61st Grammy Award Programme by Cocktail Week

SESAC CONGRATULATES OUR 2019 GRAMMYÂ® AWARD NOMINEES JERRY CANTRELL

CID --

Best Remixed Recording

(Alice In Chains)

CALIBRE 50

Best Rock Album

Best Regional Mexican Music Album (Including Tejano)

LAUREN DAIGLE

CHRIS DAVE

Best Contemporary Christian Music Performance/Song

(Chris Dave and the Drumhedz)

Best Urban Contemporary Album

Best Contemporary Christian Music Album

DISCLOSURE --

Best Dance Recording

LALAH HATHAWAY --

ORRIN EVANS

Best R&B Performance

(Orrin Evans and the Captain Black Big Band)

Best Traditional R&B Performance

Best Large Jazz Ensemble Album

KEITH GANZ

Best R&B Album

Best Jazz Vocal Album

PAUL MABURY

KATE McGARRY

JASON INGRAM --

Best Contemporary Christian Music Performance/Song

Best Contemporary Christian Music Performance/ Song

Best Jazz Vocal Album

PJ MORTON --

Best R&B Performance --

Best Traditional R&B Performance

MERCYME

Best R&B Album

Best Contemporary Christian Music Performance/Song

SETH MOSELY --

Best Contemporary Christian Music Performance/Song

TEDD TJORNHOM

MARGO PRICE

Best New Artist RIGHTS SIMPLIFIED. ROYALTIES AMPLIFIED.

Best Contemporary Christian Music Performance/ Song

The Business of Music.

bridge Muse

Splits

ANNOUNCING JAMMBER CREATOR SUITE

Redesigned.

nStudio

www.jammber.com

THE RECORDING ACADEMY™

FOR THE RECORDING ACADEMY

PRESENTS

CHAIR OF THE BOARD OF TRUSTEES

John Poppo

PRESIDENT/CEO

Neil Portnow

CHIEF FINANCIAL OFFICER

Wayne Zahner

EXECUTIVE IN CHARGE OF PRODUCTION & CHIEF BUSINESS DEVELOPMENT OFFICER

Branden Chapman

CHIEF INFORMATION OFFICER

Rick Engdahl

CHIEF AWARDS OFFICER

Bill Freimuth

CHIEF INDUSTRY, GOVERNMENT & MEMBER RELATIONS OFFICER

SUNDAY, FEBRUARY 10, 2019

Daryl P. Friedman CHIEF PEOPLE & CULTURE OFFICER

Gaetano Frizzi

CHIEF MARKETING OFFICER

Evan Greene

VICE PRESIDENT, CREATIVE SERVICES

David Konjoyan

VICE PRESIDENT, MEMBERSHIP & INDUSTRY RELATIONS

STAPLES CENTER

Laura Segura Mueller

LOS ANGELES

12:30 P.M. GRAMMY AWARDS PREMIERE CEREMONY

5:00 P.M. LIVE-TELECAST GRAMMY AWARDS CEREMONY ®

MUSICARES EXECUTIVE STAFF VICE PRESIDENT, FINANCE

Judy Wong

VICE PRESIDENT, HEALTH & HUMAN SERVICES

Debbie Carroll ADVISORS

GENERAL COUNSEL

Joel Katz

NATIONAL LEGAL COUNSEL

Chuck Ortner

DEPUTY GENERAL COUNSEL

Ecologically intelligent practices were integrated into the

Bobby Rosenbloum

planning and production of the GRAMMY Awards. Most paper

SPECIAL COUNSEL

products and other supplies we bought and the services

Daniel Kurtz

we procured were selected with sensitivity toward positive

DEPUTY NATIONAL LEGAL COUNSEL

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.

Sandra Crawshaw-Sparks

RECORDING ACADEMY TELEVISION COMMITTEE Neil Portnow, Co-Chair George J. Flanigen IV, Co-Chair Fletcher Foster Leslie Fram Jimmy Jam Mike Knobloch Debra Lee Harvey Mason Jr. Ann Mincieli Alexandra Patsavas John Poppo RECORDING ACADEMY TELEVISION COMMITTEE ADVISORY GROUP Gabriel Abaroa Jr. Ed Cherney Leslie Ann Jones Joel Katz Terry Lickona Glenn Lorbecki Richard Ranta Bob Santelli Eric Schilling PRESS REPRESENTATION Sunshine Sachs BALLOT TABULATION Deloitte & Touche Gary Smith Marijane Unter AEG EHRLICH VENTURES LLC EXECUTIVE PRODUCER

Ken Ehrlich

CO-EXECUTIVE PRODUCER

Ben Winston PRODUCERS

Jesse Collins Raj Kapoor Chantel Saucedo David Wild DIRECTOR

Louis J. Horvitz WRITERS

Ken Ehrlich David Wild PRODUCER

Terry Lickona SUPERVISING PRODUCER

Eric Cook

PRODUCTION DESIGNER

Brian Stonestreet

LIGHTING DESIGNER

Robert A. Dickinson GRAMMY PREMIERE CEREMONY EXECUTIVE PRODUCER

Greg Fera

GRAMMY PREMIERE CEREMONY PRODUCER ON BEHALF OF THE RECORDING ACADEMY

Bill Freimuth

GRAMMY PREMIERE CEREMONY MUSICAL DIRECTOR

Cheche Alara

61st Annual GRAMMY Awards

HERE’S TO CREATING

YOUR OWN SOUND.

At Delta, we’re inspired by those who inspire the world. As the Official Supporter of First-Time Nominees, we congratulate the artists who relentlessly pursue their dreams of connecting the world through music. Thank you for sharing your talents and paving the way for dreamers to come. Official Airline Partner of the GRAMMY Awards®.

Artists, including (clockwise, from top left) Kacey Musgraves, Ella Mai, and Ziggy Marley, visit the Recording Academy’s headquarters in Santa Monica, Calif., to perform and learn about our initiatives and how they can join our efforts to support all music creators

HE RECORDING ACADEMY IS THE WORLD’S leading community of music professionals dedicated to celebrating, honoring, and sustaining music’s past, present, and future. In 1957, a visionary group of music professionals based 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 behind-the-scenes contributors such as producers and engineers. Conceived as a way to create a true recording industry community, the Recording Academy was born. Today, our goals are to advance artistic excellence, ensure a vital and free creative community, support and advocate on behalf of music and its makers, and celebrate artistic achievement through the GRAMMY Awards—music’s only peer-voted award. To accomplish these aims, we developed a network of 12 Chapters across the country that support our members through professional development, advocacy, and philanthropy.

61st Annual GRAMMY Awards

RECORDING ACADEMY

In 2000, we launched the Producers & Engineers Wing to create an organized voice for the individuals who provide the technical expertise and creative thinking necessary for recorded art. The Recording Academy seeks to amplify the voice of music creators in national policy matters. We were instrumental in helping form the Recording Arts and Sciences Congressional Caucus in 2004 and cofounded the musicFIRST Coalition in 2007. In 2018, we took a leadership role in the fight to pass the Music Modernization Act, the biggest update to music legislation in the past 40 years. Through MusiCares and the GRAMMY Museum, the Academy works to protect and support music people in critical times of need, and celebrate the power of music through preservation and education. As the world’s leading society of music professionals, we are dedicated to working year-round to foster a more inspiring world for music and its creators.

1969

ORIGINAL PRO SOUND. STILL TAKING REQUESTS. Today

The JBL LINK with

RECIPIENT OF THE 2005 TECHNICAL GRAMMY® AWARD EXPERIENCE SOUND EXACTLY HOW CREATORS AND PERFORMERS WANT YOU TO HEAR IT: FULL. BOLD. AND TRUE TO THAT VERY INSTANT. GRAMMY®, GRAMMY Awards®, and the gramophone logo are registered trademarks of the Recording Academy™ and are used under license. ©2019 The Recording Academy.

CONGRATULATIONS TO OUR TOURING ALUMNI SHAWN MENDES Nominated: Song of the Year

Best Pop Vocal Album

ARCTIC MONKEYS Nominated: Best Rock Performance

Best Alternative Music Album

DAVID BYRNE

Nominated: Best Alternative Music Album

JOHN PRINE Nominated: Best Americana Album

THE BEST INDEPENDENT

FRONTIER TOURING ON TOP (AGAIN) DOWNUNDER Proving once again the adage “it’s not about your size…it’s what you do with it that counts”, Frontier Touring’s position as the leading promoter in Australasia has been reaffirmed with a #3 spot in global rankings of Billboard’s 2018 End Of Year charts. In the last year we’ve sold 3,000,000 tickets, making it the biggest year in our 39 year history thanks to so many amazingly talented artists such as Paul McCartney, Sam Smith, Foo Fighters, Harry Styles, RNB Fridays Live, David Byrne and Celine Dion. We also proudly promoted Ed Sheeran’s record-breaking stadium run…resulting in the biggest Australia and New Zealand tour by any act, ever! 2019 is set to be another great year for us with dates already announced for Bastille, Eagles, Kylie Minogue, Lily Allen, Bryan Ferry, Arctic Monkeys, Norah Jones, Shawn Mendes, Bryan Adams and John Prine, with many more exciting announcements to come. Congratulations and thanks to our great team. Frontier Touring – putting artists and fans first. BRING ON 2019!

P R O M OT E R I N T H E W O R L D * *Billboard End of Year Charts 2018

RANDEE ST. NICHOLAS

MESSAGE FROM THE PRESIDENT/CEO

Neil Portnow President/CEO of the Recording Academy

elcome to the 61st Annual GRAMMY Awards, Music’s Biggest Night and the most significant single platform to spotlight music creators who have made the past year musically memorable. During my more than 16-year tenure at the Recording Academy, our organization has enjoyed a number of mission-moving accomplishments. To help scale those heights, I’m very proud that the Academy has grown substantially during my watch. Counting significant expansion of the GRAMMY Museum and The Latin Recording Academy, staff at the Academy’s family of companies and charities has grown 91 percent since I assumed my position. Of course, staff isn’t measured only in volume. Our team is second-to-none and has been encouraged to redefine growth and success. In 2008, we launched our decades-long dream of a GRAMMY Museum and built it in downtown Los Angeles. Since then, we’ve grown to four physical locations (adding Mississippi, Nashville, and New Jersey), and in 2017, merged our music education initiatives at the Museum and our GRAMMY Foundation to create the leading educational institution dedicated to broadening the historical and cultural significance of music. Over the past 16 years, MusiCares has served nearly

61st Annual GRAMMY Awards

150,000 clients, ensuring that music people in need have received the help and support they deserve. And MusiCares is well-positioned to continue this essential support well into the future. MusiCares’ annual Person of the Year gala is now one of the most anticipated events of GRAMMY Week, a truly unique evening of philanthropy and entertainment, and this year we’re proud and thrilled to have added Dolly Parton to our stellar list of superstar honorees. We’ve built the most robust advocacy and grassroots initiative for music creators through our GRAMMYs on the Hill and District Advocate events, and year-round work on Capitol Hill that has truly moved the needle on behalf of our creative community. The Latin Recording Academy has grown into an essential Latin cultural institution. The Latin GRAMMY Awards is often the top rated show of the night it airs, providing a luminous spotlight for deserving music creators. The success has allowed The Latin Academy to give back to its community with the 2014 launch of the Latin GRAMMY Cultural Foundation, which, to date, has awarded nearly 200 scholarships and made donations of music instruments totaling an impressive $4 million in value. The Recording Academy’s Entertainment Law Initiative hasn’t just fostered dialogue between the music and legal communities in an era when defending artist and IP rights is paramount for creators, it has also fostered careers. Nearly all of our Initiative’s legal writing competition’s 20 winners have gone on to successful legal careers, with a quarter of them practicing in the entertainment field. In addition to our education efforts through the GRAMMY Museum, the Academy is a vital partner in the GRAMMY Music Education Coalition, which launched in 2017 with the inspiring goal of giving every young person the opportunity to be involved with music through the public school system. Programs are currently underway in Nashville and Philadelphia, with more to come ahead. And we continue to put on a GRAMMY telecast that sets the standard for music specials on TV worldwide. In addition to continuing to innovate the GRAMMY telecast, we have greatly increased our TV footprint with a number of unique or recurring specials, including

GRAMMY salutes (the Beatles, Bee Gees, Whitney Houston, Elton John, Frank Sinatra, and Stevie Wonder), holiday and nominations specials, and PBS’ airing of the “GRAMMY Salute To Music Legends.” And upcoming after the 61st GRAMMY show, we’ll join with CBS to air “Aretha! A GRAMMY Salute For The Queen Of Soul” and a celebration of the legendary Motown Records. During my tenure, the Academy has produced 25 specials beyond the annual GRAMMY telecast. But with all that and more, this past year has been an especially active and productive one. Since I first called for one unified music bill that the entire industry would support in 2014, the Academy has been focused on advancing such legislation. In 2018, a U.S. House hearing was held during GRAMMY Week at which I joined a panel of music creators who called for that legislation. The unified Music Modernization Act passed the U.S. House of Representatives one week after 100 Academy members lobbied for it at GRAMMYs on the Hill in April. And it was the culmination of a long and challenging journey to arrive at the White House as a participant as the president signed the bill into law in November. The Academy continues to strive to be the most representative organization we can be. This summer we invited 900 underrepresented professionals to join our voting membership body. Furthering that effort, in November, we unveiled a new community-driven and peer-reviewed membership model. This institutional change demonstrates our long-term commitment to fostering a more representative and relevant membership. Finally, the need for change and social justice has been a hallmark of the American experience from the founding of our country through the complex and challenging times we live in today. As the stewards of musical culture, the Recording Academy has played a part in representing and advocating for the creative community, who often carry messages for change through our music. Accordingly, we have a responsibility to be both reflective and representative of that evolving culture and population. And while we do not control the direction or decision-making of the music business, we certainly have an intention to set a high bar in terms of standards and practices when it comes to diversity

and inclusion within our industry. As such, and clearly timely, we established a unique, independent Diversity & Inclusion Task Force made up of individuals who represent a microcosm of the music industry. They have been hard at work collaborating with the Academy to ensure that we as an organization examine ourselves with respect to these vital and important issues, make appropriate changes where needed, but also take a leadership role in seizing this unique moment in history to move the needle and course of our music industry. The early results are encouraging, and the Academy will continue to exhibit leadership and set examples with respect to diversity and inclusion for the years ahead. I’m enormously proud of all the work we’ve done, and especially of the progress we’ve made on a number of issues over the past year. They will make the Academy stronger and more representative well into the future of the organization. Clearly, our members will benefit, and so will our music community as a whole. And for that, I am personally grateful and humbled by the opportunity to have helped guide and serve this storied organization.

61st Annual GRAMMY Awards

MESSAGE FROM THE CHAIR

John Poppo Chair of the Board of Trustees

ear friends, as you know, the past year has not been without its share of highs and lows for the Recording Academy. While we celebrated milestones like our 60th anniversary and the historic passage of new music legislation, we also received criticism regarding the issue of diversity. So, what does an organization, dedicated to excellence and service, do when it is called into question? It listens. It turns its sights inward and searches harder for ways it might still improve. And sometimes it even reaches out to its harshest critics to ask for their help, and challenges them to also scrutinize their respective companies, so that together they can effect real, largescale, lasting positive change. That’s what we did, and I’m proud and thankful to say that it is yielding meaningful results. The combined efforts of the Academy and its independent Diversity & Inclusion Task Force, along with the efforts of many other organizations and initiatives inspired and supported by us, have begun to positively impact not only the Academy membership, but also the music industry that it reflects. Furthermore, I can assure you these efforts have just begun. Many thanks to Tina Tchen and the esteemed members of the Task Force for saying yes, and thank you to our Board as well for their steadfast commitment and leadership through some difficult times. Our members can be assured that they have elected very capable representatives to watch over our Academy. This year we are celebrating our dear friend Neil Portnow’s extraordinary16 years as our President/CEO. With his tenure coming to an end in July, I would like to highlight some of his many accomplishments. Having had

61st Annual GRAMMY Awards

the opportunity to work closely with him over the years, and especially in the past four as Chair, I have seen Neil work tirelessly to support our members and community, upholding the high bar he set early on when he expanded the Recording Academy’s mission to our four pillars— membership/awards, music education, philanthropy & charity, and advocacy. Under his leadership, the Academy has significantly increased the resources of MusiCares to fund help for exponentially more musicians in need, and partnered with AEG to build the first GRAMMY Museum, which has expanded to multiple locations, licensed traveling exhibits, and recently merged with our GRAMMY Foundation to facilitate even more educational programming. We have dramatically expanded our media presence, strengthened our brand, and increased our principal source of revenue through unprecedented television deals, and we’ve watched our sister company, The Latin Recording Academy, become the thriving global organization it is today. Just this past year, we saw the passage of the Music Modernization Act, which will significantly benefit our music creators—something many said would never happen. They may have been right, if not for Neil’s unrelenting determination. He set up the Academy’s first advocacy office in Washington, D.C., from which we launched our GRAMMYs on the Hill and District Advocate programs; he helped originate the bill that ultimately succeeded; and he’s hosted the Academy’s biannual CEO Summit as a means for all the industry’s key stakeholders to come together and work out their differences. Neil has never shied away from even the Board’s most ambitious goals, as evidenced by the GRAMMY Music Education Coalition, which is dedicated to the mission of ensuring there is a music program in every K-12 public school in the country. It is with our greatest respect and appreciation that we thank him for the great job he has done. And finally, saving the best for last, congratulations to all of this year’s incredibly gifted nominees. We thank you for improving and inspiring our lives with your music.

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PRECISIONIST SPECIAL GRAMMY® EDITION

O F F I CIAL TIMEPIEC E PARTNER

CONTENTS WELCOME 10 President/CEO’s Message 12 Chair’s Message

NOMINEES 24 Cardi B, Bad Bunny & J Balvin 26 Brandi Carlile 28 Childish Gambino 30 Drake 32 Lady Gaga & Bradley Cooper 34 Kendrick Lamar & SZA 36 Post Malone Featuring 21 Savage 38 Zedd, Maren Morris & Grey 40 Cardi B 42 H.E.R. 44 Post Malone 46 Janelle Monáe 48 Kacey Musgraves 50 Black Panther: The Album, Music From And Inspired By 52 Chloe X Halle 54 Luke Combs

56 Greta Van Fleet 58 Dua Lipa 60 Margo Price 62 Bebe Rexha 64 Jorja Smith 66 Song Of The Year 72 Complete Nominations List

SPECIAL MERIT AWARDS

Trustees Awards

Lifetime Achievement Awards

124 Lou Adler by Herb Alpert

110 Black Sabbath by Derek Smalls 112 George Clinton & Parliament-Funkadelic by Anthony Kiedis 114 Billy Eckstine by Johnny Mathis 116 Donny Hathaway by PJ Morton 118 Julio Iglesias by Thalía

110 16

61st Annual GRAMMY Awards

126 Nickolas Ashford & Valerie Simpson by Dale Kawashima 128 Johnny Mandel by Marilyn & Alan Bergman Technical GRAMMY Award 130 Saul Walker by Tom Elmhirst Music Educator Award

120 Sam & Dave by David Nathan

132 Jeffery Redding by Sharon Graham

122 Dionne Warwick by Elton John

Hall Of Fame 136 2019 GRAMMY Hall Of Fame

CONTENTS 150

FEATURES 150 Bravo To The Latin GRAMMY Awards On the eve of celebrating 20 years, we start the party early 164 Hip-Hop’s Golden Age And Beyond Some of rap’s seminal recordings are now eligible for the GRAMMY Hall Of Fame. Here’s why they matter 174 A Funny Thing Happened On The Way To The GRAMMYs The GRAMMYs’ funny bone stretches beyond the Best Comedy Recording award 186 MusiCares Person Of The Year Dolly Parton: The GRAMMY interview

6 Recording Academy 200 Membership & Industry Relations 202 Advocacy & Public Policy 204 The Digital Academy

238 In Memoriam Remembering music people we lost in 2018

206 MusiCares Foundation

244 Aretha! A GRAMMY Salute For The Queen Of Soul A photo warmup for the March 10 televsion special

212 GRAMMY Week

246 Celebrating 60 Years Of Motown A GRAMMY Salute to the “sound of young America”

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®, Recording Academy™, GRAMMY®, GRAMMYs®, GRAMMY Awards®, GRAMMY Hall Of Fame®,

186

RECORDING ACADEMY TODAY

61st Annual GRAMMY Awards

208 GRAMMY Museum 210 The Latin Recording Academy 214 GRAMMY Awards Process 218 Executive Staff 220 National Trustee Officers And Trustees 224 National Staff 230 Recording Academy Chapters 236 Past Chairs

Latin Academy of Recording Arts & Sciences®, The Latin Recording Academy®, MusiCares®, GRAMMY In The Schools®, and GRAMMY Museum®. The 61st Annual GRAMMY Awards Program Book is published by the Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, in association with FX Group, Inc. © 2019 The Recording Academy. All rights reserved.

FOR THE RECORDING ACADEMY

SPECIAL THANKS

David Konjoyan

Editor In Chief & Co-Publisher

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Editor

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Production Manager

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Graphic Design Consultation

FX Group would like to extend a special thanks to the following people for their contribution and support: Kevin Adler, Rob Molloy, Joe Restaino, Bob Jellen, Dr. Edgar Ramirez-Pagan, Dr. Dan Greenwald, Todd Persico, Mario Polanco, Steve Rutherford, John Varvatos, and Revlon

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Sr. Director of Entertainment & Artist Relations

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Artist Relations

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Production Manager/estudio-5

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Art Director

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Internet & Technical Services

The Official 61st Annual GRAMMY Awards program book is published by the Recording Academy, 3030 Olympic Blvd., Santa Monica, CA 90404, and produced in association with FX Group, Inc., 309 S. Willow Ave., 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 Group assume no responsibility for statements made by advertisers; the quality or deliverability of products or services advertised; or positioning of advertising.

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GRAMMY AWARD STATUE DESIGNED AND MANUFACTURED BY

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. ©2019 The Recording Academy. All rights reserved.

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Published by

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CONTRIBUTING WRITERS Herb Alpert, Steve Baltin, Bill Bentley, Marilyn & Alan Bergman, Bruce Britt, Lissette Corsa, Chuck Crisafulli, Randee Dawn, Alan di Perna, Tom Elmhirst, Sharon Graham, Andreas Hale, Tammy La Gorce, Elton John, Sarah Jones, Dale Kawashima, Anthony Kiedis, Serena Kim, Sowmya Krishnamurthy, Crystal Larsen, Ernesto Lechner, Miles Marshall Lewis, Lynne Margolis, Johnny Mathis, PJ Morton, David Nathan, Jessica Nicholson, Ogden Payne, Deborah Evans Price, Isabela Raygoza, Bryan Reesman, Derek Smalls, John Sutton-Smith, Thalía, Roy Trakin, David Wild, Lisa Zhito, Paul Zollo

61st Annual GRAMMY Awards

In association with FX Group, Inc. info@fxm-group.com www.fxm-group.com

CONGRATULATES OUR

MUSIC’S BIGGEST NIGHT ®. NOAH “40” SHEBIB (SOCAN)

H.E.R.

