida

The Recording Academy速 National Staff

218

Rob Accatino

Todd Dupler

Lucia Kaminsky

Sean Riley

Daniela Acuna

Miranda Eggleston

Brian Klinsport

Shannon Roach

Stacey Adams

Rick Engdahl

David Konjoyan

Stephen Salazar

Christee Albino

Ashley Ernst

Ben Lamb

Erin Sarsfield

Jasmin Alejandrez

Virginia Faddy

Leah LaRocco

Stephanie Schell

Michael Almanza

Yvonne Faison

Crystal Larsen

Tyler Schell

Stacy Anderson

Fabrizio Fajardo

Troy Lillestol

Mark Schulz

Monica Arellano

Annika Frank

Claudine Little

Nancy Shapiro

Ali Arenberg

Bill Freimuth

Daniel Lopez

Jerry J. Sharell

Lyn Aurelius

Daryl Friedman

Nora Luna

Justin Shover

Grace Baca

Gaetano Frizzi

Paul Madeira

Laura Sibigtroth

Erin Baxter

Lindsay Gabler

David Mar

Lani Simmons

Greg Bechtloff

Mylea Gacutan

Marina Martinez

Julie Smith

Deston Bennett

Lisa Goich-Andreadis

Alan Matkovic

Tirsa St. Fort

Jodie Blum

Shonda Grant

Lila Mayes

Davina Steiner

Amelia Bonow

Evan Greene

Christen McFarland

Mary Stewart

Nicole Brown

Rosa Guerrero

Tracy McKee

Susan Stewart

Kiana Butler

Frank Guillen

Tim McPhate

Rex Supa

Marlena Campbell

Froylan Gutierrez

Ann Meckelborg

George Thompson

Jim Cannella

Shumetris Halford

Joseph Melendez

Adrian Tosh

Michele Rhea Caplinger

Elizabeth Healy

Hillary Melin

Clay Upton

Jamieson Chandler

Tera Healy

Daniel Mendoza

Louis Vazquez

Branden Chapman

Nate Hertweck

Philip Merrill

Alicia Warwick

Wendi Cherry

Andrew Hinze

Lizzy Moore

Tim Whalen

Joanna Chu

Vicky Hofmann

Sarah Mudler

Reid Wick

Marta Clark

Amber Holubec

Marc Mutnansky

Charlotte Williams

Ashley Coleman

Jon Hornyak

Leigha Nettleton

Linda Wilvang

Kevin Colligan

Crystal Hypolite

Lourdes L. Patton

Michael Winger

Laura Crawford

Casey Immoor

Scott Petersen

Iman Saadat Woodley

Neil Crilly

Beverly Jackson

Liz Pfriem

Candice Yang

Kayenecha Daugherty

Jaimie Jenkins

Neil Portnow

Neil Youn

Barb Dehgan

Theresa Jenkins

Brittany Presley

Lisa Zahn

Nick Di Fruscia

Angela Jollivette

Paul Raksit

Wayne Zahner

Adrian Diaz

Candace Jones

Esperanza Ramirez

Maureen Droney

Maurice Kalous

Kourtney Richard

55th Annual GRAMMY Awards

The Recording Academy® Foundations Staff And Boards Andrea Adelman

Christina Cassidy

Shireen Janti Reid

Julie Mutnansky

Daniel Albarran

Kelly Darr

Renee Jones

Nicole Oliva

Kate Allen

Alex Dilks Pandola

Dorit Kalev

Harold Owens

Cortney Bailey

Ryan Donahue

Erica Krusen

Kellyn Robison

Hannah Berryman

Loren Fishbein

Joseph Langford

David Sears

Danielle Bowker

Carol Flores

Jennifer Leff

Dana Tomarken

Brett Bryngelson

Scott Goldman

Kristen Madsen

Judy Wong

Debbie Carroll

Marisela Huerta

LaShon Malone

Wynnie Wynn

GRAMMY Foundation Board of Directors

MusiCares Foundation Board of Directors

President/CEO

Neil Portnow Honorary Chair

Neil Portnow

Diana Alvarado

Honorary Chair

Davina Aryeh

Ryan Seacrest

Howard Stringer

Chair

Lina Borda

Rusty Rueff

Scott Pascucci

Vice Chair

Jon Platt

Uziel Colon

Secretary/Treasurer

Luis Dousdebes

Chair Emeritus

Tim Bucher Geoff Cottrill