SOUNWAVE

TIM & PHIL HANSEROTH

BECK

BRANDI CARLILE

JOHN DAVERSA

CARDO

NOMINATIONS

21 SAVAGE ANTHONY ROSSOMANDO ARCTIC MONKEYS (PRS) BEN GLOVER BRIAN COURTNEY WILSON DAN SMYERS (DAN + SHAY)

ARIANA GRANDE

DARHYL “HEY DJ” CAMPER JR DIANA KRALL (SOCAN) GHOST (STIM) JEKALYN CARR JOELLE JAMES

LOUIS BELL

JOHN POWELL

TRUSTEES AWARD

ASHFORD & SIMPSON

JOHNNY MANDEL

SEE THE FULL LIST OF ASCAP NOMINEES AT WWW.ASCAP.COM/GRAMMYNOMS

LEE ANN WOMACK

GRAMMY® AWARD NOMINEES

THE WORLD’S GREATEST MUSIC CREATORS. KENDRICK LAMAR

CARDI B

BOI-1DA

ZEDD

AL SHUX (PRS)

CHRIS STAPLETON

THE CARTERS

NOMINATIONS

JONATHAN MCREYNOLDS NOEL “GADGET” CAMPBELL (SOCAN) NOEL CADASTRE (SOCAN) PETE LYMAN ST. VINCENT

DUA LIPA

STEFAN JOHNSON TOM ELMHIRST (PRS) TONY BENNETT TORI KELLY VINCE MENDOZA

BROTHERS OSBORNE

MIGUEL

LIFETIME ACHIEVEMENT AWARD

BLACK SABBATH

DONNY HATHAWAY

JULIO IGLESIAS (SGAE)

HEN RAPPER CARDI B WAS DEVELOPING

tracks for her sumptuous debut album, she decided to honor her Latin roots through a specific cut. Her label chief Craig Kallman suggested using Pete Rodriguez’s classic “I Like It Like That” as a point of departure. The 1967 anthem represents the very essence of boogaloo—the late ’60s sub-genre that blossomed in New York City by blending salsa and other Afro-Caribbean idioms with soul and R&B. The infectious chorus of "I Like It Like That" is instantly memorable and quintessentially Latin, the perfect springboard for Cardi B’s megahit, “I Like It.” But the mere use of a golden nugget from decades past does not guarantee success. The sonic aesthetic of “I Like It” belongs firmly in the present as it swiftly enriches the original sample with a booming trap beat, then introduces Cardi B’s inventive rhymes by placing the power of her vocals at the very center of a full-bodied mix. The innovation of a trap-salsa rhythm works wonders

61st Annual GRAMMY Awards

for the song, as it maintains the original sample while adding layers of present-day elements. Cardi B may be the track’s absolute protagonist, but she turns “I Like It” into a pan-Latino manifesto by inviting two major stars onboard: Puerto Rican rapper Bad Bunny and Colombian singer J Balvin. Their rhymes—with brilliant nods to such salsa icons as Fania All-Star bassist Bobby Valentín and Cuban salsa queen Celia Cruz—are filled with witty pop culture references and sly double-entendre. The carefully calibrated mix pushes the vocalists to the forefront at all times, but still manages to preserve detail and clarity on the percolating fusion of elements that simmers underneath as the track transitions from verses to funky chorus. “I Like It” strikes a fascinating balance: It mirrors the exuberant energy of American music in 2018 while paying respectful tribute to the United States’ lifelong love affair with the grooves and spice of Afro-Latin dance genres. —Ernesto Lechner

JORA FRANTZIS; ALEJANDRO PEDROZA; COURTESY OF J BALVIN

RECORD OF THE YEAR

CARDI B, BAD BUNNY & J BALVIN

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ABSOLUT® GRAPEFRUIT. GRAPEFRUIT FLAVORED VODKA. PRODUCT OF SWEDEN. 40% ALC./VOL. ©2019 IMPORTED BY ABSOLUT SPIRITS CO., NEW YORK, NY. GRAMMY®, GRAMMY Awards® and the gramophone logo are registered trademarks of the Recording Academy™ and are used under license ©2019 The Recording Academy™

N A YEAR IN WHICH FEMALE ARTISTS HAVE

multiple GRAMMY nominations, singer/ songwriter Brandi Carlile is the leader of the pack. Her sixth studio album, By The Way, I Forgive You, has generated six GRAMMY nods, including Album Of The Year and Record and Song Of The Year for “The Joke.” Co-produced by Shooter Jennings and Dave Cobb, By The Way… is a “moving and righteous piece of Americana-infused pop,” Rolling Stone raves. The 10-track set is a harmony-rich declaration co-written primarily by Carlile with longtime collaborators Tim and Phil Hanseroth (“The Twins”). Songwriting reigns supreme on By The Way…, confronting subjects such as parenting (“The Mother”), politics (“Hold Out Your Hand”), identity (“The Joke”), addiction (“Sugartooth”), and forgiveness (“Every Time I Hear That Song”). “We chose to talk about finding a way to fundamentally forgive and accept life for being f***ing hard,” Carlile told Rolling Stone. Musically, the album spans a range of styles and sounds, from country, roots, and foot-stomping folk,

61st Annual GRAMMY Awards

to torch ballads and sweeping string arrangements. The powerhouse lead single, “The Joke,” is a country-rock catharsis with a vocal performance as memorable as Carlile’s 2007 breakout hit “The Story.” Soaring along with her voice are warm piano, pounding drums, acoustic guitar, and a flawless string arrangement by the late Paul Buckmaster— one of Carlile’s musical heroes whose credits include Elton John and David Bowie. An anthem for those who feel “underrepresented, unloved or illegal,” as Carlile told NPR, the song made it onto Barack Obama’s 2017 Spotify playlist. Practicing what she preaches, ahead of the album’s release, Carlile posted an open letter to her childhood pastor who refused to perform her baptism because of her sexuality. “I don’t believe you did it to humiliate me,” she wrote. “I think you struggled with the decision and simply ran out of time ... I think you probably still do struggle with it.” On By The Way, I Forgive You, Carlile has followed a great tradition of turning catharsis into art. —Crystal Larsen

ALYSSE GAFKJEN

RECORD OF THE YEAR ALBUM OF THE YEAR

BRANDI CARLILE

HINK OF CHILDISH GAMBINO’S COMPELLING

and mesmerizing “This Is America” and you immediately associate the song with its video’s images—a hooded man being executed by the shirtless Donald Glover; the hypnotic choreography as Glover and school kids dance through an abandoned warehouse; the casual way a choir is gunned down; and the look of terror on Glover’s face as he runs through a dark hallway. The GRAMMY-nominated video, directed by Hiro Murai, deservedly became a major part of the pop culture zeitgeist as it starkly reflected the issues of gun control and racism that dominated news headlines in 2018. But as brilliant as the video is, just listening to the track, co-produced by Glover and Ludwig Göransson, illuminates its sonic power. Starting off with the uplifting sounds of a choir reaching to the heavens and a distorted island/

61st Annual GRAMMY Awards

world beat, the deceptively upbeat track delivers a stunning message. “This is America/Don’t catch you slippin’ up/Look how I’m livin’ now/Police be trippin’ now/Yeah, this is America/Guns in my area/I got the strap/I gotta carry ’em,” Glover sings in his joyous way. One of the most politically charged songs to hit the charts in years, “This Is America” debuted at No. 1 on the Billboard Hot 100, generating more than 65 million audio and video streams in its first week. The song’s pointed message reached globally and the track hit No. 1 in Canada, Australia, and New Zealand, and the Top 10 in eight other countries, ranging from Hungary and Slovakia to the U.K. and Ireland. That rare song that transcended music to become a part of the pop culture conversation and make people think and question authority, “This Is America” was an undeniable force in 2018.—Steve Baltin

IBRA AKE

RECORD OF THE YEAR

CHILDISH GAMBINO

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HOUGH “GOD’S PLAN,” WAS RELEASED SIX

months before Scorpion, the album’s lead single foreshadowed just how anointed Drake’s fifth studio album would be. At the time of the digital double disc’s June 29 release, it had been more than a year since fans digested the rapper’s mixtape/album/playlist hybrid, More Life. But in Drake’s case, absence truly makes his fans’ hearts grow fonder. Scorpion was certified platinum the same day as its release, making it Drake’s fifth consecutive solo album to require a plaque. The 25-song work only lists a handful of featured artists, including a posthumous appearance from Michael Jackson. Still, Drake took center stage with empowering cuts such as the Best Rap Performance-nominated “Nice For What,” vengeful records such as “Mob Ties,” and lyrical revelations about his first child on “March 14.” Though “In My Feelings” quickly became a fan favorite, the celebratory motif behind “God’s Plan” reigned supreme, earning GRAMMY nods for Record and Song Of The Year “I can’t do this on my own,” Drake admits on the anthemic single. The proclamation is in stark contrast to the theme of his self-affirming bonus cut

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“All Me” off his 2013 GRAMMY-nominated effort Nothing Was The Same. Now, Drake’s life seems to hinge upon a deep appreciation for a few more necessities: his friends, bed, and mother. Drake extended his gratitude in the accompanying video for "God's Plan" by giving away nearly $1 million in the form of cars, scholarships, and cash. Gracious offerings aside, “God’s Plan” debuted and remained atop the Billboard Hot 100 for 11 weeks. It has since been certified eight-times platinum, but the success of the song, and Scorpion, was far from a solo effort. In September 2017, co-producer Cardo sent Drake an unpolished instrumental originally titled “Grace Of God” he created with his cousin Yung Exclusive. The initial production bed was cultivated with FL Studio and a handful of Virtual Studio Technology (VST) plugins—the specifics Cardo prefers to keep to himself. After a layer of vocals were laid down, Drake’s longtime collaborator, Boi-1da, added the bouncy percussion to round out the beat. Despite the number of “bad things” the three-time GRAMMY winner claims have been wished upon him, his music has seemingly been blessed by a power greater than himself.—Ogden Payne

ANNA SPENCER

RECORD OF THE YEAR ALBUM OF THE YEAR

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ADY GAGA AND BRADLEY COOPER’S DUET IS

called “Shallow,” but don’t let that fool you: it’s one of the deeper songs released in 2018. And it has to have depth, carrying the weight of being not just another love song, but one that showcases its singers’ different vocal styles while also setting the stage for a huge plot turn in the latest iteration of A Star Is Born, for which it was written. It does all of those things with pinpoint, professional precision. Written by Gaga with Miike Snow’s Andrew Wyatt, Dirty Pretty Things’ Anthony Rossomando, and frequent Gaga collaborator Mark Ronson, the tune hit No. 5 on the Billboard Hot 100, charted internationally and acquired 8.3 million streams in its opening week. Its sweet, uplifting acoustic guitar introduction is raw and simple—but that veneer vanishes the moment the song shifts gear into a full-on power ballad. When Gaga kicks in her tremendous vocals, the song is revealed in its

61st Annual GRAMMY Awards

full glory, as an insider’s metaphorical look at the pitfalls of creativity, talent, and stardom. Production benefitted mightily from coproducer Benjamin Rice and Gaga’s trained hand; she was an integral part of the process at EastWest studios, directing Lukas Nelson’s band Promise Of The Real, used as Cooper’s character Jackson’s band in the film. Nelson also proved essential to the development of the sound, adding the Eric Clapton-inspired acoustic lead-in to the song, which provided a startling contrast to Gaga’s intense vocals. Finally, the song was mixed by Tom Elmhirst, engineered by Brandon Bost, and mastered by Randy Merrill. Yet even with (or perhaps, because of) all of those professional hands on the tune, “Shallow” ended up with a warm, personal spontaneity, as if the duo singing it were the only musicians in the world. Which was precisely the role it was designed to play.—Randee Dawn

PETER LINDBERG; SAMIR HUSSEIN/REDFERNS

RECORD OF THE YEAR

LADY GAGA & BRADLEY COOPER

W W W . WA R N E R B R O S 2 0 1 8 . C O M

NCE THE EPIC BATTLES ARE OVER AND

peace has been restored to Wakanda, what’s the proper song to crank up? That heavy lift was easily handled by “All The Stars,” which many first heard in its vibranium-powered showcase over the end credits of the genre-redefining superhero movie Black Panther. The song—as sleek and powerful as the film’s title character—was performed by Kendrick Lamar and SZA and served as the lead single from Black Panther: The Album, Music From And Inspired By. Aching, urgent, and provocative, “All The Stars” is a fitting finale to Lamar’s hands-on contributions as curator of the music of the Black Panther universe. The song also serves as an excellent example of the dynamic work process Lamar developed for the project. Starting with loops developed by British beatmaker and co-producer Al Shux, Lamar and co-producer Sounwave of Top Dawg Entertainment built the

61st Annual GRAMMY Awards

track up piece by piece, assembling a blend of live and digital instruments as inspiration struck, with engineer Sam Ricci and mixer Matt Schaeffer making sure all that inspiration was properly recorded and organized. The song’s vibe of mystery and defiance was achieved through a good deal of experimentation with musical elements and arrangement, and the track was in flux until the hard deadline of the movie’s release date loomed. Once Lamar and SZA layered in their multiple vocal tracks and a mix was set, a final polish to get the song ready for its big screen closeup was supplied by mastering engineer Mike Bozzi. The results are timeless, of the moment, and futuristic all at once—a perfect sound for the modern mythology brought to life in Black Panther. So perhaps when the titular hero makes his return, Lamar and his team will bring the stars a little closer once more.—Chuck Crisafulli

CHRISTOPHER POLK/GETTY IMAGES; SAGE ADAMS

RECORD OF THE YEAR

KENDRICK LAMAR & SZA

Tonight over 100 performers, musicians, dancers will appear on the GRAMMY® stage. Some of them will go home with hardware, and others won’t. But whether they do or not, the likelihood is that what takes place in the next three and a half hours will stay with them, and with fans, forever. Before I once again list some of my favorite GRAMMY® performances, I would just like you to take a minute and thank the hundreds of people behind the scenes who every year work for months to bring you these 210 minutes. In my mind, they are among the most creative, dedicated and hardworking people in television, and I’m so proud of everything they do to make this show not only the best Awards show on television but the very best presentation of music of the year anywhere. Thank you all.

1980 1983 1985 1988 1991 1993 1994 1995 1998 1999 2001

Neil Diamond/Barbra Streisand — “You Don’t Bring Me Flowers” Marvin Gaye — “Sexual Healing” Tina Turner — “What’s Love Got To Do With It” Michael Jackson — ”The Way You Make Me Feel”/“Man In The Mirror” Aerosmith — “Come Together” (tribute to John Lennon) Eric Clapton — “Tears In Heaven” Whitney Houston — “I Will Always Love You” Bruce Springsteen — “Streets Of Philadelphia” Aretha Franklin — “Nessun Dorma” (substitute for Luciano Pavarotti) Ricky Martin — “La Copa De La Vida” Eminem/Elton John — “Stan” U2 — “Beautiful Day” 2002 Alan Jackson — “Where Were You (When The World Stopped Turning)” Mary J. Blige — “No More Drama” 2003 Springsteen/Grohl/Costello/Kanal/Van Zandt — “London Calling” (tribute to the Clash) Simon & Garfunkel reunion at Madison Square Garden — “The Sounds Of Silence” 2004 Prince/Beyoncé — Medley 2005 Melissa Etheridge/Joss Stone — Janis Joplin Medley Usher/James Brown — “Caught Up”/”Get Up — I Feel Like Being Like A Sex Machine” Alicia Keys/Jamie Foxx — “Georgia On My Mind” (tribute to Ray Charles) 2006 Madonna/Gorillaz — first use of hologram on television 2008 Tina Turner/Beyoncé — “Proud Mary”/Medley 2009 Radiohead — “15 Step” Jay Z/Kanye West/T.I./Lil Wayne/M.I.A. — “Swagga Like Us” 2010 Pink — “Glitter In The Air” 2011 Mumford & Sons/Bob Dylan/Avett Brothers — Medley 2012 Mick Jagger — “Everybody Needs Somebody” (tribute to Solomon Burke) Adele — “Rolling In The Deep” McCartney/Springsteen/Grohl/Walsh — Abbey Road Finale 2013 Justin Timberlake/Jay Z — “Suit & Tie” Bruno Mars/Rihanna/Sting/Marleys — Bob Marley Tribute 2014 Macklemore & Ryan Lewis/Madonna/Queen Latifah/Mary Lambert — “Same Love” Daft Punk/Stevie Wonder/Pharrell Williams/Nile Rodgers — “Get Lucky” 2015 AC/DC — “Highway To Hell” Rihanna/Kanye West/Paul McCartney — “Four Five Seconds” 2016 Cast of “Hamilton” — “Alexander Hamilton” Eagles w/Jackson Browne — Glenn Frey Tribute Kendrick Lamar — “The Blacker The Berry”/”Alright” 2017 “Let’ Go Crazy” Prince tribute – Bruno Mars “Sandcastles” — Beyonce “Hello” — Adele 2018 Kesha and Friends — “Praying” Lady Gaga — “Joanne”/”Millon Reasons” Bruno Mars and Cardi B — “Finesse” Patti LuPone — “Don’t Cry For Me Argentina”

“G

ENRE IS STUPID,” ACCORDING TO POST

Malone, an artist whose refusal to be categorized or confined to any one style has made him a contemporary pop sensation. Malone’s mad, mashup mentality and powerhouse vocal delivery made “Rockstar,” his collaboration with hip-hop polymath 21 Savage, one of the biggest hits of 2017. Co-produced by Louis Bell (Camila Cabello, Justin Bieber, DJ Snake) and Tank God, “Rockstar” blends the adventurous with the accessible in perfect proportions. The ghosts of dead rock stars loom over a hypnotic slow groove as Malone marries the cadences of hip-hop, dancehall, and reggaeton in a somber meditation on life in the fast lane. Living that life, Malone told Rolling Stone, “it’s easy to feel numb. I’ve always had a loneliness. I’ve always been anxious.” Like so many great records, “Rockstar” began with a compelling beat put together by Tank God, who’d never had a song published before “Rockstar.” He played the groove for Malone in a New York studio and

61st Annual GRAMMY Awards

Malone immediately started to freestyle the chorus vocal hook, “I feel just like a rock star,” over and over. When Malone texted Bell a rough video he’d put together for the song, the producer immediately heard huge potential: “I knew it was a smash through the phone,” he told Billboard. “A few months later, we got in the studio and I wanted to really build it up to make it very full and musical. It’s a very droney, vibey piece.” Meshing with the track’s downtempo groove, Bell’s eerie, insistent synth arpeggio, lush electronic textures, and haunting chord progression create a somnambulistic feel. Scenes of excess unfold like a slow-motion dream. As Malone name-checks livefast-die-young rock stars Bon Scott and Jim Morrison, his auto-tuned vocals sound oddly detached. Anesthetized perhaps. Or, as Malone puts it, “numb.” The track’s brief but mind-melting, synth-driven outro was Bell’s idea. He initially envisioned a guitar for it, but decided “it can’t be an actual guitar, because it’s 2017. We went with something futuristic, to give it this nice cool and dark vibe.”—Alan di Perna

ADAM DEGROSS;COURTESY OF EPIC RECORDS

RECORD OF THE YEAR

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artists, producers, and songwriters behind “The Middle” covered a gamut of genres, bringing in the creators’ individual constituencies—from EDM to country and ’90s R&B—then melding them into an infectious crossover hybrid. Opening with a foreboding, omnipresent tick-tock—several Reddit threads are devoted to its use in co-producer/cowriter Zedd’s work—“The Middle” is the ultimate break-up/make-up song. Set amid the rubble of a messy domestic squabble that “got so aggressive,” Maren Morris’ plaint to meet her halfway is one of the year’s definitive come-hither moments in pop. The track unfolds like a classic Brill Building girl group lament engineered to a precise metronomic pulse. From almost out of nowhere, the song exists apart from any individual artist, album or label. “The Middle” took a village as Zedd and cohorts,

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including L.A.-based duo Grey (brothers Kyle and Michael Trewartha), cycled through a who’s who of pop divas—12 singers reportedly took a crack at vocals for the song—before Morris was chosen. “She was the angel that saved us all,” according to Jordan Johnson, one of the five-member Miamibased Monsters & Strangerz, who co-produced the thrice-nominated song (also up for Song Of The Year and Best Pop Duo/Group Performance). The sing-along chorus, Morris’ gruffly warm singing (her vocal chords were strained during the session) set against that loping, clip-clop beat, made “The Middle” a Top 5 hit, the intimate production seducing listeners. Urging us to “pull her closer,” Morris’ yearning vocals offer an irresistible bait-and-hook, the musical equivalent to its description of how the best pop works from the edges in.—Roy Trakin

NICK WALKER; JOHN SHEARER; KOURY ANGELO

RECORD OF THE YEAR

ZEDD, MAREN MORRIS & GREY

2 0 0 0

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The Entertainment & Media Group of Greenberg Traurig joins in celebrating

The 61st GRAMMY Awards® and all of this year's nominees and winners!

Greenberg Traurig, LLP

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G R E E N B E RG T R A U R I G , L L P | AT TO R N E YS AT L AW | W W W.GT L AW.CO M Greenberg Traurig is a service mark and trade name of Greenberg Traurig, LLP and Greenberg Traurig, P.A. ©2019 Greenberg Traurig, LLP. Attorneys at Law. All rights reserved. Attorney Advertising. Contact: Joel A. Katz in Atlanta at 678.553.2100, Daniel H. Black in Los Angeles at 310.586.770, or Bobby Rosenbloum in Atlanta at 678.553.2100. °These numbers are subject to fluctuation. ¬Greenberg Traurig’s Berlin office is operated by Greenberg Traurig Germany, an affiliate of Greenberg Traurig, P.A. and Greenberg Traurig, LLP. *Operates as a separate UK registered legal entity. 31919

STAR IS BORN IN CARDI B. EVERYONE IS

checking for the most ubiquitous woman in hiphop with her debut album, Invasion Of Privacy. The 26-year-old’s trajectory—stripper in the Bronx to reality TV to rapper—is an unlikely fairytale. But her effervescent personality, charm, and sharp tongue pack a punch that’s all her own. Cardi B displays her natural gifts on Invasion Of Privacy, especially on the breakout “Bodak Yellow.” Pulling influence from rapper Kodak Black, she flips the script to create an empowering anthem and pop culture moment. “Look, I don’t dance now/I make money moves,” she boasts on the infectious hook. “Now she says she gon’ do what to who?/Let’s find out and see, Cardi B.” With “Bodak Yellow,” Cardi made hiphop history. Nominated for Best Rap Song and Best Rap Performance in 2017, it topped the Billboard Hot 100 for three consecutive weeks, making it the first hip-hop No. 1 single by a solo female artist in 19 years.

61st Annual GRAMMY Awards

Despite being a newcomer to hip-hop, Cardi takes her craft seriously. Her hunger and commitment is palpable on the album. She’s nimble; she holds her own on braggadocious hiphop tracks such as “Bartier Cardi” (featuring 21 Savage) and “Drip” (featuring Migos), and displays vulnerability on “Be Careful,” which is nominated for Best Rap Performance. The standout, “I Like It” (with Bad Bunny and J Balvin) is a nod to her Latin heritage, and nominated for Record Of The Year. Other appearances by Chance The Rapper, Kehlani, YG, and SZA help Cardi lay out an emotional and entertaining tale of personal and professional triumph. The album landed on dozens of year-end lists and with five nominations, it was a breakthrough year for Cardi B. What’s next? If Invasion Of Privacy is any indication, expect the unexpected. —Sowmya Krishnamurthy

JORA FRANTZIS

ALBUM OF THE YEAR

CARDI B

The Vanderpump Dog Foundation, founded in 2016, is a 501(c)(3) non-profit dog rescue organization, working on both domestic and international fronts to help create a better world for dogs globally.

&B SENSATION GABRIELLA “GABI” WILSON,

known to the world as H.E.R. (an acronym for Having Everything Revealed) has remained steadfast in doing just the opposite. From the moment the singer/songwriter dropped 2016’s buzzworthy debut EP, H.E.R. Volume 1, featuring the stellar slow-burner “Focus,” the 21-yearold NorCal native chose to remain shrouded in mystery and resisted being pulled into the spotlight. Through it all, Wilson managed to keep a relatively low-profile and painstakingly began building a career focused exclusively on her music, seductively shedding light on the layers of her artistry and persona one EP at a time, as well as during live performances gone viral, like the time she performed at the 2018 BET Awards and ended up strapping on an electric guitar to offer a scorching solo. While the mystery of her identity lasted a hot minute—internet sleuths went on overdrive and

61st Annual GRAMMY Awards

positively identified H.E.R. as a former teen music prodigy—the enigma surrounding the songstress continued to reach mythical proportions, even as she released 2017’s eponymous, full-length debut. Essentially a compilation of intimate snapshots gathered from Wilson’s first three EPs, H.E.R.’s Album Of The Year-nominated work was expertly crafted together through the common thread of her sultry vocals, dark grooves, brooding synths, and the stirring emotions of a young, black, female performer coming into her own. Subsequent EPs, I Used To Know Her: The Prelude and eight-track sequel I Used To Know Her: Part 2, continued to expand into uncharted sonic and emotional dimensions. Ironically, as Wilson embarks on the next stage of her evolution, it’s becoming more and more evident that the question of who she is has started to matter less as it continues to be eclipsed by what she’s bringing to the table.—Lissette Corsa

SUE KWON

ALBUM OF THE YEAR BEST NEW ARTIST

H.E.R.

“G

OD MUST HATE ME LOL,” POST MALONE

tweeted tongue-in-cheek after being involved in both a car crash and an emergency plane landing in 2018. But he knows that the past year in his music career has been nothing short of a blessing. After releasing his debut project Stoney in late 2016, there were questions surrounding the “White Iverson” singer’s ability to sustain in a musical climate that can find fair-weather fans swiftly move from one artist to the next. However, the rapper, singer, songwriter, and producer proved that he was far from a one-hit wonder. He tore up the charts in 2017 with his infectious smash “Rockstar” with 21 Savage as it sat on top of the Billboard Hot 100 for eight consecutive weeks. That was a mere precursor for his Stoney follow up, Beerbongs & Bentleys, which had been slated for a 2017 release. Fans had to wait until

61st Annual GRAMMY Awards

April 27, 2018, for the album to see the light of day but as the proverb goes: “Absence makes the heart grow fonder.” Austin Richard Post’s sophomore album was an immediate smash and went on an unprecedented run that saw it break the first-week streaming record with more than 431 million audio streams. Beerbongs & Bentleys is an infectious romp that showcases Malone’s diversity as an artist. From the acoustic guitar driven “Stay,” which demonstrates his understated songwriting ability, to the captivating Swae Lee assisted “Spoil My Night,” Post Malone has a little something for everyone. There’s a reason Post Malone is the torchbearer for rap’s era of the rock star. His extreme crossover appeal that comes courtesy of his catchy hooks and ability to touch on myriad relatable subjects that range from failed relationships to the pitfalls of success have put him in elite territory.—Andreas Hale

ADAM DEGROSS

ALBUM OF THE YEAR

POST MALONE

UNIVERSITY OF NORTH TEXAS salutes the 43 alumni, faculty and staff who collaborated in GRAMMY® – nominated projects this year and the 107 previous wins and 261 nominations! Explore what we have to offer music.unt.edu

ANELLE MONÁE’S MUSIC THRIVES THROUGH

genre-blending, bold wordplay, and truly soulful singing. In a world that encourages conformity, she stands up for the individual, seeking to erase lines between race, gender, and sexual orientation, as explored in her latest release and through the ArchAndroid concept that permeated her past works. Now, her third studio album, Dirty Computer, is up for Album Of The Year, and “Pynk” is nominated for Best Music Video. The eclectic Dirty Computer displays how Monáe easily melds influences into her distinct sound and blurs boundaries, while her confessional lyrics transport us into her progressive, pansexual world. The ethereal title track features uplifting vocal harmonies from the Beach Boy’s Brian Wilson. The sexy, funkilicious “Make Me Feel,” influenced by her mentor Prince, includes propulsion provided by finger snaps and tongue clucks. On the flip side, the edgy rap breakdown of “Django Jane” proudly proclaims her accomplishments and shakes off haters past and present while invoking disparate

61st Annual GRAMMY Awards

icons such as Pussy Riot, the Transformers, and Bob Marley. Like Prince, Monáe uses “explicit” language with purpose. The provocative “Pynk” video features Monáe sporting those now-famous frilly vagina pants, and ties into the album’s themes of self-empowerment and proudly claiming one’s identity. The clip turns male objectification of women on its head by serving up a sexy celebration of female sexuality in all its forms without a single man present. Her latest video arc shows Monáe in a more overtly sexual mode than before. But the singer has always been a stylish and stylishly dressed performer, and she has never pandered to hypersexualized expectations of female pop stars. She does what she feels works for the time. Her adherence to playing by her own rules, not to mention her social advocacy, made Monáe the perfect spokesperson for the Time’s Up movement at last year’s GRAMMY Awards. Her integrity was a pillar of that statement. “We come in peace,” she declared. “But we mean business.”—Bryan Reesman

JUCO

ALBUM OF THE YEAR

JANELLE MONÁE

S IF IT WEREN’T MIND-BLOWING ENOUGH TO

earn multiple GRAMMY nominations with your major-label debut, imagine competing against yourself. That happened to Kacey Musgraves. “Merry Go ’Round,” her first single from Same Trailer Different Park, and a song she cowrote, Miranda Lambert’s “Mama’s Broken Heart,” vied for Best Country Song at the 56th GRAMMY Awards. Musgraves got the gramophone for “Merry…,” plus another for Best Country Album— and a repeat nomination for 2015’s Pageant Material. Golden Hour gives her three in a row— but this one’s also up for Album Of The Year. Maybe that’s because this time, instead of turning hometown homilies and cultural catchphrases into sweet-tart observations about life, the newlywed took on a far greater challenge: writing an album about falling in love and being happy. It’s riskier to write from that perspective; happy can quickly turn sappy. But Musgraves, who started writing as a kid and sang with fellow Texan and master songcrafter

61st Annual GRAMMY Awards

Radney Foster (he encouraged her to move to Nashville), is too deft for that. Her cleverness is more subtle now, leaving room for more tenderness and even delicacy. Musgraves has also learned to let her metaphors and multiple meanings unwind at their own “slow-burn” pace, and their impact is that much stronger. On the opening track, she stretches those two words, languidly letting them escape as if in a puff of, well, you know. And the way she sings “Space Cowboy” turns that phrase (and any notion of kinship with Steve Miller’s song) on its head, just as she flips the notion of a velvet Elvis from kitschy to cool. Now experimenting with vocoder, disco beats, and other paradigm-busting elements, she tempers the beautiful lightness of “Butterflies” with the melancholy of “Mother” and the sting of “High Horse”—and makes it all fit together elegantly. Thank goodness she’s never been afraid to follow her arrow.—Lynne Margolis

JAMIE NELSON

ALBUM OF THE YEAR

KACEY MUSGRAVES

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ALBUM OF THE YEAR

BLACK PANTHER: THE ALBUM, MUSIC FROM AND INSPIRED BY

LACK PANTHER—2018’S ACTION-PACKED,

top grossing blockbuster—ends with the titular superhero starting an international outreach center in Oakland, Calif. One can only imagine what a music exchange program between Oakland and Black Panther’s fictional African nation of Wakanda sounds like, but the sonic mash-up would have to evoke the Kendrick Lamar-curated Black Panther: The Album, Music From And Inspired By. An urban world-music mélange of hip-hop, gqom, pop, Afro-soul, and R&B, sung and rapped in English and occasional Zulu, the ambitious companion to last year’s biggest movie succeeds on all levels. The crown jewel of Lamar’s eight GRAMMY nominations, his fourth Album Of The Year nod signals an unrivaled consistency in rap music. Lamar took a life-changing trip to South Africa in 2014—through Johannesburg, Cape Town, Durban, and Nelson Mandela’s prison cell on Robben Island— that widened his worldview both musically and sociopolitically. Black Panther: The Album… marks the perfect occasion for Lamar to bring those influences

61st Annual GRAMMY Awards

to bear. Babes Wodumo, queen of the African electronic dance music known as gqom, features strongly on “Redemption.” Johannesburg rapper Yugen Blakrok holds his own with Vince Staples and Lamar on “Opps,” and his Jo’burg brethren Sjava illuminates “Seasons” just as intensely. The additions of all three make Afrofuturist Wakandan hip-hop easy to conjure. Black Panther: The Album… serves the pop universe most beautifully with the stellar collaboration between Lamar and SZA on “All The Stars.” One of 2018’s most omnipresent radio singles, the album highlight is partially written and co-produced by the GRAMMY-nominated Mark “Sounwave” Spears (responsible for co-producing nine of the soundtrack’s 14 tracks). Khalid, Swae Lee, Jorja Smith, Anderson .Paak, the Weeknd, and other guests, round out the album with touches of patented post-millennial R&B, crooning unforgettable hooks and soulful passages that contribute to the record’s overall excellence. Black Panther: The Album… is a triumph in its own right, another classic song collection in Lamar’s compelling discography.—Miles Marshall Lewis

RDENT MEMBERS OF THE BEYHIVE MIGHT

recognize Chloe Bailey’s face from her appearance as a 3-year-old version of Beyoncé’s character in the 2003 film The Fighting Temptations. Years later, that little girl would grow up to be one-half of the sister-duo Chloe X Halle with her younger sister, Halle, ages 20 and 18. As an aspiring R&B act in their hometown of Atlanta, they recorded viral videos of the two of them performing covers. When their cover of Beyoncé’s “Pretty Hurts” caught the icon’s notice, Queen Bey had an email sent to the sisters, which ultimately led to their signing with Beyoncé’s Parkwood Entertainment label. It seemed like kismet. Although the sisters are often recognized on the street for being TV series regulars on “Grown-ish,” their true passion is music. They have been writing, producing, and performing all of their own music since they were ages 7 and 5 years old. The sound they have lovingly cultivated is simultaneously anthemic

61st Annual GRAMMY Awards

(“Warrior” on the A Wrinkle In Time soundtrack) and exuberant (“Grown” the foot-stomping theme song from “Grown-ish”). But their music isn’t just big pop songs with commercial appeal. “Happy Without Me” swirls with the kind of neo-soul atmospherics that typified Erykah Badu’s sound in the late ’90s, while they ponder the bittersweet emotions of seeing an ex with someone new. “I remember when you would call me in the morning/Just to see if I was good and I slept right,” recalls the wistful lyrics. The melismatic vocal layering is the duo’s signature. And they utilize the technique to full effect on the almost a cappella single “The Kids Are Alright,” the title track from their debut studio album. The album earned a GRAMMY nomination for Best Urban Contemporary Album, pitting the sisters against their boss, who is nominated with her husband Jay Z in the same category. No matter what happens, one could certainly say that Chloe X Halle are Destiny’s Children.—Serena Kim

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O BORROW A LINE FROM HIS SONG “WHEN IT

Rains It Pours,” Luke Combs has been on one helluva a redneck roll lately. After years of meticulously building a fan base one bar gig and tightly crafted tune at a time, the North Carolina singer/songwriter finally broke through with his major label debut, This One’s For You. The 12-song collection went on to become Billboard’s Top Country Album of 2018, earning Combs the New Artist of the Year title at the 52nd Annual Country Music Association Awards and cementing his reputation as a road warrior known for fiery live shows. Combs credits his success to hard work and an everyman’s sensibility. Indeed, Combs looks more like the guy behind you in line at Walmart than a country star headlining a sold-out arena tour. But the farmer’s cap and untucked shirts

61st Annual GRAMMY Awards

belie a songwriter’s insight and flair for wit, and when Combs opens his mouth to sing, his graveltinged baritone owns the stage. Sure, Combs says he’s just a regular guy, but regular guys don’t turn running into your ex at a bar into a triple-platinum song (“Hurricane”), or score their fourth consecutive No. 1 on Billboard’s Country Airplay chart with a song explaining how teenage heartbreak led to your music career (“She Got The Best Of Me”). Even the aforementioned “When It Rains It Pours” spins a country mainstay on its end: yeah the guy lost the girl but in Combs’ telling, when she walked out the door, all of his bad luck went with her. Behind the regular Joe facade is a musical craftsman who has married the familiarity country fans demand with a contemporary perspective that points to the future. And it’s this that makes Luke Combs such a breath of fresh air.—Lisa Zhito

JIM WRIGHT

BEST NEW ARTIST

LUKE COMBS

AND THE AWARD FOR BEST LOCATION GOES TO…

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Congratulations to all of this year’s GRAMMY ® nominees. Join us across the street at NIXO as we celebrate music with music.

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AUGHT IN A MUSICAL TIME WARP, GRETA VAN

Fleet is an American rock band in the classic mold. With a few pages cribbed from the Zeppelin playbook, the young quartet’s guitar-driven, retro blues-rock has emerged as a breath of dry ice on pop radio and in arenas coast to coast, picking up fans such as Elton John and Justin Bieber along the way, as well as four GRAMMY nominations: Best New Artist, Best Rock Song for “Black Smoke Rising;” Best Rock Performance for “Highway Tune;” and Best Rock Album for From The Fires. Greta Van Fleet (the name is a nod to a hometown neighbor) is vocalist Josh, his twin and guitarist Jake, and bassist Sam Kiszka, three brothers from tiny Frankenmuth, Mich., (home of the world’s largest yearround Christmas store), along with lifelong friend, drummer Danny Wagner. Raised on their parent’s tasty record collections, in their teens and early 20s, Greta honed their chops covering classic rock, blues, and soul standards from John Lee Hooker to the Who. Rock-heavy riffs and howling vocals run riot on the

61st Annual GRAMMY Awards

band’s debut double-EP, From The Fires, featuring the nominated “Highway Tune,” the first song the band ever wrote. It reached No. 1 on Billboard’s Mainstream Rock chart with more than 3 million streams on Spotify, 31 million YouTube views, and earned placement on Showtime’s “Shameless.” From The Fires also includes a second single, “Safari Song,” and soulful, bracing covers of Fairport Convention and Sam Cooke classics. To those who call the band derivative, Josh insists it all came together naturally: “It’s hard for us to fully really understand because it’s so organic and natural to create what we’re creating that it doesn’t so much have an easy explanation.” With spectacular live performances that are attracting fans of every generation, Greta Van Fleet is revitalizing a genre that has all but disappeared from today’s fragmented musical landscape. Their latest album, Anthem Of The Peaceful Army, continues to make good on Greta’s grand promise to bring back classic rock.—John Sutton-Smith

TRAVIS SHINN

BEST NEW ARTIST

GRETA VAN FLEET

From analyzing markets to ambient EDM, IBM Watson® can help ﬁnd hidden connections and insights in data. See how IBM Watson uncovers connections between artists and why it’s the GRAMMYs® ofﬁcial AI at ibm.com/grammys

IBM, the IBM logo, ibm.com, Watson and Let’s put smart to work are trademarks of International Business Machines Corp., registered in many jurisdictions worldwide. See current list at ibm.com/trademark. Other product and service names might be trademarks of IBM or other companies. ©International Business Machines Corp. 2019. GRAMMY®, GRAMMY Awards® and the gramophone logo are registered trademarks of The Recording Academy™ and are used under license. ©2019 The Recording Academy.

UA LIPA HAS A TATTOO ON HER FOREARM:

barbed wire in the shape of a heart. It’s an apt metaphor for the 23-year-old’s uncanny resilience in heartbreak; to express personal truths as universal themes that resonate with anyone who’s ever been crushed by love yet found the strength to get back on the dance floor. Lipa is nominated for Best New Artist, but this old soul is hardly an overnight success. Born in London in 1995 to Kosovar/Albanian parents, she began pursuing a music career at age 14, earning a devoted following on YouTube for her luminous covers of songs by Rihanna, Justin Bieber, Etta James, and other musical idols. Her big break came in 2015 with a major-label contract. She spent the next two years in the studio, honing the dark pop she describes as “dance crying.” Lipa’s self-titled studio debut, released in 2017, produced a string of hit singles. But the real turning

61st Annual GRAMMY Awards

point came with her blockbuster get-over-yourex anthem “New Rules,” which dominated global airwaves all summer as its pastel-party music video amassed a staggering 1.5 billion-plus views on YouTube. Then came a whirlwind of collaborations with the likes of Sean Paul, Martin Garrix, and Calvin Harris. “Electricity,” an effervescent, ’90s house-influenced floorfiller created with Diplo and Mark Ronson’s Silk City project, earned Lipa a GRAMMY nomination in the Best Dance Recording category. Lipa lends her star power to a wide range of pop, dance, and hip-hop styles; the common threads are her authenticity, relatability, and a voice that effortlessly slides from smoky to sonorous, wrapping around the melody like cashmere. The best art comes from a place beyond one’s comfort zone. Lucky for us, Dua Lipa fearlessly wears her heart on her sleeve.—Sarah Jones

MARKUS PRITZI

BEST NEW ARTIST

DUA LIPA

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T MAKES SENSE THAT MARGO PRICE RELEASED

the album that earned her the Recording Academy’s nod for Best New Artist in the fall of 2017, a couple of months before the calendar flipped to what would become the Year of the Woman. Price, as anyone who has been following the country star’s rise knows, has a knack for being quicker than most to identify the national mood. Back in 2016, when she released her debut, Midwest Farmer’s Daughter, she opened with a track lamenting the “cruel hands of time” that caused her daddy to lose his farm when she was a small girl; working class folks in the American heartland who were feeling equally disenfranchised could relate. But Price, 35, whose voice owes more to Dolly Parton than Patsy Cline, is both a hard-times honky-tonk throwback sympathetic to the plight of the down and out, and a promoter of progressive

61st Annual GRAMMY Awards

ideas. On All American Made, her themes are overtly political and often concerned with gender inequality. “Pay Gap” addresses the unequal pay predicament with more than a teaspoonful of logic: After bemoaning the state of affairs that has her out at night working to bring home a check instead of at home taking care of her young son, she asks, not unreasonably, “Pay gap, pay gap/Why don’t you do the math?” The more up-tempo “Wild Women” finds her riding down the highway trying to figure out the backroads to becoming, simultaneously, an effective mother, singer, and wife, which may well be impossible. But Price, an artist who reportedly hocked her wedding ring to make her first album, doesn’t seem the type to back away from a challenge. And anyway, as she sings on one of All American Made’s best and most soaring tracks, “A Little Pain,” she ain’t in it for her health.—Tammy La Gorce

ANGELINA CASTILLO

BEST NEW ARTIST

MARGO PRICE

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displayed the raw, creative versatility of Bebe Rexha, who earned hits traversing the genres of rap, pop, hip-hop, and country—all before releasing her own debut LP. In her teens, Rexha was named Best Teen Songwriter during an event hosted by the Recording Academy. Now, at 29, she has made good on the promise of that early accolade. Rexha is both artist and co-writer behind one of the best-selling hits of the year, and has secured two GRAMMY nominations, including Best New Artist. “Meant To Be,” her quadruple-platinum chart-topper with Florida Georgia Line, garnered a GRAMMY nomination for Best Country Duo/Group Performance. The track has earned more than 1 billion streams worldwide, and led Billboard’s Hot Country Songs chart for a record-shattering 50 consecutive weeks. These are only the latest accolades for the Brooklyn-born Rexha, who has spent nearly a

61st Annual GRAMMY Awards

decade as an in-demand songwriter and vocalist. In 2010, Rexha fronted Pete Wentz’s electronic outfit Black Cards, before signing a major-label solo deal. While steadily becoming pop music’s go-to artist for quirky-yet-soothing vocals, as evidenced by her work with G-Eazy (“Me, Myself & I”), Louis Tomlinson (“Back To You”), and Martin Garrix (“In The Name Of Love”), Rexha has proven herself equally adept in the writing room. Rexha co-wrote “The Monster,” the 2014 GRAMMY-winning Rihanna and Eminem collaboration, and her own breakthrough smash “Meant To Be.” Her work also graces tracks recorded by Selena Gomez (“Like A Champion”), Iggy Azalea (“Team”), and Nick Jonas (“Under You”). But those were just her warmups. After releasing three EPs, Rexha’s years of diverse collaborations culminated on the intensely personal, 14-song spread of eclectic tracks that form her debut album Expectations, which has since been certified gold. Meant to be indeed.—Jessica Nicholson

SASHA SAMSONOVA

BEST NEW ARTIST

BEBE REXHA

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IKE THE CALM BEFORE A STORM, JORJA

Smith’s career began as a modest trickle— specifically, a series of independently produced online recordings showcasing the British chanteuse’s fever-pitch torch songs. Following their 2016 release, Smith was fielding requests to record with Drake and open for Bruno Mars. Then came the deluge. Smith’s “Fine Line” was showcased on the acclaimed HBO dramedy “Insecure,” while her collaboration with Kendrick Lamar, “I Am,” was tapped for the chart-topping Black Panther motion picture soundtrack. Then, in 2018, Smith released her hotly anticipated debut album, Lost & Found, launching a wave of ecstatic reviews. Variety called her “a precociously and prodigiously talented young Brit whose voice shows a nuance and maturity beyond that of most singers.” Pitchfork lauded Smith’s “keen intellect and … precocious wisdom.” As singles such as “Let Me Down” and “The One” scaled the international charts, Smith found herself nominated for BET Awards, Soul Train

61st Annual GRAMMY Awards

Music Awards, the Mercury Prize, and more. She captured the Brit Awards Critics’ Choice prize, and her original song “Blue Lights” nabbed the 2018 UK Music Video Award for Best Urban Video—UK. Barely three years since her online debut, Smith has gone from lone wolf to budding international superstar. Born in the English county of West Midlands, Smith studied music at the prestigious Aldridge School, learning classical singing and the oboe. Her big epiphany came when she heard Amy Winehouse’s 2003 debut album Frank, a recording Smith found “so honest and real,” it made her want to create original songs of a similar authenticity. Now, with some pundits naming her heir to Winehouse’s throne, Smith is poised to become a musical role model in her own right … on her terms, of course. “I need to be doing what I love without someone else dictating me,” she told GQ. As signified by her Best New Artist nomination, Jorja Smith’s no-holds-barred artistry seems destined to garner a flood of acclaim.—Bruce Britt

RASHID BABIKER

BEST NEW ARTIST

JORJA SMITH

na rc i s orod r i gue z . c om

TH E N E W EAU D E PAR F UM ROUGE

SONG OF THE YEAR 66

“ALL THE STARS”

“BOO’D UP”

Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears & Anthony Tiffith, songwriters Kendrick Lamar & SZA, artists

Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters Ella Mai, artist

Kendrick Lamar was so enthused after director Ryan Coogler screened Black Panther for him and invited him to write a few songs for the film that he got to work and didn’t stop for five months, resulting in the Album Of The Year-nominated soundtrack, Black Panther: The Album, Music From And Inspired By. During the U.S. leg of his DAMN. tour, Lamar would write on his tour bus with the album’s primary co-writer and Top Dawg Entertainment’s main inhouse beat maker Mark “Sounwave” Spears. Other songs were written in studios in Los Angeles. “All The Stars” started with sonic loops over which other elements were overdubbed. “The initial impetus came from Al Shux,” engineer Matt Shaeffer told Sound On Sound. “[Then] Sounwave built the beat around the synth pads that Shux sent … sometimes we used controllers like instruments. Wave would play his [music production controller] like a drum set, and we’d record that directly into Pro Tools.” The song also features many tracks of real violin, played by Ezinma, which were folded into the music. “She played eight passes of every note in her arrangement,” said Schaeffer. Lamar’s inclination to create an entire album came as no surprise to his collaborators. “He’s really committed,” SZA told Vanity Fair. “For you to be that naturally talented already and still want to be better is weird, inspiring, and beautiful.” Lamar attributes it to a compulsion: “I’m obsessed with my craft and what I’m doing,” he told Vanity Fair. “I know what I’m chasing for my life … That urge to make an ultimate connection with words to man. And I don’t feel I’ve done that yet.”

The irrepressibly soulful yearning of “Boo’d Up” was born when Joelle James was in the studio trying to express in a song what she couldn’t do with words alone. “I wanted a boo in my life,” she said. “Someone to love.” Inspired by a track of “pure R&B magic” featuring a Johnny Gill sample, the entire song spilled out in about 20 minutes. “It was quick,” she said. “I heard the beat and I wrote that first line. I was writing from pain and frustration, and that’s what my heart wanted to write.” The hook—including the title—came about by accident. “I was just scatting noises,” she said, “and then realized the song was called ‘Boo’d Up.’ It came from a real raw, honest place. There’s just something special about letting your love show.” She brought it to her producer Dijon “DJ Mustard” McFarlane who, with his partner Larrance “Rance” Dopson, made it sound modern while also maintaining the old-school vibe. “They created the bottom-line,” she said, “which is amazing, cause it sounds brand-new, but still with elements of the classic vibe.” Though she wrote it for herself, when Mustard signed Ella Mai, Joelle knew this song was perfect for her. She was right. “I wrote this song in 2014,” she said. “If anything, I hope my story inspires people not to give up. At the end of the day, there’s a better plan for you, and a great story to tell. A great song can live always.”

61st Annual GRAMMY Awards

“GOD’S PLAN”

“IN MY BLOOD”

Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters Drake, artist

Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters Shawn Mendes, artist

Written by Drake, Ronald “Cardo” LaTour, Daveon “Yung Exclusive” Jackson, Matthew “Boi-1da” Samuels, and Noah “40” Shebib, “God’s Plan” started with tracks Cardo created with his old-school Fruit Loops software. “It was all in God’s plan,” Cardo told Elevator Magazine about providing the track that became the foundation for Drake’s reflection on destiny and human potential. Anytime Drake asks him for beats, Cardo provides, though he remains in the dark if his music will be chosen. When Drake called with the transformative news, Cardo was stunned. “That was a shocker,” he said. “I sent [Drake] a gang of beats, and probably a week later he hits me up at like five in the morning. He texted me, he was like, ‘We got one.’” That one was based on a track that also was graced with a divine title, “Grace Of God,” courtesy of Yung Exclusive. Drake felt it needed a more infectious groove. Enter Jamaican Canadian producer Boi-1da. “[‘God’s Plan’] was a half-finished record that Drake had,” Boi-1da told Billboard. “He came to me and needed me to put a bounce to it to rock a certain way. So I ended up adding some drums to the record. It came out well. I vibed with it and did what needed to be done. It came out as an amazing record.” Asked if he was surprised that it became such an immense song, Boi-1da said no: “With Drake, he never misses.”

“This song is the closest song to my heart that I’ve ever written & I hope you guys love it,” Shawn Mendes posted on social media prior to releasing “In My Blood,” in which he opens up about his struggles with anxiety. It was created in a studio high above Malibu where he and his longtime creative team of Teddy Geiger, Scott Harris, Geoff Warburton, and engineer George Seara would stare at the ocean until inspiration would strike. Discussing his ongoing anxiety problems, a song reflecting his condition began to emerge. “The concept of this song is about how it feels [when] you’re about to give up, and then you don’t,” Mendes told Billboard. “It’s about something that I think everybody goes through and it’s something that I think people don’t talk about often, especially in music.” Though initially unsure if it was revealing too much, he was relieved when his manager and others heard it and were stunned. “Everybody in the room was … emotionally blown away by the song, and the concept and the feel, and after that it was kind of let’s roll, we got this thing,” he said. “I love all of my other songs, but … this is my first time breaking into something that’s more serious and more about me.” The result was a song that got into listeners' blood.

61st Annual GRAMMY Awards

SONG OF THE YEAR 68

“THE JOKE”

“THE MIDDLE”

Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters Brandi Carlile, artist

Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha & Anton Zaslavski, songwriters Zedd, Maren Morris & Grey, artists

Even before Brandi Carlile started writing “The Joke,” several key lines started coming with such raw candor that they triggered the entire song, she told The New York Times. It started with “You get discouraged, don’t you, girl? It’s your brother’s world for a while longer,” which spilled out in the aftermath of the presidential election. “I was in London on Election Day,” she said, “and I woke up just feeling so utterly exposed. … I just remember this sense of shame when I woke up in another country and saw what happened in mine. I started thinking about those words then, before it was ever a song. And I knew that it would awaken a generation of activists and that if it was my brother’s world, it wouldn’t be for long.” Written with her bandmates, “The Twins” Phil and Tim Hanseroth, and producer Dave Cobb, “The Joke” became a boldly unapologetic song of empowerment. “I wanted to write ‘The Joke’ as an anthem for myself,” she said to Songwriter Universe, “and anybody that was feeling unloved or unseen or illegal, just to remind us that our time is coming. We’ve already won.” The joke is on those in temporary power. Love has already conquered the world.”

61st Annual GRAMMY Awards

Reflecting an expansive multistylistic freedom, “The Middle” emerged from a veritable global village of artists, including Russian-born Germanraised producer Zedd (Anton Zaslavski), Grey (L.A.-based brothers Kyle and Michael Trewartha), Melbourne-bred Sarah Aarons, and Jordan K. Johnson, Stefan Johnson, and Marcus Lomax of Miami’s Monsters & Strangerz. “The day before the session we were going through ideas, and there was this sound,” Stefan Johnson said to The New York Times, referring to a haunting keyboard passage. “We were kinda like, this feels really special, let's save it for tomorrow with Sarah.” The next day, after listening, Aarons disappeared briefly, and returned moments later with the perfectly-rhymed chorus lyrics, containing the title: “Oh baby, why don’t you just meet me in the middle? I’m losing my mind just a little…” Now the challenge became finding the ideal voice to deliver the song, a tireless search by Zedd through scores of singers before settling on the inspired but unlikely choice of Maren Morris. “Maren is so much more than just country,” Zedd said to Billboard. “I’ve hated how people have put me in boxes my whole career … the first time I ever heard Maren’s voice was on the demo for ‘The Middle’ … this was just about who sounds the best.” She did 20 takes, with Zedd choosing one of the last ones. “My favorite take was the second to last,” he said, “when we were losing her voice and she gave everything. The bits where her voice starts cracking and the rasp comes out? That’s my sweet spot.”