Beatriz R. Perez

Gary Veloric Paul Caine

Gary Borman

Martin Bandier

Darrell Brown

John Burk

Dan Cherry

Rod Essig

Greg “Stryke” Chin

Pete Fisher

Robert Aubry Davis

George J. Flanigen IV

Livys Cerna

Claudia Joge Caitlin Marino Cristina Montiel John Munoz Grace Santa-Ana Aida Scorza

Susan Genco

George Jones

Jerry Greenberg

Debra Lee

Arnie Herrmann

Amanda Marks

Kevin Lyman

Luis Cobos

Jeanne Meyer

Tero Ojanpera

Moogie Canazio

Elizabeth Moody

Alexandra Patsavas

Michael Rapino

Tom Poleman

David Webster

Alissa Pollack

Luis Villanueva

will.i.am

Bill Silva

Neil Portnow

55th Annual GRAMMY Awards

Trustees Fernando Barbosa Marcelo Castello-Branco George J. Flanigen IV Maria Cristina Garcia-Cepeda Oscar Gomez Jimmy Jam Sebastian Krys Terry Lickona Cris Morena Laura Tesoriero Johnny Ventura Chairman Emeritus

Kike Santander

Trustee Ad Honorem

Latin Recording Academy Board of Trustees

George J. Flanigen IV

Stasia Washington

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President/CEO

Gabriel Abaroa

Executive Committee Chairman

Vice Chairman

Secretary

Mary Black-Suarez Treasurer

Andy Garcia Legal Counsel

Jorge Hernandez-Torano

DEERING

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The Great American Banjo Company

Congratulations to the artists who play Deering Banjos for their GRAMMY速 Nominations! THE FINEST AMERICAN MADE BANJOS Mumford & Sons

Carolina Chocolate Drops

Avett Brothers

Noam Pikelny

Taylor Swift

Makers of Deering,Vega, Tenbrooks & Goodtime Banjos

The Lumineers

Stephen Wade

Eric Church

Dierks Bentley

Steep Canyon Rangers

SPRING VALLEY, CA USA

www.deeringbanjos.com

800-845-7791

info@deeringbanjos.com

MADE IN

Chapter Boards And Staff Atlanta Chapter

Advisors

Jeff Dauler Kawan “KP” Prather

Chapter Staff

Kenny Ornberg Justin Roberts David Silbaugh Patrick Stump

Erin Baxter

Larry Sturm Paul Wertico Michelle Williams

Chicago Chapter

Andrew Barber Matthew Skoller

Senior Executive Director

Michele Rhea Caplinger Senior Project Manager

Advisors

Billy Johnson

Chapter Staff

Chapter Board

East Regional Director

Tera Healy

Trustees

Tammy Hurt Glenn Schick

Senior Project Manager

President

Membership Coordinator

Sarah Mudler

Billy Johnson

Maurice Kalous

Vice President

Thom “TK” Kidd Secretary

Gwen Hughes

Matthew Hennessy

Governors

Chapter Board

Kerren Berz Iain Bluett Russ-T Cobb Steve Dancz Mike Dekle Richard Dunn Blake Eiseman Elizabeth Elkins Wes Funderburk Dan Hannon Omara Harris Tammy Hurt David Innes Billy Johnson Peggy Still Johnson Steve Jones Thom “TK” Kidd Gary Douglas Motley James “Lroc” Phillips Doria Roberts Tom Roche Bradford Rogers Dr. Lyn Schenbeck Joey Sommerville John Sparrow Matt Still Nikki Taylor Miles Walker Stephanie Wallin Matt Williams

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55th Annual GRAMMY Awards

Florida Chapter

Jim Jonsin Gloria Lemmey Lee Levin Angela N. Martinez Pete Masitti Tom Morris Ivan Parron Armando “Pitbull” Perez Lauren Reskin Julio Reyes Copello Andres Saavedra Elsten Torres Dan Warner Betty Wright Zach Ziskin Advisors