“SHALLOW”

“THIS IS AMERICA”

Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters Lady Gaga & Bradley Cooper, artists

Donald Glover, Ludwig Göransson & Jeffery Lamar Williams, songwriters Childish Gambino, artist

“Working with Gaga,” said “Shallow” co-writer Mark Ronson, “is like getting strapped into the space station. You put on the headphones, and you’re off on a journey. Sometimes it’s like a maze I help her navigate through, careful not to pollute the emotion. Mostly, it’s like working with a great master chef, and I’m a sous chef. She’s making this giant wonderful stew, and I’m holding up celery and saying, ‘How about this? How about carrots?’ My job is simply to help her get it right.” Still, he’d make gentle suggestions that made an impact. “I suggested she play with the word ‘shallow,’ so she did that `sha-la-la-la-low’ thing,” which is beautiful. Though it is a classic song, it has a little of that naughty Gaga thing.” Although it’s one of the few songs he co-wrote but did not produce (Gaga and Benjamin Rice were behind the board), Ronson was thrilled with the production: “I thought, ‘I can’t top this.’ I wouldn’t have thought to have made it this organic and honest, which is part of the reason the song really connects. There’s a lot of emotion and power in the song. Though we were writing it for the film, it’s a personal song. With me, Anthony, Andrew, and Gaga, there’s a lot of life-experience and pain and emotion there. Your own baggage, for better or worse, can’t help but find their way into the things you’re writing, no matter who you’re writing for. Some songs I work on have a lot of emotion, and get inside people, and that’s beautiful.”

Radiating with the chaos of an America perpetually darkened by racism and violence, “This Is America,” struck a resounding cultural chord. It came quickly but then lingered, as Ludwig Göransson, a film scorer, related to Entertainment Weekly, “We started out with the beat and … within an hour [we had] the main hook. We made like 80 percent of the song within two hours, and then to finish the rest, it took like two more years.” He and Donald Glover co-produced the record, weaving in the voices of Young Thug, BlocBoy JB, Slim Jxmmi, and 21 Savage. “When we work together, [Glover’s] a very visual person, and I can tell when we’re creating that there’s a story going on in his head already and he’s already thinking about the visuals,” Göransson said. “When I saw the video a couple days before it dropped, I was like, ‘Oh my God.” On the red carpet of the 2018 Met Gala, when asked about it by E!, Glover said, “I just wanted to make, you know, a good song. Something people could play on the Fourth of July.” Asked by Bustle who the song is intended for, he said, “It’s never really a question of ‘Who is it for?’ Because you’re not really in control of that. But I think it’s always a question of who I am.” —Paul Zollo

61st Annual GRAMMY Awards

THE T.J. MARTELL FOUNDATION IS PROUD TO SUPPORT

The 61st Annual GRAMMY Awards

NOMINATIONS For recordings released during the Eligibility Year Oct. 1, 2017, through Sept. 30, 2018. Note: More or less than 8 nominations in the General Field or 5 nominations in the other Fields is the result of ties.

GENERAL FIELD

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

I LIKE IT Cardi B, Bad Bunny & J Balvin

Invincible, JWhiteDidIt, Craig Kallman & Tainy, producers; Leslie Brathwaite, Kuk Harrell, Evan LaRay & Simone Torres, engineers/mixers; Colin Leonard, mastering engineer

THE JOKE Brandi Carlile

Dave Cobb & Shooter Jennings, producers; Tom Elmhirst & Eddie Spear, engineers/mixers; Pete Lyman, mastering engineer

THIS IS AMERICA Childish Gambino

2 ALBUM OF THE YEAR Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s), and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist.

INVASION OF PRIVACY Cardi B

Leslie Brathwaite & Evan LaRay, engineers/mixers; Belcalis Almanzar & Jorden Thorpe, songwriters; Colin Leonard, mastering engineer

BY THE WAY, I FORGIVE YOU Brandi Carlile

Dave Cobb & Shooter Jennings, producers; Dave Cobb & Eddie Spear, engineers/mixers; Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters; Pete Lyman, mastering engineer

SCORPION Drake

Donald Glover & Ludwig Göransson, producers; Derek “MixedByAli” Ali, Riley Mackin & Shaan Singh, engineers/mixers; Mike Bozzi, mastering engineer

Noel Cadastre, Noel “Gadget” Campbell & Noah Shebib, engineers/mixers; Aubrey Graham & Noah Shebib, songwriters; Chris Athens, mastering engineer

GOD’S PLAN

H.E.R.

Drake

Boi-1Da, Cardo & Young Exclusive, producers; Noel Cadastre, Noel “Gadget” Campbell & Noah Shebib, engineers/mixers; Chris Athens, mastering engineer

SHALLOW

H.E.R.

Darhyl “Hey DJ” Camper Jr, David "Swagg R'Celious" Harris, H.E.R., Walter Jones & Jeff Robinson, producers; Miki Tsutsumi, engineer/ mixer; Darhyl Camper Jr & H.E.R., songwriters; Dave Kutch, mastering engineer

Lady Gaga & Bradley Cooper

BEERBONGS & BENTLEYS

ALL THE STARS

Louis Bell & Post Malone, producers; Louis Bell & Manny Marroquin, engineers/mixers; Louis Bell & Austin Post, songwriters; Mike Bozzi, mastering engineer

Lady Gaga & Benjamin Rice, producers; Brandon Bost & Tom Elmhirst, engineers/mixers; Randy Merrill, mastering engineer

Kendrick Lamar & SZA

Al Shux & Sounwave, producers; Sam Ricci & Matt Schaeffer, engineers/mixers; Mike Bozzi, mastering engineer

ROCKSTAR Post Malone Featuring 21 Savage

Louis Bell & Tank God, producers; Louis Bell, Lorenzo Cardona, Manny Marroquin & Ethan Stevens, engineers/mixers; Mike Bozzi, mastering engineer

THE MIDDLE Zedd, Maren Morris & Grey

Grey, Monsters & Strangerz & Zedd, producers; Grey, Tom Norris, Ryan Shanahan & Zedd, engineers/mixers; Mike Marsh, mastering engineer

Post Malone

DIRTY COMPUTER Janelle Monáe

Chuck Lightning, Janelle Monáe Robinson & Nate “Rocket” Wonder, producers; Mick Guzauski, Janelle Monáe Robinson & Nate “Rocket” Wonder, engineers/mixers; Nathaniel Irvin III, Charles Joseph II, Taylor Parks & Janelle Monáe Robinson, songwriters; Dave Kutch, mastering engineer

GOLDEN HOUR Kacey Musgraves

Ian Fitchuk, Kacey Musgraves & Daniel Tashian, producers; Craig Alvin & Shawn Everett, engineers/mixers; Ian Fitchuk, Kacey Musgraves & Daniel Tashian, songwriters; Greg Calbi & Steve Fallone, mastering engineers

BLACK PANTHER: THE ALBUM, MUSIC FROM AND INSPIRED BY (Various Artists)

Kendrick Lamar, featured artist; Kendrick Duckworth & Sounwave, producers; Matt Schaeffer, engineer/mixer; Kendrick Duckworth & Mark Spears, songwriters; Mike Bozzi, mastering engineer

3 SONG OF THE YEAR A Songwriter(s) award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

ALL THE STARS Kendrick Duckworth, Solána Rowe, Al Shuckburgh, Mark Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA)

BOO’D UP Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters (Ella Mai)

GOD’S PLAN Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake)

IN MY BLOOD Teddy Geiger, Scott Harris, Shawn Mendes & Geoffrey Warburton, songwriters (Shawn Mendes)

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

THE MIDDLE Sarah Aarons, Jordan K. Johnson, Stefan Johnson, Marcus Lomax, Kyle Trewartha, Michael Trewartha & Anton Zaslavski, songwriters (Zedd, Maren Morris & Grey)

SHALLOW Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper)

THIS IS AMERICA Donald Glover, Ludwig Göransson & Jeffery Lamar Williams, songwriters (Childish Gambino)

61st Annual GRAMMY Awards

NOMINATIONS 4

BEST NEW ARTIST

BEST POP DUO/GROUP PERFORMANCE

An artist will be considered for Best New Artist if their Eligibility Year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.

Chloe x Halle Luke Combs Greta Van Fleet H.E.R. Dua Lipa

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

FALL IN LINE Christina Aguilera Featuring Demi Lovato

DON’T GO BREAKING MY HEART Backstreet Boys

‘S WONDERFUL Tony Bennett & Diana Krall

SHALLOW

Margo Price

Lady Gaga & Bradley Cooper

Bebe Rexha

GIRLS LIKE YOU

Jorja Smith

Maroon 5 Featuring Cardi B

SAY SOMETHING

8 BEST POP VOCAL ALBUM For albums containing at least 51% playing time of new vocal pop recordings.

CAMILA Camila Cabello

MEANING OF LIFE Kelly Clarkson

SWEETENER Ariana Grande

SHAWN MENDES Shawn Mendes

BEAUTIFUL TRAUMA P!nk

REPUTATION Taylor Swift

POP

Justin Timberlake Featuring Chris Stapleton

DANCE/ELECTRONIC MUSIC

THE MIDDLE Zedd, Maren Morris & Grey

BEST POP SOLO PERFORMANCE For new vocal or instrumental pop recordings. Singles or Tracks only.

COLORS Beck

HAVANA (LIVE) Camila Cabello

GOD IS A WOMAN Ariana Grande

JOANNE (WHERE DO YOU THINK YOU’RE GOIN’?) Lady Gaga

BETTER NOW Post Malone

7 BEST TRADITIONAL POP VOCAL ALBUM For albums containing at least 51% playing time of new traditional pop recordings.

LOVE IS HERE TO STAY Tony Bennett & Diana Krall

MY WAY Willie Nelson

NAT “KING” COLE & ME Gregory Porter

STANDARDS (DELUXE) Seal

THE MUSIC...THE MEM’RIES... THE MAGIC! Barbra Streisand

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

NORTHERN SOUL Above & Beyond Featuring Richard Bedford Above & Beyond & Andrew Bayer, producers; Above & Beyond, mixers

ULTIMATUM Disclosure (Featuring Fatoumata Diawara) Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer

LOSING IT Fisher

Paul Nicholas Fisher, producer; Kevin Grainger, mixer

ELECTRICITY Silk City & Dua Lipa Featuring Diplo & Mark Ronson

Jarami, Alex Metric & Silk City, producers; Josh Gudwin, mixer

GHOST VOICES Virtual Self

Porter Robinson, producer; Porter Robinson, mixer

61st Annual GRAMMY Awards

REACHING New HEIGHTS

Empire Polo Club | Coachella Valley, C A @USPOLOASSN | #LIVEAUTHENTICALLY

NOMINATIONS 10

ROCK

BEST DANCE/ ELECTRONIC ALBUM

For vocal or instrumental albums. Albums only.

SINGULARITY Jon Hopkins

WOMAN WORLDWIDE Justice

TREEHOUSE Sofi Tukker

OIL OF EVERY PEARLâ&#x20AC;&#x2122;S UN-INSIDES SOPHIE

LUNE ROUGE TOKiMONSTA

BEST ROCK PERFORMANCE For new vocal or instrumental solo, duo/group or collaborative rock recordings.

11 BEST CONTEMPORARY INSTRUMENTAL ALBUM

BLACK SMOKE RISING

Arctic Monkeys

Jacob Thomas Kiszka, Joshua Michael Kiszka, Samuel Francis Kiszka & Daniel Robert Wagner, songwriters

WHEN BAD DOES GOOD Chris Cornell

MADE AN AMERICA The Fever 333

HIGHWAY TUNE Greta Van Fleet

Halestorm

13 BEST METAL PERFORMANCE For new vocal or instrumental solo, duo/group or collaborative metal recordings.

For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.

CONDEMNED TO THE GALLOWS

THE EMANCIPATION PROCRASTINATION

Deafheaven

Christian Scott aTunde Adjuah

STEVE GADD BAND Steve Gadd Band

MODERN LORE Julian Lage

LAID BLACK Marcus Miller

PROTOCOL 4 Simon Phillips

BEST ROCK SONG A Songwriter(s) award. Includes rock, hard rock, and metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

FOUR OUT OF FIVE

UNCOMFORTABLE

CONTEMPORARY INSTRUMENTAL MUSIC

Between The Buried And Me

HONEYCOMB ELECTRIC MESSIAH High On Fire

BETRAYER Trivium

ON MY TEETH Underoath

(Greta Van Fleet)

JUMPSUIT Tyler Joseph, songwriter (Twenty One Pilots)

MANTRA Jordan Fish, Matthew Kean, Lee Malia, Matthew Nicholls & Oliver Sykes, songwriters (Bring Me The Horizon)

MASSEDUCTION Jack Antonoff & Annie Clark, songwriters (St. Vincent)

RATS Tom Dalgety & A Ghoul Writer, songwriters (Ghost)

15 BEST ROCK ALBUM For albums containing at least 51% playing time of new rock, hard rock or metal recordings.

RAINIER FOG Alice In Chains

MA N I A Fall Out Boy

PREQUELLE Ghost

FROM THE FIRES Greta Van Fleet

PACIFIC DAYDREAM Weezer

61st Annual GRAMMY Awards

One night.

All the colors of passion.

Music unites us. UnitedRecording.com

NOMINATIONS ALTERNATIVE

BEST TRADITIONAL R&B PERFORMANCE

BEST URBAN CONTEMPORARY ALBUM

BEST ALTERNATIVE MUSIC ALBUM Vocal or instrumental.

TRANQUILITY BASE HOTEL + CASINO Arctic Monkeys

COLORS Beck

UTOPIA Björk

AMERICAN UTOPIA David Byrne

MASSEDUCTION St. Vincent

R&B

For new vocal or instrumental traditional R&B recordings.

BET AIN’T WORTH THE HAND Leon Bridges

DON’T FALL APART ON ME TONIGHT Bettye LaVette

HONEST MAJOR

HOW DEEP IS YOUR LOVE PJ Morton Featuring Yebba

MADE FOR LOVE Charlie Wilson Featuring Lalah Hathaway

19 BEST R&B SONG

EVERYTHING IS LOVE The Carters

THE KIDS ARE ALRIGHT Chloe x Halle

CHRIS DAVE AND THE DRUMHEDZ Chris Dave And The Drumhedz

WAR & LEISURE Miguel

VENTRILOQUISM Meshell Ndegeocello

21 BEST R&B ALBUM

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.

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

For new vocal or instrumental R&B recordings.

BOO’D UP

Toni Braxton

LONG AS I LIVE

Larrance Dopson, Joelle James, Ella Mai & Dijon McFarlane, songwriters

17 BEST R&B PERFORMANCE

Toni Braxton

SUMMER The Carters

YOY Lalah Hathaway

BEST PART H.E.R. Featuring Daniel Caesar

FIRST BEGAN PJ Morton

(Ella Mai)

COME THROUGH AND CHILL Jermaine Cole, Miguel Pimentel & Salaam Remi, songwriters

(Miguel Featuring J. Cole & Salaam Remi)

FEELS LIKE SUMMER Donald Glover & Ludwig Göransson, songwriters (Childish Gambino)

FOCUS Darhyl Camper Jr, H.E.R. & Justin Love, songwriters (H.E.R.)

LONG AS I LIVE Paul Boutin, Toni Braxton & Antonio Dixon, songwriters (Toni Braxton)

For albums containing at least 51% playing time of newly recorded contemporary vocal tracks derivative of R&B.

61st Annual GRAMMY Awards

SEX & CIGARETTES GOOD THING Leon Bridges

HONESTLY Lalah Hathaway

H.E.R. H.E.R.

GUMBO UNPLUGGED (LIVE) PJ Morton

THE BIGGEST HITS FROM MUSIC’S BIGGEST NIGHT ! ®

ALBUM AVAILABLE NOW

A por tion of the album proceeds benefit the MusiCares Foundation ® and the GR AMMY Museum Foundation ® .

2 0 1 9 G R A M M Y. COM GRAMMY, GRAMMY Awards and the gramophone logo are registered trademarks of the Recording Academy™ and are used under license. PC 2019 The Recording Academy.

NOMINATIONS RAP

24 BEST RAP SONG

For a rap performance. Singles or Tracks only.

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.

BE CAREFUL

GOD’S PLAN

BEST RAP PERFORMANCE

Cardi B

NICE FOR WHAT Drake

KING’S DEAD Kendrick Lamar, Jay Rock, Future & James Blake

BUBBLIN Anderson .Paak

SICKO MODE Travis Scott, Drake, Big Hawk & Swae Lee

23 BEST RAP/SUNG PERFORMANCE For a solo or collaborative performance containing both elements of R&B melodies and rap.

LIKE I DO Christina Aguilera Featuring Goldlink

PRETTY LITTLE FEARS 6lack Featuring J. Cole

THIS IS AMERICA Childish Gambino

ALL THE STARS Kendrick Lamar & SZA

ROCKSTAR Post Malone Featuring 21 Savage

Aubrey Graham, Daveon Jackson, Brock Korsan, Ron LaTour, Matthew Samuels & Noah Shebib, songwriters (Drake)

KING’S DEAD Kendrick Duckworth, Samuel Gloade, James Litherland, Johnny McKinzie, Axel Morgan, Mark Spears, Travis Walton, Nayvadius Wilburn & Michael Williams II, songwriters

(Kendrick Lamar, Jay Rock, Future & James Blake)

LUCKY YOU

R. Fraser, G. Lucas, M. Mathers, M. Samuels & J. Sweet, songwriters (Eminem Featuring Joyner Lucas)

SICKO MODE

Khalif Brown, Rogét Chahayed, BryTavious Chambers, Mike Dean, Mirsad Dervic, Kevin Gomringer, Tim Gomringer, Aubrey Graham, John Edward Hawkins, Chauncey Hollis, Jacques Webster, Ozan Yildirim & Cydel Young, songwriters (Travis Scott, Drake, Big Hawk & Swae Lee)

WIN

K. Duckworth, A. Hernandez, J. McKinzie, M. Samuels & C. Thompson, songwriters (Jay Rock)

25 BEST RAP ALBUM For albums containing at least 51% playing time of new rap recordings.

INVASION OF PRIVACY Cardi B

SWIMMING Mac Miller

VICTORY LAP Nipsey Hussle

DAYTONA Pusha T

ASTROWORLD Travis Scott

61st Annual GRAMMY Awards

COUNTRY

26 BEST COUNTRY SOLO PERFORMANCE For new vocal or instrumental solo country recordings.

WOULDN’T IT BE GREAT? Loretta Lynn

MONA LISAS AND MAD HATTERS Maren Morris

BUTTERFLIES Kacey Musgraves

MILLIONAIRE Chris Stapleton

PARALLEL LINE Keith Urban

27 BEST COUNTRY DUO/GROUP PERFORMANCE For new vocal or instrumental duo/group or collaborative country recordings.

SHOOT ME STRAIGHT Brothers Osborne

TEQUILA Dan + Shay

WHEN SOMEONE STOPS LOVING YOU Little Big Town

DEAR HATE Maren Morris Featuring Vince Gill

MEANT TO BE Bebe Rexha & Florida Georgia Line

NOMINATIONS 28 BEST COUNTRY SONG 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.

BREAK UP IN THE END Jessie Jo Dillon, Chase McGill & Jon Nite, songwriters (Cole Swindell)

30 BEST NEW AGE ALBUM

HIRAETH

THE QUESTIONS

Lisa Gerrard & David Kuckhermann

BELOVED

Tom Douglas, David Hodges & Maren Morris, songwriters

OPIUM MOON

I LIVED IT

(Blake Shelton)

SPACE COWBOY Luke Laird, Shane McAnally & Kacey Musgraves, songwriters (Kacey Musgraves)

TEQUILA Nicolle Galyon, Jordan Reynolds & Dan Smyers, songwriters (Dan + Shay)

WHEN SOMEONE STOPS LOVING YOU Hillary Lindsey, Chase McGill & Lori McKenna, songwriters (Little Big Town)

29 BEST COUNTRY ALBUM For albums containing at least 51% playing time of new country recordings.

UNAPOLOGETICALLY Kelsea Ballerini

PORT SAINT JOE Brothers Osborne

GIRL GOING NOWHERE Ashley McBryde

GOLDEN HOUR Kacey Musgraves

FROM A ROOM: VOLUME 2 Chris Stapleton

61st Annual GRAMMY Awards

BEST JAZZ VOCAL ALBUM For albums containing at least 51% playing time of new vocal jazz recordings.

MY MOOD IS YOU

Snatam Kaur

Rhett Akins, Ross Copperman, Ashley Gorley & Ben Hayslip, songwriters

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

DEAR HATE

(Maren Morris Featuring Vince Gill)

NEW AGE

Opium Moon

Freddy Cole

Kurt Elling

THE SUBJECT TONIGHT IS LOVE Kate McGarry, Keith Ganz, Gary Versace

IF YOU REALLY WANT

MOLECULES OF MOTION

Raul Midón With The Metropole Orkest Conducted By Vince Mendoza

MOKU MALUHIA—PEACEFUL ISLAND

Cécile McLorin Salvant

Steve Roach

Jim Kimo West

JAZZ

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

SOME OF THAT SUNSHINE

THE WINDOW

33 BEST JAZZ INSTRUMENTAL ALBUM For albums containing at least 51% playing time of new instrumental jazz recordings.

DIAMOND CUT Tia Fuller

LIVE IN EUROPE Fred Hersch Trio

SEYMOUR READS THE CONSTITUTION!

Regina Carter, soloist

Brad Mehldau Trio

Track from: Some Of That Sunshine (Karrin Allyson)

STILL DREAMING

DON’T FENCE ME IN

Joshua Redman, Ron Miles, Scott Colley & Brian Blade

Track from: American Dreamers: Voices Of Hope, Music Of Freedom (John Daversa Big Band Featuring DACA Artists)

The Wayne Shorter Quartet

John Daversa, soloist

WE SEE

Fred Hersch, soloist

DE-DAH

Brad Mehldau, soloist

Track from: Seymour Reads The Constitution! (Brad Mehldau Trio)

CADENAS

Miguel Zenón, soloist

Track from: Yo Soy La Tradición (Miguel Zenón Featuring Spektral Quartet)

EMANON

NOMINATIONS 34 BEST LARGE JAZZ ENSEMBLE ALBUM For albums containing at least 51% playing time of new ensemble jazz recordings.

ALL ABOUT THAT BASIE The Count Basie Orchestra Directed By Scotty Barnhart

AMERICAN DREAMERS: VOICES OF HOPE, MUSIC OF FREEDOM John Daversa Big Band Featuring DACA Artists

PRESENCE Orrin Evans And The Captain Black Big Band

ALL CAN WORK John Hollenbeck Large Ensemble

BAREFOOT DANCES AND OTHER VISIONS Jim McNeely & The Frankfurt Radio Big Band

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

HEART OF BRAZIL Eddie Daniels

BACK TO THE SUNSET Dafnis Prieto Big Band

WEST SIDE STORY REIMAGINED Bobby Sanabria Multiverse Big Band

CINQUE Elio Villafranca

YO SOY LA TRADICIÓN Miguel Zenón Featuring Spektral Quartet

GOSPEL/CONTEMPORARY CHRISTIAN MUSIC

36 BEST GOSPEL PERFORMANCE/SONG This award is given to the Artist(s) and Songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.

YOU WILL WIN Jekalyn Carr Allen Carr & Jekalyn Carr, songwriters

WON’T HE DO IT Koryn Hawthorne

NEVER ALONE Tori Kelly Featuring Kirk Franklin Kirk Franklin & Victoria Kelly, songwriters

CYCLES Jonathan McReynolds Featuring DOE Jonathan McReynolds & Will Reagan, songwriters

A GREAT WORK

JOY for KING & COUNTRY Ben Glover, Matt Hales, Stephen Blake Kanicka, Seth Mosley, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters

GRACE GOT YOU MercyMe Featuring John Reuben David Garcia, Ben Glover, MercyMe, Solomon Olds & John Reuben, songwriters

KNOWN Tauren Wells Ethan Hulse, Jordan Sapp & Tauren Wells, songwriters

38 BEST GOSPEL ALBUM For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.

ONE NATION UNDER GOD Jekalyn Carr

HIDING PLACE Tori Kelly

MAKE ROOM

Brian Courtney Wilson Aaron W. Lindsey, Alvin Richardson & Brian Courtney Wilson, songwriters

Jonathan McReynolds

The Walls Group

BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG This award is given to the Artist(s) and Songwriter(s) (for new compositions) for the best contemporary Christian pop, Christian rap/ hip-hop, or Christian rock single or track.

RECKLESS LOVE Cory Asbury Cory Asbury, Caleb Culver & Ran Jackson, songwriters

YOU SAY Lauren Daigle Lauren Daigle, Jason Ingram & Paul Mabury, songwriters

THE OTHER SIDE A GREAT WORK Brian Courtney Wilson

39 BEST CONTEMPORARY CHRISTIAN MUSIC ALBUM For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip-hop, or rock recordings.

LOOK UP CHILD Lauren Daigle

HALLELUJAH HERE BELOW Elevation Worship

LIVING WITH A FIRE Jesus Culture

61st Annual GRAMMY Awards

Tay Keith

Anderson East

Luke Laird

MTSU’s 61st GRAMMY Award Nominees ®

WE ARE MUSIC. Our alumni are GRAMMY® Award-winning, industry-shaping professionals. Our faculty includes successful music professionals and accomplished educators. Our students excel because our classroom is the real world. We are music—and proud of it.

mtsu.edu/WeAreMusic

0119-7037 / Middle Tennessee State University does not discriminate on the basis of race, color, national origin, sex, or disability. See our full policy at www.mtsu.edu/iec.

NOMINATIONS SURROUNDED Michael W. Smith

SURVIVOR: LIVE FROM HARDING PRISON Zach Williams

40 BEST ROOTS GOSPEL ALBUM For albums containing at least 51% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.

UNEXPECTED Jason Crabb

CLEAR SKIES Ernie Haase & Signature Sound

FAVORITES: REVISITED BY REQUEST The Isaacs

STILL STANDING The Martins

LOVE LOVE LOVE Gordon Mote

LATIN

41 BEST LATIN POP ALBUM For albums containing at least 51% playing time of new Latin pop recordings.

PROMETO

BEST LATIN ROCK, URBAN OR ALTERNATIVE ALBUM For albums containing at least 51% playing time of new Latin rock, urban or alternative recordings.

CLAROSCURA Aterciopelados

COASTCITY COASTCITY

ENCANTO TROPICAL Monsieur Periné

GOURMET Orishas

AZTLÁN

43 BEST REGIONAL MEXICAN MUSIC ALBUM (INCLUDING TEJANO) For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera, and Tejano) recordings.

PRIMERO SOY MEXICANA Angela Aguilar

MITAD Y MITAD Calibre 50

TOTALMENTE JUAN GABRIEL VOL. II Aida Cuevas

SINCERA

CRUZANDO BORDERS

Claudia Brant

Los Texmaniacs

MUSAS (UN HOMENAJE AL FOLCLORE LATINOAMERICANO EN MANOS DE LOS MACORINOS), VOL. 2

LEYENDAS DE MI PUEBLO

2:00 AM Raquel Sofía

VIVES Carlos Vives

61st Annual GRAMMY Awards

44 BEST TROPICAL LATIN ALBUM For albums containing at least 51% playing time of new tropical Latin recordings.

PA’ MI GENTE Charlie Aponte

LEGADO Formell Y Los Van Van

ORQUESTA AKOKÁN Orquesta Akokán

PONLE ACTITUD Felipe Peláez

ANNIVERSARY Spanish Harlem Orchestra

Zoé

Pablo Alboran

Natalia Lafourcade

Mariachi Sol De Mexico De Jose Hernandez

¡MÉXICO POR SIEMPRE! Luis Miguel

AMERICAN ROOTS MUSIC

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

KICK ROCKS Sean Ardoin

SAINT JAMES INFIRMARY BLUES Jon Batiste

THE JOKE Brandi Carlile

ALL ON MY MIND Anderson East

LAST MAN STANDING Willie Nelson

COMING IN 2019! J. H. SANDERSON’S AUDIOBOOK FIVE OF THE ROADHOUSE SONS SERIES!

NARRATED BY PHILIP HERNÁNDEZ

A BROADWAY ICON NARRATES A TALE OF ROCK AND ROLL, AND ESPIONAGE! “THE PLOT LINE IS FANTASTIC AND THE AUTHOR HAS CRAFTED EACH ASPECT WITH SUCH AUTHORITY THAT IT IS IMPOSSIBLE NOT TO BE COMPLETELY TAKEN IN... WELL DONE.” ~ JACOB CLEVELAND, LITERARY CRITIC

CRUMBLIN’ DOWN

NARRATED BY BROADWAY’S PHILIP HERNÁNDEZ THE ONLY ACTOR IN BROADWAY’S HISTORY TO PLAY BOTH JEAN VALJEAN AND JAVERT IN LES MISÉRABLES!

WHAT IF THE COLD WAR WENT HOT AND YOUR FATE RESTED IN THE HANDS OF A '70s COVER BAND? facebook.com/ roadhouse.sons

Visit us at RoadhouseSons.com

NOMINATIONS 46 BEST AMERICAN ROOTS SONG

BEST BLUEGRASS ALBUM

BEST CONTEMPORARY BLUES ALBUM

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

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

ALL THE TROUBLE

Sister Sadie

Waylon Payne, Lee Ann Womack & Adam Wright, songwriters

RIVERS AND ROADS

(Lee Ann Womack)

BUILD A BRIDGE Jeff Tweedy, songwriter (Mavis Staples)

PORTRAITS IN FIDDLES Mike Barnett

SISTER SADIE II

Special Consensus

THE TRAVELIN’ MCCOURYS The Travelin’ McCourys

NORTH OF DESPAIR

THE JOKE

Wood & Wire

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

(Brandi Carlile)

KNOCKIN’ ON YOUR SCREEN DOOR Pat McLaughlin & John Prine, songwriters (John Prine)

SUMMER’S END Pat McLaughlin & John Prine, songwriters (John Prine)

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

BY THE WAY, I FORGIVE YOU Brandi Carlile

THINGS HAVE CHANGED Bettye LaVette

THE TREE OF FORGIVENESS John Prine

THE LONELY, THE LONESOME & THE GONE Lee Ann Womack

ONE DROP OF TRUTH The Wood Brothers

61st Annual GRAMMY Awards

BEST TRADITIONAL BLUES ALBUM For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.

SOMETHING SMELLS FUNKY ‘ROUND HERE Elvin Bishop’s Big Fun Trio

BENTON COUNTY RELIC Cedric Burnside

THE BLUES IS ALIVE AND WELL Buddy Guy

NO MERCY IN THIS LAND Ben Harper And Charlie Musselwhite

DON’T YOU FEEL MY LEG (THE NAUGHTY BAWDY BLUES OF BLUE LU BARKER) Maria Muldaur

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

PLEASE DON’T BE DEAD Fantastic Negrito

HERE IN BABYLON Teresa James And The Rhythm Tramps

CRY NO MORE Danielle Nicole

OUT OF THE BLUES Boz Scaggs

VICTOR WAINWRIGHT AND THE TRAIN Victor Wainwright And The Train

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

WHISTLE DOWN THE WIND Joan Baez

BLACK COWBOYS Dom Flemons

RIFLES & ROSARY BEADS Mary Gauthier

WEED GARDEN Iron & Wine

ALL ASHORE Punch Brothers

THANK YOU FOR YOUR VISION, CREATIVITY, AND PASSION. WE WISH ALL OUR ARTISTS A GREAT NIGHT.

NOMINATIONS 52

WORLD MUSIC

SPOKEN WORD

BEST REGIONAL ROOTS MUSIC ALBUM

BEST WORLD MUSIC ALBUM

BEST SPOKEN WORD ALBUM (INCLUDES POETRY, AUDIO BOOKS & STORYTELLING)

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

KREOLE ROCK AND SOUL Sean Ardoin

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

DERAN

SPYBOY

Bombino

Cha Wa

FENFO

ALOHA FROM NA HOA

Fatoumata Diawara

Na Hoa

BLACK TIMES

NO ‘ANE’I

Seun Kuti & Egypt 80

Kalani Pe’a

FREEDOM

MEWASINSATIONAL—CREE ROUND DANCE SONGS

Soweto Gospel Choir

Young Spirit

REGGAE

53 BEST REGGAE ALBUM For albums containing at least 51% playing time of new reggae recordings.

THE LOST SONGS OF WORLD WAR II Yiddish Glory

CHILDREN’S

55 BEST CHILDREN’S ALBUM

Courtney B. Vance

CALYPSO David Sedaris

CREATIVE QUEST Questlove

FAITH—A JOURNEY FOR ALL Jimmy Carter

THE LAST BLACK UNICORN Tiffany Haddish

COMEDY

57 BEST COMEDY ALBUM

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

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

Black Uhuru

ALL THE SOUNDS

ANNIHILATION

REGGAE FOREVER

Lucy Kalantari & The Jazz Cats

Patton Oswalt

Etana

BUILDING BLOCKS

EQUANIMITY & THE BIRD REVELATION

REBELLION RISES

Tim Kubart

Dave Chappelle

FALU’S BAZAAR

NOBLE APE

AS THE WORLD TURNS

Ziggy Marley

A MATTER OF TIME Protoje

44/876 Sting & Shaggy

Falu

Jim Gaffigan

GIANTS OF SCIENCE

STANDUP FOR DRUMMERS

The Pop Ups

Fred Armisen

THE NATION OF IMAGINE

TAMBORINE

Frank & Deane

ACCESSORY TO WAR (NEIL DEGRASSE TYSON & AVIS LANG)

61st Annual GRAMMY Awards

Chris Rock

NOMINATIONS MUSICAL THEATER

MUSIC FOR VISUAL MEDIA

BEST MUSICAL THEATER ALBUM

BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA

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.

THE BAND’S VISIT Etai Benson, Adam Kantor, Katrina Lenk & Ari’el Stachel, principal soloists; Dean Sharenow & David Yazbek, producers; David Yazbek, composer & lyricist (Original Broadway Cast)

CAROUSEL Renée Fleming, Alexander Gemignani, Joshua Henry, Lindsay Mendez & Jessie Mueller, principal soloists; Steven Epstein, producer (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2018 Broadway Cast)

JESUS CHRIST SUPERSTAR LIVE IN CONCERT Sara Bareilles, Alice Cooper, Ben Daniels, Brandon Victor Dixon, Erik Grönwall, Jin Ha, John Legend, Norm Lewis & Jason Tam, principal soloists; Andrew Lloyd Webber & Harvey Mason Jr., producers; (Andrew Lloyd Webber, composer; Tim Rice, lyricist) (Original Television Cast)

MY FAIR LADY Lauren Ambrose, Norbert Leo Butz & Harry Hadden-Paton, principal soloists; Van Dean, David Lai & Ted Sperling, producers (Frederick Loewe, composer; Alan Jay Lerner, lyricist) (2018 Broadway Cast)

ONCE ON THIS ISLAND Phillip Boykin, Merle Dandridge, Quentin Earl Darrington, Hailey Kilgore, Kenita R. Miller, Alex Newell, Isaac Powell & Lea Salonga, principal soloists; Lynn Ahrens, Stephen Flaherty & Elliot Scheiner, producers; Stephen Flaherty, composer; Lynn Ahrens, lyricist (New Broadway Cast)

61st Annual GRAMMY Awards

Award to the Artist(s) and/or “in studio” Producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs, and producers, as applicable. Award also goes to appropriately credited Music Supervisor(s).

CALL ME BY YOUR NAME (Various Artists)

Luca Guadagnino, compilation producer; Robin Urdang, music supervisor

DEADPOOL 2 (Various Artists)

David Leitch & Ryan Reynolds, compilation producers; John Houlihan, music supervisor

THE GREATEST SHOWMAN Hugh Jackman (& Various Artists)

Alex Lacamoire, Benj Pasek, Justin Paul & Greg Wells, compilation producers

LADY BIRD (Various Artists)

Timothy J. Smith, compilation producer; Michael Hill & Brian Ross, music supervisors

STRANGER THINGS (Various Artists)

Matt Duffer, Ross Duffer & Timothy J. Smith, compilation producers; Nora Felder, music supervisor

60 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.

BLACK PANTHER Ludwig Göransson, composer

BLADE RUNNER 2049 Benjamin Wallfisch & Hans Zimmer, composers

COCO Michael Giacchino, composer

THE SHAPE OF WATER Alexandre Desplat, composer

STAR WARS: THE LAST JEDI John Williams, composer

61 BEST SONG WRITTEN FOR VISUAL MEDIA A Songwriter(s) award. For a song (melody and 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.

ALL THE STARS Kendrick Duckworth, Solána Rowe, Alexander William Shuckburgh, Mark Anthony Spears & Anthony Tiffith, songwriters (Kendrick Lamar & SZA) Track from: Black Panther

MYSTERY OF LOVE Sufjan Stevens, songwriter

(Sufjan Stevens) Track from: Call Me By Your Name

REMEMBER ME Kristen Anderson-Lopez & Robert Lopez, songwriters

(Miguel Featuring Natalia Lafourcade) Track from: Coco

SHALLOW Lady Gaga, Mark Ronson, Anthony Rossomando & Andrew Wyatt, songwriters (Lady Gaga & Bradley Cooper) Track from: A Star Is Born

THIS IS ME Benj Pasek & Justin Paul, songwriters

(Keala Settle & The Greatest Showman Ensemble) Track from: The Greatest Showman

Beth Nielsen Chapman ®

GRAMMY nominated Singer-Songwriter and Country Music Hall of Fame Inductee

GENO S DIG I TAL WOR KS TAT ION Kickstart a new era in your songwriting workflow. Visit: Yamaha.io/GENOS

@YamahaMusicUSA

“

going to be a really prolific time “I just think it’sfor me as a songwriter because of this tool.

NOMINATIONS COMPOSING/ARRANGING

BEST ARRANGEMENT, INSTRUMENTS AND VOCALS

BEST BOXED OR SPECIAL LIMITED EDITION PACKAGE

BEST INSTRUMENTAL COMPOSITION A Composer’s award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.

BLUT UND BODEN (BLOOD AND SOIL)

IT WAS A VERY GOOD YEAR Matt Rollings & Kristin Wilkinson, arrangers (Willie Nelson)

JOLENE

Terence Blanchard, composer (Terence Blanchard)

Dan Pugach & Nicole Zuraitis, arrangers

CHRYSALIS

MONA LISA

Jeremy Kittel, composer (Kittel & Co.)

INFINITY WAR Alan Silvestri, composer

(Dan Pugach)

Vince Mendoza, arranger

Gonzalo Grau, arranger

Mark Kibble, Randy Waldman & Justin Wilson, arrangers

(Randy Waldman Featuring Take 6 & Chris Potter)

(Alexandre Desplat)

PACKAGE

BEST ARRANGEMENT, INSTRUMENTAL OR A CAPPELLA

BEST RECORDING PACKAGE BE THE COWBOY

An Arranger’s award. (Artist names appear in parentheses.) Singles or Tracks only.

Mary Banas, art director

BATMAN THEME (TV)

LOVE YOURSELF: TEAR

Randy Waldman & Justin Wilson, arrangers (Randy Waldman Featuring Wynton Marsalis)

CHANGE THE WORLD Mark Kibble, arranger (Take 6)

MADRID FINALE John Powell, arranger (John Powell)

THE SHAPE OF WATER Alexandre Desplat, arranger (Alexandre Desplat)

STARS AND STRIPES FOREVER John Daversa, arranger

(John Daversa Big Band Featuring DACA Artists)

61st Annual GRAMMY Awards

I’LL BE YOUR GIRL Carson Ellis, Jeri Heiden & Glen Nakasako, art directors (The Decemberists)

Lisa Glines, Doran Tyson & Roy Henry Vickers, art directors

SPIDERMAN THEME

Alexandre Desplat, composer

(Guns N’ Roses)

NIÑA

MINE MISSION

THE SHAPE OF WATER

Arian Buhler, Charles Dooher, Jeff Fura, Scott Sandler & Matt Taylor, art directors

PACIFIC NORTHWEST ‘73–74’: THE COMPLETE RECORDINGS

(Magos Herrera & Brooklyn Rider)

(John Powell & John Williams)

APPETITE FOR DESTRUCTION (LOCKED N’ LOADED BOX)

(Gregory Porter)

(Alan Silvestri)

John Powell & John Williams, composers

An Arranger’s award. (Artist names appear in parentheses.) Singles or Tracks only.

(Mitski)

Doohee Lee, art director (BTS)

MASSEDUCTION Willo Perron, art director (St. Vincent)

THE OFFERING Qing-Yang Xiao, art director (The Chairman)

WELL KEPT THING Adam Moore, art director (Foxhole)

(Grateful Dead)

SQUEEZE BOX: THE COMPLETE WORKS OF “WEIRD AL” YANKOVIC Meghan Foley, Annie Stoll & Al Yankovic, art directors (“Weird Al” Yankovic)

TOO MANY BAD HABITS Sarah Dodds & Shauna Dodds, art directors (Johnny Nicholas)

NOMINATIONS NOTES

HISTORICAL

BEST ALBUM NOTES

BEST HISTORICAL ALBUM

ALPINE DREAMING: THE HELVETIA RECORDS STORY, 1920–1924 James P. Leary, album notes writer (Various Artists)

ANY OTHER WAY Rob Bowman, Douglas Mcgowan, Rob Sevier & Ken Shipley, compilation producers; Jeff Lipton & Maria Rice, mastering engineers

4 BANJO SONGS, 1891–1897: FOUNDATIONAL RECORDINGS OF AMERICA’S ICONIC INSTRUMENT

AT THE LOUISIANA HAYRIDE TONIGHT...

Richard Martin & Ted Olson, album notes writers

Martin Hawkins, compilation producer; Christian Zwarg, mastering engineer

(Charles A. Asbury)

THE 1960 TIME SESSIONS Ben Ratliff, album notes writer (Sonny Clark Trio)

THE PRODUCT OF OUR SOULS: THE SOUND AND SWAY OF JAMES REESE EUROPE’S SOCIETY ORCHESTRA David Gilbert, album notes writer (Various Artists)

TROUBLE NO MORE: THE BOOTLEG SERIES VOL. 13/1979–1981 (DELUXE EDITION) Amanda Petrusich, album notes writer (Bob Dylan)

VOICES OF MISSISSIPPI: ARTISTS AND MUSICIANS DOCUMENTED BY WILLIAM FERRIS David Evans, album notes writer (Various Artists)

(Jackie Shane)

(Various Artists)

BATTLEGROUND KOREA: SONGS AND SOUNDS OF AMERICA’S FORGOTTEN WAR Hugo Keesing, compilation producer; Christian Zwarg, mastering engineer (Various Artists)

A RHAPSODY IN BLUE— THE EXTRAORDINARY LIFE OF OSCAR LEVANT Robert Russ, compilation producer; Andreas K. Meyer & Rebekah Wineman, mastering engineers (Oscar Levant)

VOICES OF MISSISSIPPI: ARTISTS AND MUSICIANS DOCUMENTED BY WILLIAM FERRIS William Ferris, April Ledbetter & Steven Lance Ledbetter, compilation producers; Michael Graves, mastering engineer (Various Artists)

PRODUCTION, NON-CLASSICAL

69 BEST ENGINEERED ALBUM, NON-CLASSICAL An Engineer’s award. (Artist names appear in parentheses.)

ALL THE THINGS THAT I DID AND ALL THE THINGS THAT I DIDN’T DO

Ryan Freeland & Kenneth Pattengale, engineers; Kim Rosen, mastering engineer (The Milk Carton Kids)

COLORS

Julian Burg, Serban Ghenea, David “Elevator” Greenbaum, John Hanes, Beck Hansen, Greg Kurstin, Florian Lagatta, Cole M.G.N., Alex Pasco, Jesse Shatkin, Darrell Thorp & Cassidy Turbin, engineers; Chris Bellman, Tom Coyne, Emily Lazar & Randy Merrill, mastering engineers (Beck)

EARTHTONES Robbie Lackritz, engineer; Philip Shaw Bova, mastering engineer (Bahamas)

HEAD OVER HEELS Nathaniel Alford, Jason Evigan, Chris Galland, Tom Gardner, Patrick “P-Thugg” Gemayel, Serban Ghenea, John Hanes, Tony Hoffer, Derek Keota, Ian Kirkpatrick, David Macklovitch, Amber Mark, Manny Marroquin, Vaughn Oliver, Chris “TEK” O’Ryan, Morgan Taylor Reid & Gian Stone, engineers; Chris Gehringer & Michelle Mancini, mastering engineers (Chromeo)

VOICENOTES Manny Marroquin & Charlie Puth, engineers; Dave Kutch, mastering engineer (Charlie Puth)

61st Annual GRAMMY Awards

283* AND COUNTING Berklee is proud to salute our 61st Annual GRAMMY Awards® alumni and faculty nominees.

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

NOMINATIONS PRODUCTION, NON-CLASSICAL

70 PRODUCER OF THE YEAR, NON-CLASSICAL A Producer’s award. (Artist names appear in parentheses.)

BOI-1DA

• Be Careful (Cardi B) (T) • Diplomatic Immunity (Drake) (S) • Friends (The Carters) (T) • God's Plan (Drake) (S) • Heard About Us (The Carters) (T) • Lucky You (Eminem Featuring Joyner Lucas) (T) • Mob Ties (Drake) (T) • No Limit (G-Eazy Featuring A$AP Rocky & Cardi B) (S)

LARRY KLEIN

• All These Things (Thomas Dybdahl) (S) • Anthem (Madeleine Peyroux) (A) • The Book Of Longing (Luciana Souza) (A) • Can I Have It All (Thomas Dybdahl) (S) • Junk (Hailey Tuck) (A) • Look At What We've Done (Thomas Dybdahl) (S) • Meaning To Tell Ya (Molly Johnson) (A)

LINDA PERRY

• Harder Better Faster Stronger (Willa Amai) (S) • Served Like A Girl (Music From And Inspired By The Documentary Film) (Various Artists) (A) • 28 Days In The Valley (Dorothy) (A)

KANYE WEST

• Daytona (Pusha T) (A) • Kids See Ghosts (Kids See Ghosts) (A) • K.T.S.E. (Teyana Taylor) (A) • Nasir (Nas) (A) • Ye (Kanye West) (A)

PHARRELL WILLIAMS

• Apes*** (The Carters) (T) • Man Of The Woods (Justin Timberlake) (A) • No One Ever Really Dies (N.E.R.D) (A) • Stir Fry (Migos) (T) • Sweetener (Ariana Grande) (A)

71 BEST REMIXED RECORDING A Remixer’s award. (Artist names appear in parentheses for identification.) Singles or Tracks only.

AUDIO (CID REMIX) CID, remixer (LSD)

61st Annual GRAMMY Awards

HOW LONG (EDX’S DUBAI SKYLINE REMIX)

SYMBOL

Maurizio Colella & Christian Hirt, remixers

Prashant Mistry & Ronald Prent, surround mix engineers; Darcy Proper, surround mastering engineer; Prashant Mistry & Ronald Prent, surround producers

(Charlie Puth)

ONLY ROAD (COSMIC GATE REMIX) Olaf Dieckmann & Claus Terhoeven, remixers (Gabriel & Dresden Featuring Sub Teal)

STARGAZING (KASKADE REMIX) Kaskade, remixer

(Kygo Featuring Justin Jesso)

WALKING AWAY (MURA MASA REMIX) Alex Crossan, remixer (Haim)

PRODUCTION, IMMERSIVE AUDIO

72 BEST IMMERSIVE AUDIO ALBUM For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned downloadonly/streaming-only copies and must provide a new surround mix of four or more channels. Award to the Surround Mix Engineer, Surround Producer (if any), and Surround Mastering Engineer (if any).

EYE IN THE SKY— 35TH ANNIVERSARY EDITION Alan Parsons, surround mix engineer; Dave Donnelly, PJ Olsson & Alan Parsons, surround mastering engineers; Alan Parsons, surround producer (The Alan Parsons Project)

FOLKETONER Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Anne Karin Sundal-Ask & Det Norske Jentekor)

SEVEN WORDS FROM THE CROSS

(Engine-Earz Experiment)

PRODUCTION, CLASSICAL

73 BEST ENGINEERED ALBUM, CLASSICAL An Engineer’s award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer

(Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edward Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1 Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY—CLARINET MUSIC OF JAMES M. STEPHENSON Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer

Daniel Shores, surround mix engineer; Daniel Shores, surround mastering engineer; Dan Merceruio, surround producer

(Andris Nelsons & Boston Symphony Orchestra)

(Matthew Guard & Skylark)

VISIONS AND VARIATIONS

SOMMERRO: UJAMAA & THE ICEBERG

Tom Caulfield, engineer; Jesse Lewis, mastering engineer

Morten Lindberg, surround mix engineer; Morten Lindberg, surround mastering engineer; Morten Lindberg, surround producer (Ingar Heine Bergby, Trondheim Symphony Orchestra & Choir)

(A Far Cry)

NOMINATIONS 74 PRODUCER OF THE YEAR, CLASSICAL A Producer’s award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

• Arnesen: Infinity—Choral Works (Joel Rinsema & Kantorei) • Aspects Of America (Carlos Kalmar & Oregon Symphony) • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir) • Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra) • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus) • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) • Music Of Fauré, Buide & Zemlinsky (Trio Séléné) • Paterson: Three Way—A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra) • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

• Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss) • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra) • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus) • Presentiment (Orion Weiss) • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

ELIZABETH OSTROW

• Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edward Parks, Jessica E. Jones & Santa Fe Opera Orchestra) • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN

• Beethoven Unbound (Llŷr Williams) • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra) • Bolcom: Piano Music (Various Artists) • Del Tredici: March To Tonality (Mark Peskanov & Various Artists) • Love Comes In At The Eye (Timothy Jones, Stephanie Sant'Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt) • Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur) • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw) • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto) • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

• Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra) • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra) • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony) • Music Of The Americas (Andrés OrozcoEstrada & Houston Symphony)

CLASSICAL

75 BEST ORCHESTRAL PERFORMANCE Award to the Conductor and to the Orchestra.

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1 Manfred Honeck, conductor

(Pittsburgh Symphony Orchestra)

NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4 Thomas Dausgaard, conductor (Seattle Symphony)

100

61st Annual GRAMMY Awards

RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS David Alan Miller, conductor

(National Orchestral Institute Philharmonic)

SCHUMANN: SYMPHONIES NOS. 1–4 Michael Tilson Thomas, conductor (San Francisco Symphony)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 Andris Nelsons, conductor

(Boston Symphony Orchestra)

76 BEST OPERA RECORDING Award to the Conductor, Album Producer(s), and Principal Soloists.

ADAMS: DOCTOR ATOMIC John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

BATES: THE (R)EVOLUTION OF STEVE JOBS Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edward Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra)

LULLY: ALCESTE Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur)

STRAUSS, R.: DER ROSENKAVALIER Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)

VERDI: RIGOLETTO Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

NOMINATIONS 77

BEST CHORAL PERFORMANCE

BEST CLASSICAL INSTRUMENTAL SOLO

Award to the Conductor, and to the Choral Director and/or Chorus Master, where applicable, and to the Choral Organization/Ensemble.

Award to the Instrumental Soloist(s) and to the Conductor when applicable.