Gabrielle Bozza Kristian Krempel

Chapter Staff Senior Executive Director

Neil Crilly

Trustees

Anne Harris Johnny K Peter Strand

Project Manager

Marta Clark

Project Coordinator

Monica Arellano

President

Matthew Hennessy

Los Angeles Chapter

Vice President

Angelin Chang Secretary

Mark Hubbard Governors

Ken Abdo Ruben P. Alvarez Andrae Ambrose Percy Bady Bobby Broom Angelin Chang Shayla Cooper Shemekia Copeland Ralph Covert Bonny Dolan Jabari “Naledge” Evans Wanda Ewing Anna Fermin Hillel Frankel Michael Freeman Stacy Garrop Matthew Hennessy Daryl Jones Johnny K Mary Mazurek Gabe McDonough John McLaughlin Williams Barry O’Connell

Greg “Stryke” Chin

Chapter Board Trustees

Carlos Alvarez Eric Schilling President

Greg “Stryke” Chin Vice President

Melanie Masterson Secretary

Elsten Torres Governors

Marcella Araica Randy Barlow Bryan Bassett Demacio Castellon Beth Cohen Michael Dagnery Eric Darius Vincent di Pasquale Rudi Dolezal Jimmy Douglass Serona Elton Doug Emery Mike Fuller Christopher Glansdorp Nate “Danja” Hills

Lana “MC Lyte” Moorer

Chapter Board Trustees

Peter Asher Michael Bearden John Burk Sheila E. Mike Knobloch Sebastian Krys Harvey Mason Jr. President

Chris Anokute Peter Asher Dave Aude Evan Bogart Mike Clink Larissa Collins Qiana Conley Bill Cunliffe Ivory Daniel Klaus Derendorf Vikter Duplaix Richard Glasser Jeff Greenberg Lalah Hathaway David A. Helfant David Jordan Julianne Jordan Amy Keys Sebastian Krys Chris Lennertz Frank Macchia Brian Malouf Susan Markheim Marcus Miller Lana “MC Lyte” Moorer Loretta Munoz Robin Nixon Ray Parker Jr. Cheryl Pawelski Akiko Rogers Daniel Rojas Andrew Sandoval Jason Schweitzer Jay Sloan Christopher Tin Chris Walden Verdine White Tremaine Williams Advisors

Marcus Grant Kelly Price

Chapter Staff West Regional Director

Lizzy Moore

Regional Membership Manager

Lana “MC Lyte” Moorer

Yvonne Faison

Vice President

Regional Manager, Chapter Operations

Phil Soussan Secretary

Cheryl Pawelski Governors

Mindi Abair Shawn Amos

Nicole Brown

Production Manager

Paul Raksit

Chapter Boards And Staff Memphis Chapter

Susan Marshall

Jon Randall Stewart

Chapter Board

Trustees

Scott Bomar Ken Shepherd President

Susan Marshall Vice President

Lawrence “Boo” Mitchell Secretary

Kim Bledsoe-Lloyd Governors

John G. Autin Stefanie Bolton Charles Burch David Fleischman Garry Goin Catrina Guttery Ashlye Keaton Matt Lemmler Pete Matthews Jim McCormick Shannon McNally Lawrence “Boo” Mitchell Jeff Powell Daniel Russo Joel Savoy Cedric Scott Ken Shepherd Lester Snell Ralph Sutton Scott Thompson Advisors

D.A. Johnson Marvin Stockwell

Chapter Staff Senior Executive Director

Jon Hornyak

Senior Project Coordinator

Lucia Kaminsky

Administrative Assistant

Brittany Presley

224

Nashville Chapter

55th Annual GRAMMY Awards

Trustees

Darrell Brown Pete Fisher Terry Hemmings Daniel Hill President

Jon Randall Stewart Vice President

Victoria Shaw Secretary

Allen Brown Governors

Chuck Ainlay Lori Badgett Woody Bomar Scott Borchetta Mark Bright Joanna Carter David Corlew Rod Essig Trey Fanjoy Pete Fisher Tracy Gershon Steve Gibson Lisa Harless Terry Hemmings Daniel Hill Doug Howard John Ingrassia Brett James Wayne Kirkpatrick Chandra LaPlume-Pereira Jim Lauderdale Luke Lewis Frank Liddell Scott McDaniel Pat McMakin Shawn McSpadden Justin Niebank Robert K. Oermann Nick Palladino