CHESNOKOV: TEACH ME THY STATUTES

BARTÓK: PIANO CONCERTO NO. 2

Vladimir Gorbik, conductor

(Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir)

KASTALSKY: MEMORY ETERNAL Steven Fox, conductor (The Clarion Choir)

MCLOSKEY: ZEALOT CANTICLES Donald Nally, conductor

(Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

(Berliner Philharmoniker)

BIBER: THE MYSTERY SONATAS Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque)

BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26 Joshua Bell

RACHMANINOV: THE BELLS

(The Academy Of St. Martin In The Fields)

Mariss Jansons, conductor; Peter Dijkstra, chorus master

GLASS: THREE PIECES IN THE SHAPE OF A SQUARE

(Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks)

SEVEN WORDS FROM THE CROSS Matthew Guard, conductor (Skylark)

78 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.

ANDERSON, LAURIE: LANDFALL Laurie Anderson & Kronos Quartet

BEETHOVEN, SHOSTAKOVICH & BACH The Danish String Quartet

BLUEPRINTING Aizuri Quartet

STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin

VISIONS AND VARIATIONS A Far Cry

102

Yuja Wang; Simon Rattle, conductor

61st Annual GRAMMY Awards

Craig Morris

KERNIS: VIOLIN CONCERTO James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

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

ARC Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy)

THE HANDEL ALBUM Philippe Jaroussky; Artaserse, ensemble

MIRAGES Sabine Devieilhe; François-Xavier Roth, conductor

(Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

SCHUBERT: WINTERREISE Randall Scarlata; Gilbert Kalish, accompanist

SONGS OF ORPHEUS—MONTEVERDI, CACCINI, D’INDIA & LANDI Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles

81 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.

FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH JoAnn Falletta, conductor; Tim Handley, producer

GOLD The King’s Singers; Nigel Short, producer

THE JOHN ADAMS EDITION Simon Rattle, conductor; Christoph Franke, producer

JOHN WILLIAMS AT THE MOVIES Jerry Junkin, conductor; Donald J. McKinney, producer

VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI Peter Oundjian, conductor; Blanton Alspaugh, producer

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NOMINATIONS 82

MUSIC VIDEO/FILM

BEST CONTEMPORARY CLASSICAL COMPOSITION

A Composer’s award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the Librettist, if applicable.

BATES: THE (R)EVOLUTION OF STEVE JOBS Mason Bates, composer; Mark Campbell, librettist

(Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edward Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

DU YUN: AIR GLOW Du Yun, composer

(International Contemporary Ensemble)

HEGGIE: GREAT SCOTT Jake Heggie, composer; Terrence McNally, librettist

(Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)

KERNIS: VIOLIN CONCERTO Aaron Jay Kernis, composer

(James Ehnes, Ludovic Morlot & Seattle Symphony)

MAZZOLI: VESPERS FOR VIOLIN Missy Mazzoli, composer (Olivia De Prato)

104

61st Annual GRAMMY Awards

BEST MUSIC VIDEO Award to the Artist, Video Director, and Video Producer.

APES*** The Carters Ricky Saiz, video director; Mélodie Buchris, Natan Schottenfels & Erinn Williams, video producers

THIS IS AMERICA Childish Gambino Hiro Murai, video director; Ibra Ake, Jason Cole & Fam Rothstein, video producers

I’M NOT RACIST Joyner Lucas Joyner Lucas & Ben Proulx, video directors; Joyner Lucas, video producer

PYNK Janelle Monáe Emma Westenberg, video director; Justin Benoliel & Whitney Jackson, video producers

MUMBO JUMBO Tierra Whack Marco Prestini, video director; Sara Nassim, video producer

84 BEST MUSIC FILM For concert/performance films or music documentaries. Award to the Artist, Video Director, and Video Producer.

LIFE IN 12 BARS Eric Clapton Lili Fini Zanuck, video director; John Battsek, Scooter Weintraub, Larry Yelen & Lili Fini Zanuck, video producers

WHITNEY (Whitney Houston) Kevin Macdonald, video director; Jonathan Chinn, Simon Chinn & Lisa Erspamer, video producers

QUINCY Quincy Jones Alan Hicks & Rashida Jones, video directors; Paula DuPré Pesmen, video producer

ITZHAK Itzhak Perlman Alison Chernick, video director; Alison Chernick, video producer

THE KING (Elvis Presley) Eugene Jarecki, video director; Christopher Frierson, Georgina Hill, David Kuhn & Christopher St. John, video producers

KITCHEN PERFECTION

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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. This includes the Lifetime Achievement Award, Trustees Award, Technical GRAMMY Award, GRAMMY Legend Award, Music Educator Award, and GRAMMY Hall Of Fame Award. The following pages recognize this year’s Special Merit Award recipients. A complete list of past recipients is available in the Awards section of GRAMMY.com.

LIFETIME ACHIEVEMENT AWARD

TRUSTEES AWARD

The Lifetime Achievement Award, established

This Special Merit Award is presented by vote

in 1962, is presented by vote of the Recording

of the Recording Academy’s National Trustees

Academy’s National Trustees to performers

to individuals who have made significant

who, during their lifetimes, have made creative

contributions, other than performance, to the

contributions of outstanding artistic significance

field of recording. The Trustees Award was

to the field of recording.

established in 1967.

TECHNICAL GRAMMY® AWARD

GRAMMY LEGEND AWARD

Presented by vote of the Recording Academy’s

This Special Merit Award is presented on

National Trustees, the Technical GRAMMY Award

occasion by the Recording Academy to individuals

recognizes individuals and companies that have

or groups for ongoing contributions and influence

made contributions of outstanding technical

in the recording field. The GRAMMY Legend

significance to the field of recording. The Technical

Award was inaugurated in 1990.

GRAMMY was first awarded in 1994.

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MUSIC EDUCATOR AWARD™

GRAMMY HALL OF FAME®

Launched in 2013, the Music Educator Award,

The GRAMMY Hall Of Fame Award was

in collaboration with the GRAMMY Museum,

established by the Recording Academy’s National

recognizes current educators who have made

Trustees in 1973 to honor recordings of lasting

a significant and lasting contribution to the

qualitative or historical significance that are

field of music education and who demonstrate

at least 25 years old. Inductees are selected

a commitment to the broader cause of

annually by a special member committee of

maintaining music education in their schools.

experts and historians from all branches of

The recipient is approved by the Recording

the recording arts with final approval by the

Academy’s Board of Trustees.

Recording Academy’s Board of Trustees.

61st Annual GRAMMY Awards

DUFFY/GETTY IMAGES

LIFETIME ACHIEVEMENT AWARD

BLACK SABBATH

BY DEREK SMALLS

HAD JUST LEFT SKAFACE, THE ALL-WHITE SKA

band, to join Spinal Tap when Black Sabbath started rocketing up the charts. Or should I say rocking? I think rocketing makes more sense, actually. It was a sound so heavy I immediately wanted to go out and get a much bigger bass, until my bandmates talked me out of it. “Cartage fees,” they hissed. Songs such as “Evil Woman” and “Dirty Women” made a hard-rocking stand for, as my friend Eddie Dreggs once put it, “taking the mask off of masculinity.” Whilst songs like “Children Of The Grave” and “Children Of The Sea” reminded us that, while us men (and the cooler women) were rockin’ out to Sabbath, the band were always thinking about the children. Themes of evil, hell, death, and doom—you always knew an evening with Sabbath was a fecking good time. As for the records—was the deathly “I am Iron Man” vocal incantation at the start of the almost eponymistic song the inspiration

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for my devilish croak at the end of Tap’s “Christmas With The Devil”? Only Satan knows for sure. Then there’s Geezer. For like almost ever, I’d be sat in my bedsit trying to cop those fiendish licks and think, with a mixture of envy and admiration, “That mega-talented SOB, may his hands drop off his arms.” And what heavy-metal artiste has not wanted to follow Ozzie’s path into the reality show hall of fame? Which reminds me: Why haven’t they built that yet? If, as another band told us, we were on a highway to hell, ’twas Sabbath that brought the asphalt … and the paver! Derek Smalls is the lead bassist formerly of the band formerly known as Spinal Tap. He earned a GRAMMY nomination in 2009 for the Spinal Tap album Back From The Dead. His latest album is 2018’s Smalls Change: Meditations Upon Ageing.

and all the Recording Academy Lifetime Achievement Honorees TM

Congratulates OZZY OSBOURNE, BLACK SABBATH,

BY ANTHONY KIEDIS

ARLIAMENT-FUNKADELIC ARE A NATIONAL

treasure. The contents of this treasure cannot be contained or explained on this page. Throw away this pamphlet and go dance naked to “One Nation Under A Groove.” There are many scholars and musical historians who could explicate prolifically on the mindbending science of P-Funk, the hundreds of high-level musicians that made up this collective, the multiple record labels, off-shoot bands, discographies, and influences, but this is simply my jolly stroll with P-Funk. Sitting down at my desk in social studies class, Fairfax High, 1977, I look over to see that Zane Frazier has brought a copy of the LP Chocolate City to school for show and tell. This told me that Parliament had infiltrated America’s young. Thank God.

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The sight of this LP and the pride with which Zane carried it sparked my curiosity. Later that year, Ron Rose, an ex-con friend of my father’s, took me to see P-Funk live at the Fabulous Forum. Life changed. They tore the roof off of my 16-year-old brain and opened me up to another dimension of creative expression. Picture a stage occupied by one big multicolored party mob, continuously changing shape and size while kicking out songs like “Cosmic Slop,” “Maggot Brain,” “Mothership Connection,” and “Flashlight.” The audience was in a state of unified elation and I became baptized by the funk. Unbeknownst to me, George Clinton, America’s hardest working wizard, was in my future. Early 1985 … “If you could have anyone in the world produce your record, who would it be?” Us: “George Clinton!” Four 23-year-old boys from Hollywood move to Detroit, Michigan, to live with and record music with George. Sound farfetched? Shit happened. He invited us into his world. George shared his life, his history, and his horn section with us over the next three months. Stories about his doo-wop days in the Parliaments, the genius of Sly Stone and his allergy to punctuality, the temper of Billy Bass being worth his brilliance, the infectious breakout of Bootsy Collins, alien visitations, Cuban hallucinations, and most importantly, how to dig deep in the studio. Thank you, G.C. Parliament-Funkadelic twisted racial preconceptions into balloon animals. They made it fun to play whatever it is that you love and gave us something to play with forever. Nothing cooler than to be branded a member of the P-Funk movement. Long live P-Funk. MICHAEL OCHS ARCHIVES/GETTY IMAGES

LIFETIME ACHIEVEMENT AWARD

GEORGE CLINTON & PARLIAMENT-FUNKADELIC

61st Annual GRAMMY Awards

Six-time GRAMMY winner Anthony Kiedis is a founding member and lead vocalist of Red Hot Chili Peppers. George Clinton produced the band’s 1985 album, Freaky Styley.

SESAC CONGRATULATES George Clinton RECORDING ACADEMYâ&#x201E;¢ LIFETIME ACHIEVEMENT AWARD RECIPIENT

RIGHTS SIMPLIFIED. ROYALTIES AMPLIFIED.

BOB WILLOUGHBY/REDFERNS

LIFETIME ACHIEVEMENT AWARD 114

BILLY ECKSTINE

BY JOHNNY MATHIS

HEN I FIRST BEGAN SINGING AS A LITTLE

kid I had a list of vocal heroes, and Billy Eckstine was at the top. He was always so sophisticated and good-looking and he sang so well. He was also a trumpeter and a bandleader who fronted a really important bebop band that featured players like Dizzy Gillespie, Miles Davis, and Charlie Parker. “B” was a complete musician who seemed to have it all, and he was my fantasy of what a singer’s life should be. I used to try to impersonate him, even though his voice was so deep and mine is lighter. I was fascinated by the songs he chose to sing, and the fact that he was a jazzer brought something extra special to his material. I’ve always admired singers who could bring a familiar song into a different world, and “B” did that with just about everything he sang. When I was about 14, I was at a local television station in San Francisco doing some kind of performance, and Billy came in to promote a show he was doing at Ciro’s in the City. We took a picture together, and from the first moment we met he was so kind to me. He was so warm and generous that I felt comfortable with him right away. As

61st Annual GRAMMY Awards

the years passed, he embraced me as someone that he was very proud of, and I was just over the moon with that. We became pals, and spending personal time with him was a revelation because he was everything I hoped he would be: charming, gregarious, funny. We ended up playing an awful lot of golf together. All the true elements of your personality come out on the golf course, but we always got along and had a great time. I never really stopped feeling like the little kid talking to a hero, but to be treated by “B” in such a welcoming, buddybuddy way was a dream come true. I still listen to “B”’s albums a lot, and I find that his music still refreshes my choice of songs and my approach to singing, so I suppose I’m still learning from him. “B”’s music still opens up a world of wonderful fantasies that I live with morning, noon, and night, and he’s always very much in my thoughts. Singer Johnny Mathis received his own Lifetime Achievement Award from the Academy in 2003. His timeless songs, “Chances Are,” “It’s Not For Me To Say,” and “Misty” have been inducted into the GRAMMY Hall Of Fame.

STEPHEN VERONA / GETTY IMAGES

LIFETIME ACHIEVEMENT AWARD 116

DONNY HATHAWAY

BY PJ MORTON

REMEMBER THE FIRST TIME I HEARD DONNY

Hathaway. An older buddy of mine gave me a cassette tape of Live. Being a preacher’s kid, the first thing I noticed was that it sounded like church! But it was soul music talking about everything. People were screaming back at him, saying, “sing Donny!” This was a revelation to me that I probably don’t give enough credit to in my own career. It was the first time I heard love songs and life songs connect the same way gospel music did. I always knew that I had more to say, but I also knew that my roots were the thing that connected me to people. Donny showed me that it was possible. I became obsessed with that tape. I knew every ad-lib, whether he was singing or announcing the guys in the band: “And on congas Earl DeRouen, y’all.” There was also a separation, I think, between Donny and most other singer/songwriters. He was such a serious and accomplished musician that he could’ve only been a keyboard player or only been a lead singer. He was equally great at both. Many times singer/songwriters have to lean on one or the other more heavily. I know many great musicians who are decent singers. Or songwriters that play enough to make their songs impactful because they write and sing them well. There are brilliant artists

61st Annual GRAMMY Awards

that fit either one of those categories. But it’s twice as brilliant when you think of how amazing Donny was at both. With his career cut short by an untimely death, it’s clear how big his impact was. We never stopped talking about him. It was such a short time in the grand scheme of things, but he used every single inkling of his life and gift. His voice pierced directly to your heart. There was a conviction in his singing. Recently, while recording a Christmas album, I realized how nearly impossible it is to create a modern Christmas classic. Donny did it with “This Christmas.” He was a genius. Thank you, Donny Hathaway, for being an example and the blueprint for this little preacher’s kid who wanted to play keys, sing, and do R&B and soul music that connected to people the same way I saw it in church. I’m forever grateful. Ten-time GRAMMY nominee PJ Morton’s 2018 album, Gumbo Unplugged (Live), earned him three 61st GRAMMY nominations, Best R&B Album, Best R&B Performance for “First Began,” and Best Traditional R&B Performance for “How Deep Is Your Love” with Yebba. He also received a Best Pop Duo/ Group Performance nomination as a member of Maroon 5 for “Girls Like You” featuring Cardi B.

WWW.MELODYEHSANI.COM

BY THALÍA

MET JULIO MANY YEARS AGO IN COLOMBIA, WHEN

we filmed a music video together for “Baila Morena.” What I remember most about that first meeting was that he was extremely entertaining, with a great sense of humor, really wise, and gracious. He then, in turn, appeared in my video, “Amándote.” In just that one day filming “Baila Morena,” I saw what an incredible work ethic he had. I remember thinking he makes everything look so effortless, and there is always an elegance to his stature on and off the stage. His smile was infectious. He loves wine and the good life, and he lives life to the fullest! A bon vivant in the best sense of the word.

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As we all know, Julio is the forefather of the international embrace of Spanish language music, loved by millions around the world. He is a trailblazer who paved the way for generations of singers, like me, who have followed in his footsteps. He is the definition of international superstar and a legend. He and I both share a wonderful bond for my beloved country, Mexico, and we will forever carry Mexico in our hearts. Mexico has of course embraced Julio as well, starting even before his 1975 release, A Mexico. Most recently, I was honored to be a part of México & Amigos, his follow-up to 2015’s hugely successful México. It was a true highlight for me to sing on the beautiful song “Quién Será” with him! His craft has no boundaries or limits—he is equally known and loved from Spain to the U.S. to China to France. Most importantly, the one constant is that he always has stayed true to himself. He doesn’t follow trends. He celebrates the music and writers he loves, and makes it his own. He is timeless. From Latin to pop to even the country charts, his songs, his artistry, and his joie de vivre translate into any language and culture and reach a truly global audience. Julio’s passion and love not only for performing but for his family, friends, and wonderful organizations, such as UNICEF, make him an exceptional human being. The fact that he continues to be the biggest-selling Spanish language artist of all time is a testament to how many people he has touched over the course of his phenomenal 50 years of recording. In many ways, because of Julio, Spanish language music is no longer just for Latin America; it is global, it is pop, and it is popular culture. I am so lucky and honored to call this living legend a friend. GIANNI FERRARI/COVER/GETTY IMAGES

LIFETIME ACHIEVEMENT AWARD

JULIO IGLESIAS

61st Annual GRAMMY Awards

Thalía is a six-time Latin GRAMMY nominee. Her most recent album, Valiente, was released in 2018 and reached No. 1 on Billboard’s Latin Pop Albums chart.

rs embe m d an cers s, CA), fi f o le he and t Los Ange rk City) s n a ( i usic ocal 47 w Yo e M N f ( o L 802 eir L), tion dera hicago, I nd Local ers on th e F s. an (C ,a mb meric l 10-208 ville, TN) e our me nd award s A e a h a h c T at work ies. s s l o n a u d L t o i e N f t a ( r d a o or an cong ® omin l 257 e rec ory comp s o Loca proudly AMMY n h sw nat GR artist rd for sig e 61st s o th co tulate ns who re a r g on ia lso c y music a e b W d porte p u s are

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

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

BY DAVID NATHAN

ITH THEIR SIGNATURE GOSPEL-HONED

vocal style, Sam Moore and Dave Prater are considered among the most successful and influential male duos of all time, with timeless recordings such as “Soul Man,” “Hold On, I’m A Comin’,” “I Thank You,” and “When Something Is Wrong With My Baby.” Their exciting, energetic live performances justifiably earned Sam & Dave the nickname “Double Dynamite.” Florida-born Moore and Georgia-born Prater were members of renowned gospel groups in the ’50s before teaming up in 1961 at a Miami nightclub where producer Steve Alaimo signed them to Marlin Records. From 1962–1964, Sam & Dave cut a series of singles for Roulette Records before being introduced to Jerry Wexler at Atlantic Records, who in turn worked out a deal with Stax Records (then distributed by Atlantic) to have the

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duo record in Memphis with the label’s house band, which included members of Booker T. & The MG’s and the Mar-Keys. Working initially with Stax co-founder Jim Stewart and then with the emergent songwriting and production team of Isaac Hayes and David Porter, Sam & Dave brought the raw, funky, and emotive sound of Southern soul to record buyers worldwide, racking up an impressive run of hits between 1966–1969, including the GRAMMY Award-winning “Soul Man,” an affirmative declaration of self-confidence and pride that would impact popular culture for decades to come. The song has had multiple covers and has inspired two hit movies. Sam & Dave themselves provided the inspiration for “Saturday Night Live” actors Dan Ackroyd and John Belushi’s fictional Blues Brothers duo in the late ’70s. Moore and Prater (the latter died in a car accident in 1988) continued to perform together until 1981. Their legacy as a musical duo has influenced a diverse range of artists, including Bruce Springsteen, Al Green, Tom Petty, Phil Collins, Michael Jackson, Elvis Costello, the Jam, Teddy Pendergrass, Billy Joel, and Steve Winwood, and their music has been featured in countless films, commercials, and dozens of covers of their original recordings. Moore has also leveraged his experience on behalf of his music colleagues as an active participant in the Recording Academy’s advocacy efforts. GEMS/REDFERNS/GETTY IMAGES

LIFETIME ACHIEVEMENT AWARD

SAM & DAVE

61st Annual GRAMMY Awards

An award-winning soul music historian, expert, author, and archivist, London-born David Nathan’s legacy of work as a writer, reissue producer, and liner notes writer spans more than four decades. The founder of SoulMusic.com, he’s also an active songwriter and recording artist.

BERT STERN/CONDÉ NAST VIA GETTY IMAGES

LIFETIME ACHIEVEMENT AWARD

DIONNE WARWICK

BY ELTON JOHN

IONNE WARWICK IS, AND REMAINS, ONE OF

the greatest vocalists of all time. She is one of the finest live vocal technicians I have ever seen or heard, a peerless interpreter of lyrics, and the perfect muse and vocalist for the intricate music and lyrics of Burt Bacharach and Hal David. In 1985 our shared desire to help those with HIV/AIDS led to us recording the Bacharach/ Carole Bayer Sager song, “That’s What Friends Are For” along with Stevie Wonder and Gladys Knight. That song raised millions for amfAR and, equally importantly, shone the spotlight on this terrible disease during an era when many of those who could have helped were choosing to ignore it. Twenty-one years later Dionne and Burt graced my home with a performance at the Elton John AIDS Foundation’s White Tie and Tiara Ball, helping to raise yet more money to combat AIDS. I like to think the vibrations from that wonderful performance still resound in our house.

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Five years later, the 25th anniversary of amfAR, Dionne, Stevie, Gladys, and I performed “That’s What Friends Are For” one last time. That song brought us together professionally— and incidentally gave me my very first GRAMMY Award—but Dionne Warwick was in my life way before that memorable 1985 studio session. Her unique voice, rooted in the American soul and R&B that I loved so much, has enthralled me since the 1960s. Today I consider her a friend and an inspiration, and I send heartfelt congratulations and all my love to her for this Lifetime Achievement Award. Elton John is a five-time GRAMMY winner and MusiCares Person of the Year honoree in 2000. He ranks No. 8 on the RIAA’s list of best-selling artists of all time and his Elton John AIDS Foundation has raised more than $400 million dollars to support HIV-related programs.

New Destination Luxury Recording Studio With In-House GRAMMYÂŽ-Winning Engineer, Benjamin J. Arrindell

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TRUSTEES AWARD

LOU ADLER

BY HERB ALPERT

Y DEAR FRIEND, LOU, HAS MANY UNIQUE

talents. He is not a musician and never has played an instrument, but his instincts for picking the right artist, choosing the right material, and putting his energy into the right projects is impressive. Lou and I, along with one of our major mentors, Sam Cooke, wrote the song, “Wonderful World” in 1959. Lou, along with John Phillips, produced the Monterey Pop Festival in 1967. He also produced The Rocky Horror Picture Show in 1975. Lou had two record labels. In 1964 he started Dunhill Records, sold it, and later his recordings— including the classic Tapestry album by Carole King, which he produced—were released on his Ode Records label, which was distributed by A&M. Along with producing many classic recordings, including those by the Mamas And The Papas and Johnny Rivers, Lou also directed the iconic movie Up In Smoke starring Cheech and Chong. And in 1973 he opened the popular Roxy Theatre on Sunset Boulevard.

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Together with his wife, Page, they founded The Painted Turtle Camp, a West Coast Hole in the Wall camp experience for children with serious medical conditions; a place where children get to “celebrate just being kids” free of charge. And in 2013, Lou was inducted into the Rock & Roll Hall of Fame. Lou and I have been friends for more than 60 years, and over those years I have seen and listened to what is important to him. Family is at the top of his list. Watching him with his seven sons and their growing families, and how they all get along with each other, is inspiring. His purpose is complemented by the magic that his wonderful wife Page brings to his life. Lou is a man with tremendous honesty and integrity. He deserves the Trustees Award not only for what he brought to the world of entertainment, but also for his service and compassion for others. Eight-time GRAMMY winner and 1997 Trustees Award recipient Herb Alpert co-founded A&M Records in 1962.

By the late ’70s, Ashford & Simpson had signed with Warner Bros. Records as artists, and were writing songs for many other artists. They teamed with Chaka Khan and helped launch her solo career by writing the female empowerment hit “I’m Every Woman” and her single “Clouds.” They also wrote and produced songs for Gladys Knight & The Pips, and they collaborated with Quincy Jones on the hit “Stuff Like That.” In 1992, the power of a good song struck again when Whitney Houston recorded “I’m Every Woman” for The Bodyguard soundtrack. The song became a worldwide hit and a female anthem that continues to resonate with each new generation. Throughout their relationship, which spanned more than 45 years, Ashford & Simpson were a creative musical team and a loving couple who raised two daughters. Simpson played piano and composed the music, Ashford wrote the unique, visionary lyrics, and they both sang and created beautiful harmonies. The duo continued to perform live for decades until Ashford passed away in 2011. Their live shows conveyed the love, heart, soulfulness, and positivity that was the essence of their music and their life together. DAVE HOGAN/HULTON ARCHIVE/GETTY IMAGES

TRUSTEES AWARD

NICKOLAS ASHFORD & VALERIE SIMPSON

BY DALE KAWASHIMA

HEN MANY MUSIC FANS THINK OF

Ashford & Simpson, they recall the popular R&B singing duo who recorded more than a dozen albums in the ’70s and ’80s, and had such hits as “Solid,” “Found A Cure,” and “Street Corner.” However, what’s not as well known is that the husband and wife team of Nickolas Ashford and Valerie Simpson were one of the greatest songwriting teams in pop music history. In the late ’60s and early ’70s, they were writers and producers at Motown Records, where they wrote such duet classics as “You’re All I Need To Get By,” “Ain’t Nothing Like The Real Thing,” “Your Precious Love,” and “Ain’t No Mountain High Enough” for Marvin Gaye & Tammi Terrell. Ashford & Simpson understood the power of a good song, so when they had a chance in 1970, they created a dramatic, epic new production of “Ain’t No Mountain High Enough” for Diana Ross that launched her solo career. They also wrote the hits “Reach Out And Touch (Somebody’s Hand)” and “The Boss” for Ross.

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Dale Kawashima is the head of the online music magazine SongwriterUniverse. He’s also a music publishing executive who was president of Michael Jackson’s ATV Music, and he’s represented the song catalogs of Prince, Bruce Springsteen, and Burt Bacharach. He got his start working at Motown Records.

Itâ&#x20AC;&#x2122;s an honor to receive this Trustees Award. Nick Ashford loved the Ceremony and would love this!!! Thank You. Sincerely

Valerie Simpson

As with all fine composers, there is an inevitability about their melodies, and at the same time, there are surprises. The “I-didn’t-knowit-was-going-there-but-how-great-it-did” kind of tune. His melodies beg to be sung. And as lyric writers what more can one ask? We’ve often said that good tunes have words on the tips of the notes and we’ve but to find them. The lyric writers who’ve had the pleasure of finding words to John’s music are many. If we had to choose one of his songs to take to a desert island, it would be “Emily,” with Johnny Mercer’s inspired, masterful lyric: POPSIE RANDOLPH/MICHAEL OCHS ARCHIVES/GETTY IMAGES

TRUSTEES AWARD

JOHNNY MANDEL

BY MARILYN & ALAN BERGMAN

E MET JOHNNY MANDEL IN 1965. IT WAS

a very good year. For more than 50 years we have worked with John, collaborated on many of his tunes, been blessed by his arrangements, and stood shoulder to shoulder championing songwriter rights as board members of ASCAP. Johnny has our long-time respect as a composer and as a friend—and being John’s friend means you get to call him Mendel. It is fitting that the Recording Academy Trustees chose to honor Johnny Mandel with its prestigious Trustees Award. His body of work is exceptional. Johnny can write anything and he has! He’s one of a handful of composers who are as skillful at scoring films as they are at writing songs and magnificent arrangements.

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“As my eyes visualize a family, They see Emily, Emily, too”

Wow! You can’t get much better than that. But even the great Johnny Mercer needed Mandel’s great tune to elicit, to inspire those magical lines. Johnny has received many honors and awards in his career. Among them, an Oscar and five GRAMMYs. You all know his music. You all know his wonderful gifts. Melodically, harmonically, there is a Mandel signature to everything he writes, be it a score, a song or an arrangement. There are a couple of changes that have his name on them. His influence on jazz came from being on the road with Stan Getz, Al Cohn, Zoot Sims, Max Roach, Dizzy Gillespie, Miles Davis, and working with the Count Basie band. And to punctuate his jazz chops, he received the prestigious Jazz Master award from the National Endowment for the Arts in 2011. There isn’t a jazz musician in the world who doesn’t want to play a Mandel tune. We are all familiar with Johnny’s quizzical look—kind of vague and dreamy. The times when it doesn’t appear that you have his full attention— but, believe us, you do. Most likely, when you have music like his running around in your head, you get that dreamy faraway look. We salute you, Mendel. Congratulations on this well-deserved award. We love you and wish you the best always. Lyricists Marilyn & Alan Bergman’s songs include “The Windmills Of Your Mind,” “Nice ‘N’ Easy,” and “The Way We Were,” and they have collaborated with composers including Michel Legrand, Henry Mancini, and Quincy Jones. They received their own Trustees Award in 2013.

Congratulations Johnny, on tonightâ&#x20AC;&#x2122;s honor. Your talent will live forever through your music and in our hearts. Love IS the answer.

Barbra Streisand

BY TOM ELMHIRST

T IS NEARLY IMPOSSIBLE TO DISCUSS THE

development of audio technology from the late ’60s forward without mentioning API and its cofounder Saul Walker. API’s history can be traced back to World War II, when Saul worked as an electrical engineer for the United States Navy. During his tenure, Saul worked on projects that made use of early sound design recordings and what would later become transistor technology. Saul went on to develop a series of audio products designed to assist students with hearing difficulties in the classroom. In 1968, Saul teamed up with neighbor Lou Lindauer to found API. One of Saul’s earliest innovations under the API name was the 2520 Discrete Circuit op amp—a revolutionary design that is still used in virtually all of API’s products to this day. Just a year later, Saul invented the groundbreaking 500-Series module. The 500-Series served as the building block for all future API consoles, allowing preamps and equalizers to fit interchangeably into uniform sized slots on the desk. The design became so popular that in the mid-’70s, engineers began to make homemade racks to house their API modules.

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API launched their first proprietary 500-Series rack, the “lunchbox”, in 1985. In 2006, API’s current owner, Larry Droppa, launched an open-source program to standardize the manufacture of 500-Series modules by third-party companies. This initiative cemented Saul’s earlier modular vision as a mainstay in modern engineering. Saul helmed many other major innovations at API, including the 312 mic preamp, 325 line driver, 512 mic preamp, 1604 console, and the 550A equalizer, the latter being one of his most revered designs that is still seen in major studios worldwide. His ingenuity defined API’s position as a powerhouse in the industry and his innovations remain the technical backbone of the company to this day. My first experience with API equipment was at RAK Studios in the late ’90s. I recorded and mixed an album in a single weekend with Phil Thornalley producing and was blown away by the 550A EQ in particular, and the console’s inherent musicality. Through his work as a teacher, inventor, and engineer, Saul has helped shape the sound of recordings and broadcasts for more than 60 years. He was awarded a fellowship with the Audio Engineering Society in 1979. In 2011, he received the prestigious AES Silver Medal Award. His plan, to “build the best-sounding audio gear, use superior components, and give the customer the best warranty in the business,” remains the mission of API today. Saul was a true visionary whose contributions will continue to influence and inspire generations of audio professionals to come. COURTESY OF API

TECHNICAL GRAMMY AWARD

SAUL WALKER

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Engineer Tom Elmhirst is a 14-time GRAMMY winner who has two nominations this year for his work on the Record Of The Year-nominated recordings “Shallow” by Lady Gaga & Bradley Cooper and “The Joke” by Brandi Carlile.

MUSIC EDUCATOR AWARD

JEFFERY REDDING

BY SHARON GRAHAM

R. REDDING’S IMPACT IS STRIKING IN

observing the dedication surrounding his award-winning programs and mission: ordinary kids doing extraordinary things with passion, purpose, and unity. In addition to being featured nationally and internationally, his West Orange High School students receive time and counsel for personal growth beyond the music. Former students regularly return tearfully to say, “Thank you. I get it now. I understand why you pushed us so hard.” Parents continue to volunteer with the choral program after their children graduate because they understand the gift their children have received. Community members travel from across Central Florida to sing with him through his Orlando Choral Society, including Garden Choir and Voci del Cuore. He is a frequent director and adjudicator for international choral festivals and a conductor for Walt Disney World’s Candlelight Processional. Countless hours are given to support his mission of building people, community, and bridges, including his work with First United Methodist Church of Orlando.

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This impact has grown exponentially through the honor/all-state choirs he has led across the nation and world. Many stories have been shared on social media by parents whose children exclaim, after three days of singing with Dr. Redding, “He changed my life!” In spite of his success, Dr. Redding is encouraging and transparent in his continued growth. He allays his students’ fears by sharing his story, a road to success that has involved bumps and missteps. He mentors his colleagues through performance reviews, adjudication of their choirs, and with difficult interactions. With humility, he uses his life experience to help others grow with joy, emphasizing a servants’ heart, becoming the best version of oneself, and learning to give in the midst of rejection. Any tribute to Dr. Redding would be incomplete without mentioning the key individuals who have pushed him to be the best version of himself— his family members and teachers—since he acknowledges them daily. His immense circle of influence will tell you that he has never forgotten the people who have influenced his life, his faith, or from where he came. This award is an acknowledgment of what our community has always known: Dr. Redding is a treasure! His presence has blessed us immensely, and his impact will continue to expand. There is no better example of relentless giving and no one more deserving of the Music Educator Award. Sharon Graham is a music therapist who owns a private practice, a colleague of Jeffery Redding’s from Florida State University, and the vice chair of his community organization, Orlando Choral Society. She has been a member of his community choirs since 2012.

Excellence The people with an eye for investments salute the people with an ear for music. The Poppo Group proudly supports the 61st Annual GRAMMY AwardsÂŽ Michael F. Poppo Managing Director Institutional Consultant The Poppo Group UBS Financial Services Inc. 1251 Avenue of the Americas, 2nd Floor New York, NY 10020 212-626-8721 ubs.com/team/thepoppogroup

As a firm providing wealth management services to clients, UBS Financial Services Inc. offers both investment advisory services and brokerage services. Investment advisory services and brokerage services are separate and distinct, differ in material ways and are governed by different laws and separate arrangements. It is important that clients understand the ways in which we conduct business and that they carefully read the agreements and disclosures that we provide to them about the products or services we offer. For more information, visit our website at ubs.com/workingwithus. ÂŠ UBS 2018. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. CJ-UBS-1732711847 Exp.: 12/31/2019

2019 GRAMMY

HALL OF FAME 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. Consisting of more than 1,000 recordings, 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

BY BILL BENTLEY

he history of recorded music starts with songs. Their creation comes from thin air. It is often a series of notes, or several words, or sometimes even just the rustle of the wind. Inspiration can arrive in the form of a seed of an idea to a fully formed song. From there it is up to the artist to chase that spirit down brightly-lit boulevards or even blind alleys. Music will always be the continuing evolution of those songs. As young people first discover music, it resonates inside them and leads them to find others for whom it does the same thing. From those early experiences lifetime friendships are formed as well as a bond with the artists who created the music that can never be broken. It is truly our universal language. This year’s GRAMMY Hall of Fame-inducted recordings are such an all-encompassing collection that it proves

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there is something for everyone in music, whether it’s the hit singles of the 1950s “Smoke Gets In Your Eyes” by the Platters or Fats Domino’s “I’m Walkin’” or slightly more esoteric fare such as Miriam Makeba’s “Pata Pata” and Charlie Parker’s Ri Bop Boys’ “Ko Ko.” Each in its own way has become a defining moment for its audience. Each offers solace and excitement in such massive doses that it would be hard to imagine the world without them. What’s essential is how these recordings all fall into a long line of musical greatness. What an artist creates today is a culmination of what has come before. W.C. Handy’s “St. Louis Blues” surely lives inside Tom Petty’s Full Moon Fever, whether it’s discernible or not. What is verifiable is that the irrefutable power of creation is passed on like a sacred gift, from one artist to the other without end. The long lineage of essential artistic expression represented by this list proves music lives now and forever. Long may we listen.

COAT OF MANY COLORS Dolly Parton RCA Victor (1971), Single

BERNSTEIN: MASS—A THEATRE PIECE FOR SINGERS, PLAYERS AND DANCERS Leonard Bernstein Columbia Masterworks (1971), Album Bernstein’s Mass … was commissioned by Jacqueline Kennedy for the inauguration of the Kennedy Center. Based on the Tridentine Mass of the Roman Catholic Church, Bernstein began the project as a traditional mass, but later encompassed a wide range of musical influences, including jazz, pop, rock, and blues. Using additional text and lyrics by Stephen Schwartz, Mass featured the Norman Scribner Choir, the Berkshire Boys Choir, an onstage rock band, singers, actors, and dancers. In the end, the composer/conductor, who had become the face of classical music in America, managed to capture a modern spirit in a centuries-old tradition.

Dolly Parton wrote the title track for her 1971 album while riding on country superstar Porter Wagoner’s tour bus when she was part of his revue. Since she could not find any writing paper on the bus, she used the back of Wagoner’s dry cleaning receipt. Parton used her own background growing up poor in the mountains of East Tennessee to tell the tale of how a mother stiches together old rags to make a coat for her daughter to wear to school, where she is ridiculed by fellow students. Parton overcame many childhood challenges as she grew up and started a singing career. Today she is seen as a champion of children and others. “Coat Of Many Colors” reached No. 4 on the country singles chart, and in 2011 was added to the Library of Congress’ National Recording Registry.

ELLA FITZGERALD SINGS THE GEORGE & IRA GERSHWIN SONG BOOK Ella Fitzgerald Verve (1959), Album For many years, Ella Fitzgerald was untouchable. She ruled the critics’ polls, the jazz record-sales charts and, most importantly, the public’s imagination. When Verve Records’ Norman Granz decided to record an album of songs by George and Ira Gershwin with Fitzgerald, he recruited the Nelson Riddle Orchestra for the sessions. It was the first time Fitzgerald and Riddle had worked together, but it sounded like they had never been apart. They recorded more than 50 songs that stand today as the gold standard of jazz vocals. The album’s “But Not For Me” would win the 1959 GRAMMY for Best Vocal Performance, Female.

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HALL OF FAME HALLELUJAH Leonard Cohen Columbia (1984), Single There aren’t many songs that become a rallying cry for those seeking solace in a world that sometimes offers none. Leonard Cohen’s “Hallelujah” started life as an album track on 1984’s Various Positions. It began a steady climb to classic stature when John Cale covered it in 1991, and Jeff Buckley recorded an esteemed version in 1994. More than 300 artists have now recorded “Hallelujah,” sometimes combining the rock and gospel elements of the song into a single style. Despite its many covers, “Hallelujah” entered the Billboard Hot 100 for the first time after Cohen’s death in 2016. It remains a timeless anthem to desire and absolution that shows no signs of ever losing its eternal flame.

FRANCIS ALBERT SINATRA & ANTONIO CARLOS JOBIM Frank Sinatra & Antonio Carlos Jobim

HARPER VALLEY P.T.A. Jeannie C. Riley

Reprise (1967), Album On paper, a collaboration between Frank Sinatra and Antonio Carlos Jobim might not have looked like a natural fit. Sinatra wasn’t known for singing bossa nova songs, but by the time the pair finished recording this groundbreaking album, history had been made. Jobim, born in Rio de Janeiro, and Sinatra, son of Hoboken, N.J., were such a perfect fit there wasn’t an inch between them. With a small combo in the studio, the pair instantly fell into a magical groove. All but three of the songs on the album were Jobim originals, and it sounded like Sinatra had been waiting years to sing them. It was nominated for Album Of The Year, which went that year to the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.

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FULL MOON FEVER Tom Petty MCA (1989), Album Tom Petty was always a band man and became synonymous with the Heartbreakers. When it was time for the inevitable first solo album, the Floridaturned-Los Angeles rocker wanted to keep it low-key. The songs were recorded in Heartbreakers guitarist Mike Campbell’s garage studio, with guests such as Petty’s Traveling Wilburys bandmates Roy Orbison, Jeff Lynne (who co-produced the album), George Harrison, and Jim Keltner. It was the perfect convergence of people, place, and song, resulting in what Petty said was “the most enjoyable album” he ever recorded. Fans agreed. It sold more than 5 million copies, reaching No. 3 on the Billboard 200 and received a GRAMMY nomination for Album Of The Year on the strength of Top 20 hits such as “Free Fallin’” and “I Won’t Back Down.”

Plantation (1968), Single Jeannie C. Riley took this song about the hypocrisy of community values to No. 1 on the country music charts. Riley had been trying to break into the music business for years after singing in her hometown of Stamford, Texas. By the time she got to Nashville and heard the demo of “Harper Valley P.T.A.,” some wondered if she would ever find her way forward. The song, written by Tom T. Hall, was a natural for Riley. It allowed the singer to lecture those who would point fingers at others, and also handed out a good dose of get-even to those who choose to judge others. “Harper Valley P.T.A.” became one of the biggest sellers of the year, and won the GRAMMY for Best Country Vocal Performance, Female.

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2019 GRAMMY

HALL OF FAME

I’M WALKIN’ Fats Domino

JACO PASTORIUS Jaco Pastorius

Imperial (1957), Single There is an unstoppable stride in Fat Domino’s “I’m Walkin’” that suggests the upbeat spirit of his hometown New Orleans. The propulsive second-line beat and cheerful demeanor of the song, which was written by Domino and producer/bandleader Dave Bartholomew, helped take Domino to a new plateau of popularity. It spent eight weeks at No. 1 on Billboard’s R&B chart and even went to No. 4 on the pop singles chart, helping to solidify the Crescent City King as one of rock and roll’s all-time heroes; someone who made a gumbo of styles into one all his own.

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Epic (1976), Album

JACKSON BROWNE Jackson Browne Asylum (1972), Album Los Angeles can be a challenging city, one ruled by a confusing mixture of joy and loneliness, and no one has captured that dichotomy better than singer/songwriter Jackson Browne. Browne was a young Southern Californian when he sent a demo recording to David Geffen in 1970, which caused the young impresario to start his own record label to release it. Browne’s self-titled debut album included permanently powerful songs such as “Jamaica Say You Will” and “Doctor My Eyes,” and was an early herald of a soon to explode Los Angeles folk-rock scene. It received platinum certification in 1997.

Jaco Pastorius was among the most accomplished debut albums ever, in jazz or any other genre. Jaco Pastorius was 24 when he recorded it, and its sense of confidence in breaking the unwritten rules of jazz and bass playing were extraordinary for a musician of any age. His skills as a fretless electric bass player already extended the norms of the jazz universe, but his writing and arranging in service of an album that confounded expectations with each track were equally dazzling. Pastorius would go on to essential roles in Weather Report and as a session player, and though his death in 1987 followed several years of mental illness, this album came from the most creative of minds.

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HALL OF FAME

MOVE ON UP Curtis Mayfield Curtom (1972), Single

KO KO Charlie Parker’s Ri Bop Boys Savoy (1945), Single Born in Kansas City, Kan., and raised in Kansas City, Mo., Charlie Parker quickly became the most influential developer of bebop, known for its fast tempos and advanced harmonic structures, and “Ko Ko” is a stunning example of both. Adventurous players gravitated toward him because they could hear and feel he was taking jazz into a new world. On “Ko Ko,” his first record as a leader, he was joined by Dizzy Gillespie (piano, substituting for a missing Bud Powell), Miles Davis (trumpet), Max Roach (drums), and Curly Russell (bass). In 2002, the song was added to the National Recording Registry at the Library of Congress.

LA BAMBA El Jarocho Victor (1939), Single El Jarocho (aka Alvaro Hernandez Ortiz) took this 18th century Mexican folk song and added classic Mexican guitar patterns to the composition to create his version of “La Bamba.” The song is arguably the best-known example of a son jarocho, a musical style that originated in Veracruz, Mexico. The musical strains of several cultures, including African, Spanish, and indigenous, found a home there, and once El Jarocho recorded the song, it began its long march to posterity. Later versions by Ritchie Valens and Los Lobos made “La Bamba” a worldwide hit.

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Curtis Mayfield’s group the Impressions were definitely singing the hallelujah chorus on songs such as “It’s All Right” and “Keep On Pushing” before he went solo in 1970. “Move On Up” is one of the standout songs on his debut set, Curtis. He took the tenets of his gospel background and frequent call for civil rights, and set it to a funky and soaring testimonial of positive persuasion. Mayfield was such a force of nature, his songs often gave meaning to the lives of the common person. Though “Move On Up” failed to chart, it is now considered a soul classic and was most notably sampled on Kanye West and Lupe Fiasco’s 2006 hit “Touch The Sky.”

PATA PATA Miriam Makeba Reprise (1967), Single South African singer Miriam Makeba made a life’s calling of spreading the sound of her homeland worldwide after she was exiled by the country’s apartheid regime. Makeba first recorded “Pata Pata” (which means “touch touch” in the Xhosa language) with her girl group the Skylarks. She and producer/ songwriter Jerry Ragovoy updated the song in 1967 and had a Top 20 single on their hands. Makeba’s status as African musical ambassador was solidified, allowing a long career introducing African music to many audiences, earning her the nickname Mama Africa. Makeba reportedly collapsed onstage in 2008 after she performed “Pata Pata” and later died, leaving her touch on millions of fans forever.

ROCKIN’ AROUND THE CHRISTMAS TREE Brenda Lee Decca (1958), Single There are a number of holiday classics, but Brenda Lee’s recording of Johnny Mark’s “Rockin’ Around The Christmas Tree” may be the most noteworthy country-rock Christmas anthem of all time. Lee was all of 13 years old when she went into the studio with Nashville’s premier session players, and when they finished the session the world had a new holiday staple. While it was released as a single in 1958 and 1959, the third time was the charm in 1960 when the 45 exploded on the sales charts, peaking at No. 14 on the Hot 100. Now, Lee’s rockin’ voice has become a part of the holiday season.

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2019 GRAMMY

HALL OF FAME RUMBLE Link Wray & His Ray Men Cadence (1958), Single

’ROUND ABOUT MIDNIGHT Miles Davis Columbia (1957), Album Trumpet player Miles Davis took all the influences from jazz and then applied a singular force of imagination to make the music his own. With ‘Round About Midnight, he explored an explosive new sound tagged hard bop with John Coltrane (saxophone), Paul Chambers (bass), Red Garland (piano), and Philly Joe Jones (drums). The world had not heard a sound quite like this in 1957, and the way Davis stood up to convention marked him as a sonic revolutionary. By juxtaposing a Cole Porter standard with a Charlie Parker original, Davis announced the future had arrived.

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It didn’t take long for Link Wray’s destructo-sounding instrumental to start trouble. Several cities, including New York and Boston, banned it immediately for fear it would incite teenagers into acts of rebellion. Exactly right, since rebellion was a cornerstone of early rock and roll. Wray almost singlehandedly invented the power chord on the recording, making those shaking sonics one of the prime currencies when hard rock and then punk kicked down the musical doors in the 1970s. Paying tribute to the booming science fiction craze rolling across the country in the 1950s, the guitarist named his band the Ray Men, as in visions of X-ray power. In 2018, “Rumble” was inducted into the Rock and Roll Hall of Fame’s inaugural singles category.

SMOKE GETS IN YOUR EYES The Platters Mercury (1958), Single Sometimes it takes a decade or two for a song to find its ultimate match. Jerome Kern and Otto Harbach wrote “Smoke Gets In Your Eyes” for the 1933 musical “Roberta.” Many other versions of the song were recorded, but none quite like the Platters’. The group, led by vocalist Tony Williams, was able to meld doo wop, R&B, and pop into one unique amalgamation thanks in part to the direction of studio arranger and conductor David Carroll. The Platters’ cover went to No. 1 on the Billboard Hot 100. Harbach was thrilled with the Platters’ take on the song, but Jerome Kern’s widow wasn’t. She considered legal action to stop the single’s distribution, but luckily for the listening public decided not to pursue it.

ST. LOUIS BLUES W.C. Handy Columbia, (1914) Single It is impossible to pinpoint when and where the blues was born, but W.C. Handy is often credited as Father of the Blues for his “St. Louis Blues.” Handy was born in 1873 in Florence, Ala., and was drawn to music as a child. He wrote “St. Louis Blues” in 1914, after running into a forlorn woman in the city, and it would go on to become one of the first blues compositions to succeed on the pop charts. In the next 100 years, it’s been covered by everyone from Bessie Smith to the Boston Pops Orchestra, becoming an iconic achievement of American music. Smith’s 1925 recording was inducted into the Hall in 1993, and Louis Armstrong’s 1929 version received the same honor in 2008.

TAKE ME OUT TO THE BALLGAME Edward Meeker With The Edison Orchestra Edison (1908), Single If there was an award for songs performed live by the most people, “Take Me Out To The Ballgame,” written by Jack Norworth and Albert Von Tilzer, would likely be a close second to the national anthem. It has become de rigueur at most major league baseball games during the “seventh-inning stretch.” Edward Meeker recorded “Take Me Out To The Ballgame” with Thomas Edison on an Edison cylinder after it had become a standard in vaudeville shows around America. Meeker’s recording, the first ever made of the song, was chosen in 2010 to be added to the National Recording Registry.

2019 GRAMMY

HALL OF FAME TENDERLY Sarah Vaughan Mercury (1947), Single The stars always seemed aligned for Sarah Vaughan to become one of the stalwarts of jazz vocalists, starting with her earliest years when she won an amateur contest at Harlem’s Apollo Theater. She became a favorite singer of many of the leading jazz musicians in the 1940s, joining first Earl “Fatha” Hines’ band in 1943 and later sharing the microphone with Billy Eckstine in his group. When she started a solo career in 1945, one of her first recordings was “Tenderly.” Written by Walter Gross and Jack Lawrence, the song had been recorded before Vaughan, but once Vaughan sang it, it would become hers forever. Later, no matter the venue or television appearance, “Tenderly” would always remain on Vaughan’s set list, an audience favorite and signpost of where she came from and where she could someday go.

TENOR MADNESS Sonny Rollins Quartet (Featuring John Coltrane) Prestige (1956), Track During the ’50s, saxophonists were becoming the titans of jazz. At the head of the ranks was Sonny Rollins, closely followed by a quickly emerging John Coltrane. Though they had different attacks on the sax—Rollins a little more reflective with Coltrane brandishing more fire—each was seen as a cultural phenomenon. Their only known recording together is “Tenor Madness,” an original by Rollins that gave each musician plenty of room to show what they were capable of. It is also a moving glimpse into where post-World War II jazz was headed, with longer solos and more heated improvisations, perhaps signaling the tumult coming in the next decade. These two mighty musicians felt it, and struck out for the new frontier.

TO BE YOUNG, GIFTED AND BLACK Nina Simone RCA Victor (1969), Single With the racial division and conflict in the United States in the 1960s, Nina Simone’s “To Be Young, Gifted And Black” was the right song at the right time. An artist known for speaking her mind, Simone, with lyricist Weldon Irvine, gave the black community an anthem to believe in, inspired by friend and writer Lorraine Hansberry (whose best-known play was “A Raisin In The Sun”). While Simone had a long list of songs that made a difference in the social discourse of the country, “To Be Young, Gifted And Black” struck such a strong emotional chord that it quickly became an oft-covered standard. Everyone from Donny Hathaway and Aretha Franklin to Jamaica’s Heptones recorded it, a nod to its reflection of a deep core of American culture. Its poignant lyrics and striking melodic structure took the song to No. 8 on the Billboard R&B chart.