Alice Peacock LeAnn Phelan Michael Rhodes Leslie Roberts Tommy Sims Jon Randall Stewart Denise Stiff Alan D. Valentine Ben Vaughn Jeff Walker Jay Williams Advisors

Eric Holt Marion Kraft

Chapter Staff South Regional Director

Susan Stewart

Senior Regional Production Manager

Lyn Aurelius

Senior Project Manager

Alicia Warwick

Regional Manager, Chapter Operations

Ashley Ernst

Chapter Assistant

Laura Crawford

New York Chapter

Linda Lorence Critelli

Chapter Board Trustees

Jennifer Blakeman Scott Jacoby Ruby Marchand John Poppo Nicki Richards Karen Sherry President

Linda Lorence Critelli Vice President

Tom Chapin Secretary

Sharon Tapper Governors

Geri Allen

Ben Allison Carlos Alomar Steve Bartels Jonatha Brooke Ray Chew Joe D’Ambrosio

Pacific Northwest Chapter

Guy Eckstine David Frost Phil Galdston Angela Hunte-Wisner Sharon Isbin Bashiri Johnson Claude Kelly Jill Krutick Emily Lazar Jeff Levenson Andres Levin Evange Livanos Tim Martyn David Massey Christian McBride Brian Montgomery Martha Mooke Deirdre O’Hara Porfirio Pina Bob Power Nicki Richards Maxine Roach Nile Rodgers Elliot Scheiner Maria Schneider Justin “Just Blaze” Smith Rich Stumpf Beth Tallman Andy Tavel Bethany Thomas Judy Tint Darryl Tookes Lenny White Advisors

Pete Ganbarg Arturo O’Farrill

Chapter Staff Senior Executive Director

Elizabeth Healy

Senior Project Manager

Lisa Zahn

Manager, Chapter Operations

Stacy Anderson

Senior Project Coordinator

Candace Jones

Project Coordinator

Daniela Acuna

Jeff Heiman

Chapter Board Trustees

Sue Ennis Bill Gibson President

Jeff Heiman Vice President

Lisa Grace Secretary

Charles R. Cross Governors

John Bishop Charles Brotman Charles R. Cross Jennifer Czeisler Lauren Daniels Bart Day Brandon Ebel Sue Ennis Michael Gettel Bill Gibson Lisa Grace Dave Gross Jeff Heiman Charles Hopper David Miles Huber Mike Jones Matt Jorgensen Kisha Kalahiki Kenneth Makuakane Choklate Moore Patrice O’Neill Geoff Ott Gail Pettis Jonathan Plum John Roderick David Sabee Jovino Santos Neto Jerry Suarez Karen Thomas Steve Turnidge

Chapter Boards And Staff Advisors

Ed Pierson Aaron Starkey

Chapter Staff Executive Director

Shannon Roach

Membership Coordinator

Liz Pfriem

Chapter Assistant

Amelia Bonow

Amaryllis Santiago Ryan Schwabe Ashley Scott Toby Seay Jim Thorpe Reggie Watkins Craig White Corey Latif Williams Advisors

Philadelphia Chapter

Tyler Bellinger Kristal Oliver

Chapter Staff Executive Director

Mark Schulz

Membership Coordinator

Ashley Coleman

San Francisco Chapter Ivan Barias

Advisors

Trustees

David Ivory Phil Nicolo

Chapter Staff Executive Director

President

Michael Winger

Ivan Barias

Production Manager

Vice President

Christen McFarland

Nik Everett Secretary

Governors

Ivan Barias Sarah Dash Louis Anthony deLise Skip Denenberg Omar Edwards James Gallagher Lauren Hart David Ivory Jeri Lynne Johnson Andy Kravitz Lori Landew Jay Levin Andrew Lipke Keath Lowry Michael Ludwig Dena Marchiony Jeff Moskow Michael Pedicin Octavius T. Reid III Bernard Max Resnick Richard Rubini

226

55th Annual GRAMMY Awards

Tom Shimura aka Lyrics Born Michael Starita Kylee Swenson Gordon Alex Theory Wayne Wallace Martin Luther Gino Robair

Chapter Board

Terry Jones

Zoe Keating Judy Kirschner Suzanne Mino Koga Mitchell Koulouris Stacy Kray Camilo Landau Ledisi Damien Lewis Justin Little Frank Martin Tom Murphy Dr. John-Carlos Perea Nick Phillips David Roche

Michael Romanowski

Chapter Assistant

Mylea Gacutan

Chapter Board Trustees

Larry Batiste Stephen Hart Kitty Margolis

Texas Chapter

Governors

Randy Adams Rodney Alejandro Carlos Alvarez Ricky Anderson Tamera Bennett James “Pharoah” Brown Caroline Burruss CJ Eiriksson Malcolm Harper Sara Hickman Eric Jarvis Terrany Johnson Freddie Krc Nick Landis Terry Lickona Paul “Pappy” Middleton Gina Miller Merry Miller Michael Mordecai Donnie Nelson Paul Nugent Rick Orozco Tim Palmer Dick Reeves Carlos Sosa Carl Thiel Gilbert Velasquez Heather Wagner-Reed Paul Wall Dan Workman Advisors

Deidra “DJ Spinderella” Roper Alex Trevino

President

Michael Romanowski

Chapter Staff

Vice President

Lia Rose

Senior Executive Director

Theresa Jenkins

Secretary

Suzanne Mino Koga

Project Manager

Governors

Chapter Assistant

Kevin Arnold Minna Choi Jeremy Cohen Brad Dollar Mikael Eldridge aka Count Eoin Harrington Bonnie Hayes Edward (Ned) R. Hearn Shiloh Hobel Stacy Horne Sarah Jones

Christee Albino

Eric Jarvis

Chapter Board Trustees

Malcolm Harper Jr. Paul Wall President

Eric Jarvis Vice President

Nick Landis Secretary

Joseph Stallone

Amber Holubec

Washington, D.C. Chapter

John Simson

Chapter Board Trustees

James McKinney Kurosh Nasseri President

John Simson Vice President

Richard James Burgess Secretary

Diane Blagman Governors

Deborah Bond Wayne Bruce Richard James Burgess Bill Carpenter Maurette Brown-Clark Robert Aubrey Davis Ryan Farish Angie Gates Shane German Tom Goldfogle William “Malachai” Johns Maysa Leak Jerome Maffeo Carolyn Malachi Richard On Dianne Peterson Pete Reiniger Tonya Sharpe Crystal Waters Daniel Weatherspoon Advisors

Yuliya Gorenman Carl “Kokayi” Walker

Chapter Staff Executive Director

Wendi Cherry

Administrative Coordinator

Kayenecha Daugherty

Administrative Assistant

Brittany Presley

The Recording Academy Past Chairs ®

James B. Conkling Acting National Chairman 1957–1961

Nesuhi Ertegun Chairman/President 1964–1965

Wesley H. Rose

Paul Weston

Robert L. Yorke

F.M. Scott III

George Avakian

Chairman/President 1961–1962

Chairman/President 1965–1966

John Scott Trotter Chairman/President 1963–1964

Pete King

Chairman/President 1966–1967

Chairman/President 1967–1968

Mort L. Nasatir Chairman/President 1968–1969

Chairman/President 1969–1971

Chairman/President 1973–1975

Chairman/President 1975–1977

Jay L. Cooper

J. William Denny Chairman/President 1977–1979

Chairman/President 1979–1981

Chairman/President 1981–1983 Chairman 1989–1991

Michael Melvoin

Michael Greene

Alfred Schlesinger

Ron Kramer

Henry L. Neuberger III

Joel A. Katz

Phil Ramone

Leslie Ann Jones

Garth Fundis

Daniel Carlin

Terry Lickona

Jimmy Jam

Chairman 1997–1999

228

Chairman/President 1985–1987

55th Annual GRAMMY Awards

Chairwoman 1999–2001

Chairman 1987–1989

Chairman 2001–2003

Chairman 1991–1993

Chairman 2003–2005

Jay S. Lowy

Irving Townsend

Chairman/President 1971–1973

Chairman/President 1983–1985

Bill Lowery

Chairman/President 1962–1963

Chairman 1993–1995

Chairman 2005–2007

William Ivey

Chairman 1995–1997

Chair 2007–2009

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In Memoriam Mark Abrahamian

Frederick J. Brown

Jayne Cortez

Ruth Fernández

Haim Hefer

William Paul “Willie” Ackerman

Dave Brubeck

Pete Cosey

Montserrat Figueras

Levon Helm

Billy Bryans

Don Cox

Clare Fischer

Bugs Henderson

Dietrich Fischer-Dieskau

Robert F. Hendrix

Betty Fisher

Bob Henry

Richard Adler Warda Al-Jazairia Audrey Allison Christopher Amenita Maurice André Chris Andrews Inez Andrews Charles Anthony Tom Ardolino Pedro Arroyo Alexander Arutiunian Mike Auldridge Bob Babbitt Perry Baggs Roy Baham Brad Baker Israel Baker Mickey Baker Billy Barnes Frank Barsalona Kearney Barton Fontella Bass “Uncle” Lionel Batiste James Richard Belote Richard Rodney Bennett Paavo Berglund Emilio “Miliki” Aragón Bermúdez

Patti Denise Bryant Frank Buchanan Dewel Bullington Larry Butler Margaret Ann Buxkamper Terry Callier Hebe Camargo Don Campbell Tim Campbell Pupi Campo Sylvia Cantarell Capital Steez Vincent Cardell Earl Carroll Elliott Carter Lisa Della Casa Hal Casey Ed Cassidy Thomas Cassidy Hadley Castille Jimmy Castor Dee Cernile Dominic Cerulli Rick Chadock Jules Chaikin Teddy Charles Celso Chavez

Eddie Bert

Lili Chookasian

John Birch

Rick Cimato

Robert Wayne Birch

Dick Clark

Rick Blackburn

Susanna Clark

Eddie Blazonczyk Sr.

Mario Clavell

Nicole Bogner

John Clive

Sean Bonniwell

John Coates

Horacio “Chivo” Borraro

Maria Cole

Mark Boyd

Charlie Collins

Herbert Breslin

Ray Collins

Lloyd Brevett

Elizabeth Connell

Gerry Bron

Adrienne Cooper

Chuck Brown

Everett J. Corbin Don Cornelius

James “Sugarboy” Crawford Robert Lee Crigger Armand Crump José Curbelo Carlo Curley Ted Curson Marcel Curuchet

Charles Flores

Hans Werner Henze

Peter Fornatale

Brian Hibbard

Robbie France

Stephen Hill

Dave Franer

Donna Hilley

Damon Freeman

Omus Hirshbein

Lucio Dalla

Earle Lavon “Von” Freeman Sr.

Doc Holliday

Hal David

Isaac “Dickie” Freeman

James Wesley “Red” Holloway

Carl Davis

Robert French

Larry Hoppen

Michael Davis

Gil Friesen

Michael Hossack

Gloria Davy

Bertha Woodruff Garcia

Whitney Houston

Jeremy Deacon

Tim Garcia

Steeve Hurdle

Dick Decent

Érick Garza

Margie Hyams

Marcella DeCray

Victor Gaskin

Brian Jack

Bill Dees

Connie Gately

Hal Jackson

Al DeLory

Robin Gibb

Phoebe Jacobs

Robert Dickey

Kathi Kamen Goldmark

Amber Jacobson

Doug Dillard

Junior Gonzalez

Etta James

Mat Domber

Geoffrey Gordon

Mikel (Mike) Japp

Lee Dorman

Eric Gorodetzky

Frank Javorsek

Bill Doss

Michael Grant

Sammy Johns

Nell Haas Driver

Don Grady

Tim Johnson

William Duckworth

Jerry Gray

William David “Billy” Johnson

Chris Duffy

R.B. Greaves

Cleve Duncan

Andy Griffith

Michael Dunford

Brent Grulke

Donald “Duck” Dunn

Jackie Guthrie

Bobby Durango

David Hall

Michael “Mighty Mike” Jones

Marion Franklin Dycus

Greg Ham

Peter Jones

Dusty Edwards

Joslyn Hamilton aka Captain Barkey

Pierre Juneau

Jimmy Ellis Brigitte Engerer Chris Ethridge Calvin Everhart Danny Evins Osvaldo Fattoruso Leonardo Favio Martin Fay Irving Fein

Marvin Hamlisch Derek Hammond-Stroud Major Harris Pat Harris Garry Harrison John Harrison Jonathan Harvey Paquito Hechavarría

Jeffrey Jolson-Colburn Davy Jones Jimmy Jones

Paul Justice Norberto Kaminsky Andrew Kazdin Gerry Kearby Erica Kennedy Eduard Khil Benjy King Mary Frances Garner “Sis” King

55th Annual GRAMMY Awards

231

In Memoriam Dick Kniss

Barney McKenna

Austin Peralta

Michael K. Schlesinger

Roman Totenberg

Charlie Lamb

Scott McKenzie

Richard “Pete” Peters

Nelson Schwenke

Ranking Trevor

Jack Lameier

Hal McKusick

Ken Phebus

Billy Scott

Mihaela Ursuleasa

Byard Lancaster

Mike Melvoin

Marguerite Piazza

David Scott

Jairo Varela

Bernard Lansky

Nan Merriman

Deborah Lyn Pierce

Howard Hillison Scott

Chavela Vargas

Barbara Lea

George Mesterhazy

Frank Pierson

Earl Scruggs

Valentin Velasco

Evelyn Lear

Sergio Mihanovich

Charles “Skip” Pitts

Ivan Sekyra

Bev LeCroy

Fred Milano

Floyd Monroe Points

Joe Sell

Horacio “Gamexane” Villafañe

“Miss Rita” Lee

Norman Miller

Steve Pokorny

Khalil Shaheed

Jeni LeGon

Ilhan Mimaroglu

Frances Preston

Ravi Shankar

Gustav Leonhardt

Iverson “Louisiana Red” Minter

Dory Previn

Isaiah Sheffer

Lou Pride

Robert B. Sherman

Duy Quang

Jim Sherwood

Lorin Levee John Levy Chris Lighty Everett Lilly George Lindsey Mort Lindsey Jimmy Little Huw Lloyd Langton Joey “Fingers” Lombard Jon Lord Andrew Love Vince Lovegrove Eric Lowen Mitch Lucker Gary Lumpkin Andrew MacNaughtan George Marino Calvin Marsh Jim Marshall Paul Marshall Thomas Marth Tony Martin Edna Mattox Bud McCain Jerry “Boogie” McCain Mark “Bam Bam” McConnell Jimmy McCracklin Jim McCrary Kathi McDonald Velma Lee McEnery Dorothy McGuire James Walter McKell

Alan Mintz Elliott Mitchell Ronnie Montrose Rick Moore Farrell Morris William “Danny” Morrison Carlos Moseley Ed “Goat” Motta Joe Muranyi Chris Nadler Chris Neal Trondr Nefas Judith Nelson Patricia Neway Jeff “Critter” Newell Terry Newell Jason Noble Claude Nobs David Nye Jimmy O’Neill Adrian Otero Johnny Otis Frank Page Patti Page Ramona “Ms. Melodi” Parker

José Luis Villarreal Galina Vishnevskaya Paul van Wageningen Bernie Waldon Rusty Walker Herby Wallace

Deborah Raffin

Todd Simko

Raylene Rankin

Ozell Simpkins

Sluggy Ranks

Danny Sims

Estela Raval

Pete La Roca Sims

Mark Reale

Joe Siracuse

Herb Reed

Tony Sly

Natina Reed

Rod Smarr

Tom “Cat” Reeder

Carrie Smith

Ken Regan

Snuffy Smith

Christopher Reimer

Sam “The Record Man” Sniderman

Bob Weston

Joe South

Eric White

Larry “Rhino” Reinhardt Pery Ribeiro Ruggiero Ricci Martin Richards Paul Richey Howie Richmond Winston Riley Jenni Rivera Sam Rivers Richard Robbins Kenny Roberts Buddy Rogers Jayne Rogovin Ed Roman

Nilesh Patel

Charles Rosen

Homero Patrón

Crystal Rosen

Ray Patterson

Joseph E. Ross

Steve Paul

Gabrielle Roth

Michael Douglas Pearson

“Sweet Joe” Russell

David Peaston

Mike Scaccia

Frank Peppiatt

Hal Schaefer

Gareth Walters Willa Ward David S. Ware Doc Watson Bert Weedon Alexis Weissenberg Bob Welch Kitty Wells Alvy West

Luis Alberto Spinetta

Marva Whitney

Mark Spiwak

Frederick “Fred” Wilhelms III

Dennis St. John Chris Stamp Kaye Stevens Bob Sticht King Stitt Ronnie “Angel” Stoots Billy Strange Ed Stratton Big Jim Sullivan Rollin Sullivan Donna Summer

John Wilkinson Will (Mastic Scum) Andy Williams Camilla Williams Jimmie Williams Robbie Williams Abram Wilson Frank Wilson Yaffa Yarkoni Adam Yauch

Stuart Swanlund

James Martin “Marty” Yonts

John Tchicai

Philip Wylie York

Richard Teeter

Zvi Zeitlin

Gene Thomas

Dennis “Dino” Zimmerman

Joe Thompson Yomo Toro

(List through Jan. 15, 2013)

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55th Annual GRAMMY Awards

In remembrance of one of the biggest pop stars of all time, six-time GRAMMY winner Whitney Houston, on Nov. 16, 2012, The Recording Academy produced “We Will Always Love You: A GRAMMY Salute To Whitney Houston” which aired on CBS. Taking place at the Nokia Theatre L.A. Live, the one-hour special celebrated Houston’s life and artistry via performances from GRAMMY winners Yolanda Adams and CeCe Winans,

Jennifer Hudson performs “I Wanna Dance With Somebody (Who Loves Me)”

LL Cool J

Celine Dion, Jennifer Hudson, and Usher, as well as special appearances by Academy Award-winning actress Halle Berry, actress Taraji P. Henson, and GRAMMY winners LL Cool J and Britney Spears. The special also featured never-before-seen footage and interviews highlighting Houston’s career, including her iconic GRAMMY performances. The special is now available on DVD, including bonus videos of eight of her biggest hits. Yolanda Adams and CeCe Winans perform “Count On Me”

Britney Spears

Usher performs “I Believe In You And Me”

Halle Berry

Celine Dion performs “Greatest Love Of All”

Photos: WireImage.com

55th Annual GRAMMY Awards

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For the fifth consecutive year, The Recording Academy kicked off the countdown to Music’s Biggest Night with an exciting live TV special to announce nominees for the 55th Annual GRAMMY Awards. “The GRAMMY Nominations Concert Live!!” took place Dec. 5, 2012, for the first time ever in Nashville at Bridgestone Arena and featured a diverse lineup of performances by some of music’s biggest acts, including the Band Perry and Dierks Bentley, Luke Bryan, Fun. and Janelle Monáe, Maroon 5, Ne-Yo, and the Who. LL Cool J returned as host and was joined by Taylor Swift, who co-hosted the concert’s first installment in 2008. Artists ranging from Sheryl Crow and Chris Young to Hunter Hayes and Little Big Town announced nominations. 1 Chris Young and Sheryl Crow announce

nominees for Record Of The Year 2 LL Cool J and Taylor Swift 3 Ne-Yo performs “Let Me Love You (Until

You Learn To Love Yourself)” 4 Janelle Monáe performs “We Are Young” with Fun. 5 Fun.’s Nate Ruess performs “We Are Young” 6 Hunter Hayes sings the nominees

for Best Pop Vocal Album 7 Maroon 5’s Adam Levine performs at a concert

immediately following the nominations special

8 Little Big Town announce nominees

for Best New Artist 9 Dierks Bentley and the Band Perry’s Kimberly

Perry perform a cover of Johnny Cash and June Carter Cash’s 1967 GRAMMY winner “Jackson” 10 Luke Bryan performs “I Don’t

Want This Night To End” Photos: Getty Images

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55th Annual GRAMMY Awards

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55th Annual GRAMMY Awards

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Jimmy Page and Gary Clark Jr. Photographed by Danny Clinch, London 2013