WALK THIS WAY Aerosmith Columbia (1975), Single Not many singles have a chance at two lives, but that’s exactly what Aerosmith’s pile-driving assault on rock accomplished. “Walk This Way” first came out in 1975 from the band’s Toys In The Attic album and made it to No. 10 on the Billboard Hot 100. Those were heady years for rock music, with Aerosmith’s bluesy hard-rock battling it out with the burgeoning punk movement. Written by Steven Tyler and Joe Perry, the song, according to Perry, was inspired by the Meters’ instrumental “Cissy Strut” (inducted into the Hall in 2011). In 1986, hip-hop pioneers Run DMC re-recorded the song with Tyler and Perry. Their version was inducted into the Hall in 2014.

WILD THING The Troggs Fontana/Atco (1966), Single For a British combo that started life as the Troglodytes, it might have amazed even the band themselves when their all-time rock and roll classic “Wild Thing” went all the way to No. 1 on radio and sales charts in 1966. The Troggs—Reg Presley (vocals), Ronnie Bond (drums), Pete Staples (bass), and Chris Britton (guitar)—formed in Andover, Hampshire in England and were initially attracted to rhythm and blues. As they evolved into more British Invasion rock, they found Chip Taylor’s song “Wild Thing.” While there were other successful songs by the Troggs, none would elevate them as far or as fast as “Wild Thing.” One form or another of the band still performs to audiences awaiting the opening chords of “Wild Thing.” Rolling Stone included it on its “500 Greatest Songs of All Time” list. How could they not?

Bill Bentley has been everything from a rock and roll drummer to a record label A&R executive. Most of all, he has remained a music lover, and now works for Neil Young’s Archives.

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WE JOIN THE GLOBAL COMMUNITY IN CONGRATULATING EACH OF THE TALENTED GRAMMYÂ®AWARD NOMINEES

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on your GRAMMY Awards® nominations, including Album, Record and Song of the Year! Barbra Streisand Bebe Rexha Beck Hansen Ben Glover Brad Mehldau Brad Mehldau Trio Brandi Carlile Brian Courtney Wilson Bring Me the Horizon Brothers Osborne Chris Rock

Chris Stapleton Christina Aguilera Chromeo CID Claudia Brant Cory Asbury Dan + Shay Danielle Nicole David Byrne David Hodges Demi Lovato

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Kirk Franklin Koryn Hawthorne Kurt Elling Lady Gaga Lalah Hathaway Lauren Daigle Lee Ann Womack Leon Bridges Linda Perry Little Big Town Loretta Lynn Lucy Kalantari & The Jazz Cats Luis Miguel Luke Combs Luke Laird Mac Miller Marcus Miller Margo Price Maria Muldaur Mark Ronson Maroon 5 Martin Pearlman Mary Gauthier MercyMe Michael W. Smith Michael Giacchino Miguel Miguel Zenon Morgan Taylor Reid Natalia Lafourcade Nicolle Galyon Nipsey Hussle Opium Moon Orishas P!nk Pat McLaughlin Patton Oswalt PJ Olsson Porter Robinson Post Malone Protoje Punch Brothers Pusha T Quincy Jones Raquel Sofia

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V A R B The Latin Recording Academy is set to celebrate the 20th anniversary of the Latin GRAMMYs and the enduring legacy of Latin music BY ISABELA RAYGOZA

tâ&#x20AC;&#x2122;s 1999, the cusp of a new millennium: The ostensible doomsday of Y2K, chat room trolling and the dot-com bubble are at a pop-culture peakâ&#x20AC;&#x201D;and so is the arrival of a newly-minted Latin-pop wave. Jennifer Lopez of Selena fame is gearing up to drop On The 6, her breakout

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solo record; salsa revivalist Marc Anthony is set to go mainstream with his eponymous, first all-English album; and Ricky Martin, a former child star from boy band Menudo, is about to become one of the hottest Latin pop crossover acts of the new millennium.

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! O V A Mon Laferte performs at the 18th Annual Latin GRAMMY Awards in 2017

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Ricky Martin performs at the 41st Annual GRAMMY Awards in 1999

His show-stopping, highenergy delivery was welcomed with a roaring ovation, which quickly sparked worldwide media coverage. 152

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Equipped with Ken-doll looks and a gigantic smile dazzling enough to send hordes of teenagers into a frenzy, the Puerto Rican heartthrob was among the scheduled performers at the 41st GRAMMY Awards ceremony on Feb. 24, 1999. Donning sexy leather pants on swiveling hips, Martin burst onstage and belted out a riveting, bilingual performance of “La Copa De La Vida (The Cup Of Life).” His show-stopping, highenergy delivery was welcomed with a roaring ovation, which quickly sparked worldwide media coverage. The impressive performances and smash hits by a new crop of Latin pop artists were proving the point that the time was right for the launch of The Latin Recording Academy and the Latin GRAMMY Awards, which will celebrate the 20th anniversary of The Biggest Night in Latin Music in November. “It was now or never,” says Latin Academy President/CEO Gabriel Abaroa Jr. “The Recording Academy, which had been planning a Latin spin-off, launched the first Latin GRAMMY Awards ceremony in 2000, immediately after the Ricky Martin success.” “After the success with Ricky Martin, everybody opened their eyes and realized how important it was to bring diversity and multiethnic elements into [mainstream American] music,” adds Latin GRAMMY- and GRAMMY-winning musician/producer Emilio Estefan, who helped develop the careers of several Latin artists, including Martin. The press covered Martin’s breakthrough as an unprecedented feat and credited the relatively unknown new star for kicking off the so-called Latin pop explosion. A CNN headline declared “Ricky Martin Leading The Latin (Music) Revolution.” Three months after his performance at the GRAMMYs, Martin had the No. 1 album and single on the Billboard charts and was on the cover of Time illustrating their story “Latin Music Goes Pop!” But Latin music had been making its mark on the industry for decades. “The cultural wave Martin is riding—Latin pop—we must admit, is also not an entirely new phenomenon,” wrote Christopher John Farley in “Latin Music Goes Pop!” “Salsa, rumba, mambo, and other Latin musical forms have made a dent in global pop music—Celia Cruz, Rubén Blades, Gloria Estefan, Ritchie Valens, Los Lobos, Antonio Carlos Jobim, Machito, Willie Colón, Tito Puente, and many, many others have, for decades now, scored hits, excited crowds and pioneered new sounds. Time’s discovering Latin pop would be a bit like Columbus discovering Puerto Rico.” “Latin music has always had a presence, not only in the U.S. market but in worldwide markets,” echoes Abaroa. “What happens is that sometimes there’s a beautiful firecracker here and another firecracker there that create greater attention.” New York-based Mexican and Puerto Rican trio Los Panchos began composing the folkloric sounds of their heritage in the ’40s. They raised baladas and boleros to global grandeur.

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ABOVE: Latin GRAMMY winners Juanes and Alejandro Sanz attend a press conference for the 2nd Annual Latin GRAMMY Awards in 2001

“They were unknowns in their countries of origin, so when they returned to their native homelands, their compatriots were like, ‘Oh, Los Panchos have been triumphing in New York and they’ve come back!’ Abaroa explains. “Los Panchos had already done their homework and became a very important trio who opened the door for many other groups to start touring the world.” Other trailblazing crossover stars of recent memory include Chicano rockabilly pioneer Ritchie Valens who resurrected the music of Veracruz in 1958 with his hit son jarocho cover “La Bamba”; Mexican-American guitar shredder Carlos Santana played a central role in the evolution of Latin rock beginning with his legendary performance at Woodstock in 1969; Puerto Rican singer/songwriter José Feliciano gave classic rock a bolero twist when he landed at No. 3 on the Billboard Hot 100 in 1968 with his cover of the Door’s hit “Light My Fire”; Sérgio Mendes, from Brazil, globalized bossa nova with his timeless 1966 tune “Mas Que Nada”; Cuban vocalist of Fania Records fame Celia Cruz solidified her rep as the Queen of Salsa; and rhythm master Tito Puente internationalized Afro-Cuban jazz in the late ’60s. “Then you have Gloria Estefan and the Miami Sound Machine [making waves in the late ’70s],” adds Abaroa. “Suddenly, [people]

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RIGHT: Jesse & Joy accept Best New Artist at the 8th Annual Latin GRAMMY Awards in 2007

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! O V BRA start to discover Latin pop and say, ‘Oh, here come the Latinos with their music.’ No! We have been here. The problem was that they never noticed it. No one was connecting the dots that music was already being made with a lot of influence from Latinos.” If GRAMMY winners such as Estefan, Feliciano, Puente, and Santana helped crack the door to global success for Latin artists, others such as Marc Anthony, Jennifer Lopez, Ricky Martin, and Selena kicked the door wide open in the ’90s as their music soared on the charts and they gained more mainstream visibility. The Recording Academy first recognized Latin music in 1975, awarding jazz artist Eddie Palmieri the inaugural Best Latin Recording GRAMMY for The Sun Of Latin Music. Over the years, additional categories were added to the Latin Field, including Best Tropical Latin Performance, Best Salsa Performance, and Best Latin Rock/Alternative Performance, but the Academy was unable to recognize the full breadth of Latin music, which includes hundreds of artists, dozens of musical styles and countries—from South America, Spain, and Portugal, to the United States and any other territory where Spanish- and Portuguese-language music is made. “We’ve been very pleased and satisfied to see how the GRAMMY Awards have given recognition to Latin music, yet there was a need to create a space where all Latin music had the opportunity to be awarded,” says Alfonso “Poncho” Lizárraga, singer/composer for the multi-Latin GRAMMYwinning ensemble Banda El Recodo from Sinaloa, Mexico. “Even though the Recording Academy credibly recognized Latin music, it really was ultimately difficult to cover all the bases,” says Recording Academy President/CEO Neil Portnow, who is a member of The Latin Academy’s Board of Trustees and Executive Committee. “The spectrum of Latin music required more detail and diversity than can be addressed within a Field in the GRAMMY Awards.” Although the market was ripe for the Latin GRAMMY Awards, the Recording Academy’s first international venture had a rocky start. A group of Recording Academy executives—who in the early days handled the daily operations of The Latin Recording Academy—reached out to Univision to broadcast the inaugural Latin GRAMMYs in 2000. But “when you have two 800-pound gorillas—the GRAMMYs and Univision,” as Abaroa explains, “they didn’t get along very well because of their [respected statures] and cultural misunderstandings.” CBS—which has been airing the GRAMMYs since 1973—

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“I’ve seen [The Latin Academy] grow from practically nothing, from having very few members and employees, to being a global force today.” then came on board to air the Latin GRAMMYs inauguration, and hosted the show for four years. “This was programming for an English-speaking demographic that featured Latin music in Spanish and Portuguese,” says Abaroa. “Although everyone had beautiful intentions, the correct steps were not being followed,” he adds. “Part of it was not being wholly familiar with [the bi-cultural sensibilities of] the market, and the other was the Sept. 11 atrocity.” The 2nd Annual Latin GRAMMY Awards was scheduled to take place on Sept. 11, 2001, but was canceled in the wake of the terrorist attacks. The presentation was rescheduled for Oct. 30 of that year and was scaled back considerably— awards were distributed at a press conference at the Conga Room in Los Angeles. To get the show back on track, The Latin Recording Academy recruited its first independent Board of Trustees: 12 Spanish- and Portuguese-speaking music professionals. Together, they drafted bylaws, clear rules of integration between the Recording Academy and The Latin Recording Academy, and recruited international members to balance the U.S.-based membership. “I’ve seen [The Latin Academy] grow from practically nothing, from having very few members and employees, to being a global force today,” says Latin GRAMMY winner Erika Ender, who co-wrote 2017’s smash hit “Despacito” and has been involved with The Latin Academy since 2002. “I’ve closely watched the transparency of Gabriel’s leadership. He’s on top of everything and is always looking for excellence. … He’s always looking for quality and does things with purpose, thus raising the bar for Latin [music].” In 2003, The Latin Academy moved the Latin GRAMMY Awards from Los Angeles to Miami and then made stops in New York and Houston before settling in Las Vegas (which has a population that’s more than 30 percent Hispanic), where the

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Gloria Estefan and Carlos Santana perform at the 2008 Latin Recording Academy Person of the Year gala

telecast has aired for the past 10 years. In 2005, The Latin Academy made a deal to make Univision its domestic television home, forming a partnership that was expanded last year when the two organizations inked a deal to keep the telecast on the Spanish-language network through 2028. The Latin GRAMMYs are now also broadcast to more than 80 countries. These key moves have been crucial to The Latin Academy’s success. Exceptional performances on the telecast haven’t hurt either. Shakira graced the inaugural Latin GRAMMY Awards in 2000 with a sizzling performance of “Ojos Así” and her enthralling belly dancing. In 2002, salsa queen Celia Cruz closed the show with a divine “La Negra Tiene Tumbao”; ranchero master Vicente Fernández along with his son Alejandro Fernandez paired for an unforgettable duet that same year. Juan Luis Guerra and Maná joined forces in 2006 for a heartrending delivery of “Bendita Tu Luz.” In 2009, the late, great Latin pop icon Juan Gabriel ran through the highlights of his multidecade career with a medley of legendary proportions. Marc Anthony and Jennifer Lopez built maddening tension as they oozed chemistry during their Pimpinelainspired performance of “Olvidame Y Pega La Vuelta,” which was followed by a much-talked-about kiss onstage in 2016.

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“Despacito” was the first predominately Spanish song to top the Billboard Hot 100 since “Macarena” in 1996. The following year, Residente opened the Latin GRAMMYs with a spine-chilling tribute to Puerto Rico in the aftermath of Hurricane Maria that empowered Latinos worldwide. Then there was “Despacito,” the 2017 record-breaking megahit by Luis Fonsi and Daddy Yankee. In addition to garnering four Latin GRAMMYs and three GRAMMY nominations, including Record and Song Of The Year, “Despacito” was the first predominately Spanish song to top the Billboard Hot 100 since “Macarena” in 1996. Forbes wrote, “[‘Despacito’] solidified Latino influence in popular music and culture in the U.S. and around the world across all musical genres—from reggaeton to pop and more.”

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! O V BRA

FAMILY FEELING Stafford Oatts Barth Warfield Wong Landham Music composed and arranged by Bruce Barth

Available on iTunes, Google Play and Spotify.

temple.edu/boyer

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Luis Fonsi and Erika Ender accept Song Of The Year for “Despacito” at the 18th Annual Latin GRAMMY Awards in 2017

There is one fundamental difference, however, between the Latin pop boom of the ’90s and today, according to “Despacito” co-writer Ender. “Previously, to cross over, one had to write in English. We never thought that ‘Despacito’ was going to take these wings, or that it was going to make it in Spanish. I believe that everything from the past paved the way. The song came with a force that none of us expected.” From the beginning, the Latin GRAMMY Awards has served as a vehicle to showcase the power of Latin music. Truly The Biggest Night in Latin Music, the telecast’s ratings continually position Univision in the top three broadcast networks during the night of its airing and maintain a strong attraction to Hispanic viewers in the demographic groups of total viewers 2+, and adults 18–34. Today, the Latin GRAMMYs award statues in categories showcasing the diversity of The Latin Academy’s membership

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Today, there are more than 3,500 Latin Academy members representing 36 countries. as well as the diversity of Latin music. Genres recognized span salsa, cumbia, mariachi, and samba, to alternative, children’s music, urban, classical, Christian, and everything in between. And today, there are more than 3,500 Latin Academy members representing 36 countries. “Our voters are flamenco experts in Andalucía, tango experts in Buenos Aires, mariachi experts in Guadalajara— people who feel the love and have passion for those genres. We are a much more authentic composition of experts in every Field,” explains Abaroa. “[The Latin GRAMMY] Awards are given by members who have knowledge of what Latin music means; who understand the process of an album—from the recording, the mixing, the nuances, the arrangements, the design—all types of details,” says Lizárraga. Through its Best New Artist award, The Latin Academy has helped catapult brilliant newcomers toward crossover stardom. “If every year we can help at least one single act break through, then this organization has fulfilled a big part of its mission,” says Abaroa. “We were able to give great artists like Rosalía, Mon Laferte, Natalia Lafourcade, Jesse & Joy, David Bisbal, Calle 13, and others that recognition,” whether as winners or nominees. Besides spotlighting prodigious upstarts, The Latin Recording Academy annually distinguishes Latin legends who’ve embodied great philanthropy and creative excellence through its Person of the Year honor. Recent honorees include Marc Anthony, Miguel Bosé, Roberto Carlos, Gloria Estefan, Maná, Alejandro Sanz, Joan Manuel Serrat, Shakira, and Caetano Veloso, among others. The Latin Academy also awards Lifetime Achievement and Trustees Awards to notable Latin artists who have created Latin music’s legacy. In addition, The Latin Academy has also built its Latin GRAMMY Cultural Foundation into a viable organization aimed at promoting the awareness and appreciation of the significant contributions of Latin music as well as preserving its legacy and heritage. To date, the Cultural Foundation has awarded more than 150 scholarships, totaling $3.4 million, to students from diverse backgrounds who have a passion for Latin music. (cont. on page 162)

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THE BIGGEST NIGHT IN LATIN MUSIC A look at memorable Latin GRAMMY Awards performances over the years

n Sept. 13, 2000, Ricky Martin, Gloria Estefan, Tito Puente Jr., Arturo Sandoval, and an all-star roster of Latin artists opened the 1st Annual Latin GRAMMY Awards with a vibrant tribute to Tito Puente, who died that May. It was a fitting salute to the King of Latin Music and the start to The Biggest Night in Latin Music. The Latin GRAMMY Awards have featured show-stopping performances ever since. From the enticing shaking of Shakira’s hips to a tender kiss between Jennifer Lopez and Marc Anthony, here are some of the most memorable performances in Latin GRAMMYs history.

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Jennifer Lopez and Marc Anthony, 2016

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Totó La Momposina, Lila Downs, and Celso Piña (with accordion), 2012

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Carlos Santana and Pitbull, 2014

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Andrea Bocelli, 2006

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Thalía, 2002 Bomba Estéreo’s Liliana Saumet and Will Smith, 2015

Ricky Martin, 2007

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Marco Antonio Solís, 2004

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Juan Gabriel, 2009 MARK RALSTON/AFP/GETTY IMAGES

Ceila Cruz, 2002

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ABOVE: Latin GRAMMY winner Carlos Vives, Mexico’s former Secretary of Education Aurelio Nuño Mayer, Ford Motor Company Fund’s Joe Avila, and the Latin GRAMMY Cultural Foundation Senior Vice President Manolo Díaz present a check for instruments to a high school in Mexico City in 2016 RIGHT: Recording Academy President/CEO Neil Portnow, Lin-Manuel Miranda, and Latin Recording Academy President/CEO Gabriel Abaroa Jr. attend the 18th Annual Latin GRAMMY Awards in 2017

(cont. from page 158) “The generosity of our donors, supporting artists, and sponsors has been so substantial that we have been able to make hundreds of dreams a reality every year. Dreams that may have simply stayed as dreams and nothing more, if not for the ever-growing work of our team and of those who want to enhance Latin music,” says Manolo Díaz, Senior Vice President of the Latin GRAMMY Cultural Foundation. “I am proud and moved by the large strides made by our young Foundation which, in such a brief period, has profoundly impacted so many lives. I am in awe of how significantly we are affecting the lives of future Latin music makers.” On the eve of the 20th Annual GRAMMY Awards, the future of The Latin Recording Academy is brighter than ever. “I couldn’t be more proud of what The Latin Academy has accomplished, especially while my colleague Gabriel has been at the helm. At Board meetings, educational events, and of course the telecast, I’m always so impressed by the talent,

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dedication, and energy of everyone involved,” Portnow says. “We’ve become a pillar of the Latin music world. We’re respected by artists, fans, and the media, with an extraordinary and dedicated membership—frankly, because we’ve earned it,” Abaroa proudly reflects. “In the beginning, everything was against us. However, we never doubted ourselves because we have three beautiful things. Number one: passion. Number two: a strong work ethic; many of us come from Latin countries to live in the states, and we either succeed or go back—there is no other way. And number three: our amazingly beautiful music. We’re fortunate that we reflect and honor an art form that so proudly represents our culture.” Isabela Raygoza is a New York-based Chicana journalist and musician from the borderlands of San Diego and Tijuana. She specializes in rock and Latin music with bylines at Rolling Stone, Noisey, The Village Voice, and more.

Gilded Rap(s) AND

THE GOLDEN AGE OF

HIP-HOP

The GRAMMY Hall Of Fame has entered an important period of eligibility for some of hip-hopâ&#x20AC;&#x2122;s landmark recordings BY MILES MARSHALL LEWIS

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he same year the Recording Academy established the GRAMMY Hall Of Fame, a new type of music was born. On Aug. 11, 1973, a teenager calling himself DJ Kool Herc set up two turntables at a back-to-school party in the Bronx, N.Y. An unknown DJ at the time, Herc noticed that dancers would wait for the instrumental breaks on songs to really get down. A good DJ recognizes what their audience wants, so Herc birthed the break beat—a new technique in which he extended the instrumental breaks on the dance and soul records he was playing. It was a revolutionary move that would lay the blueprint for hip-hop. More than 40 years after that fateful August day, hip-hop is a worldwide cultural force. In 2017, Nielsen Music declared rap had surpassed rock for the first time as the most popular music genre. The GRAMMY Hall Of Fame inducts important recordings that are at least 25 years old, which means we are now entering a period of eligibility for some of early hip-hop’s landmark recordings. The first hip-hop recordings inducted into the Hall represent the cornerstones of rap—from party jams to the

political, rebellious, and gangsta. They include: “The Message” (Grandmaster Flash & The Furious Five featuring Melle Mel & Duke Bootee), Sugarhill Gang’s nearly 15-minute flash point “Rapper’s Delight,” Run DMC’s rock/rap mashup “Walk This Way,” N.W.A’s revolutionary album, Straight Outta Compton, Dr. Dre’s innovative solo debut, The Chronic, and Public Enemy’s provocative “Fight The Power.” These records, among others, signaled a cultural shift that reverberates today. During the golden age of hip-hop, listeners were already talking about hip-hop’s golden age in the past tense. Fans once drew a boundary line at the advent of gangsta rap, as N.W.A, Ice-T, and others shifted hip-hop toward the harsher realities of glorified gang culture around 1988. Soon rap’s devotees would argue that the multiplatinum commercial rap of MC Hammer and Vanilla Ice marked the sea change separating a previous golden age from the millions-selling likes of Please Hammer Don’t Hurt ’Em in 1990. As hip-hop’s longevity stretched even further, the deaths of Tupac Shakur and Biggie Smalls in the ’90s marked the close of another chapter, another gilded era gone.

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Whether or not the golden age of hip-hop spans from the late ’70s to mid-’90s is debatable. Far more indisputable are the monumental recordings produced during that time frame. Iconic rap acts Run DMC, Eric B. & Rakim, Snoop Dogg, Big Daddy Kane, Salt-N-Pepa, De La Soul, Wu-Tang Clan, the Notorious B.I.G., Public Enemy, OutKast, and a legion of others released albums during that pivotal period in hip-hop’s history. An examination of rap’s soundtrack to those essential years is crucial to grasping why and how hip-hop altered the musical landscape of the time and its lasting sociocultural influence. Hip-hop as a singles medium mirrors the earliest stages of rock and roll. In 1979, Sugarhill Gang’s “Rapper’s Delight” famously shepherded hip-hop from a South Bronx subculture onto nationwide radio. The New Jersey-based trio released more urban party-starters (most notably “Apache” and “8th Wonder”), but at the turn of the 1980s, albums weren’t yet the genre’s strong suit. Classic singles by rap pioneers Grandmaster Flash & The Furious Five, Kurtis Blow, the Treacherous Three, and others weren’t followed up by LPs that matched the effect of hit songs such as “Planet Rock” or “The Breaks.” Whole hiphop albums weren’t equal to the sum of their parts. That changed in March 1984 with Run-D.M.C., the debut of rap’s seismic-shifting supergroup from Hollis, Queens. Run (Joseph Simmons) and D.M.C. (Darryl McDaniels), alongside the late DJ Jam Master Jay (Jason Mizell), stomped their Adidas through the segregated rock format of the nascent music video network MTV with “Rock Box,” garnering a wider audience than any rap group had previously enjoyed. Run DMC’s selftitled debut also contained landmark tracks such as “Sucker M.C.’s (Krush-Groove 1)” and “It’s Like That,” and signaled rap as an album medium had arrived. Run DMC manager Russell Simmons (big brother to Run) understood the monetary necessity of evolving hip-hop albums into more than just singles and filler. Though his younger brother’s group was signed to Profile Records, Simmons brought the LP formula to his newly formed record label, Def Jam Recordings. Concurrently, powerful rap singles persisted from the handball courts of the Bronx to hip downtown Manhattan nightclubs and beyond. Radio overwhelmingly shunned hiphop from its playlists outside of the nighttime hours back then, but somehow the synthesizer stabs of “The Show” by Doug E. Fresh And The Get Fresh Crew (featuring a young rapper named MC Ricky D who would later take the moniker Slick Rick) were omnipresent in the summer of 1985. Backed with “La Di Da Di” (possibly rap’s first song to later be covered by other artists), “The Show” was so explosive that it sent each rapper off on his own career trajectory. Three years later, The Great Adventures Of Slick Rick—released on Def Jam—took full advantage of the album aesthetic to craft a rap classic during a year (1988) chockful of them. The competitive nature of MCs and DJs harkened back to hip-hop’s ’70s origins in South Bronx block parties, parks, and playgrounds, and continues well into 2019. In that vein, “The Show” begat an answer record meant to be the vinyl version of

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Members of the Native Tongues

Sean “Puffy” Combs and the Notorious B.I.G.

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Whether or not the golden age of hip-hop spans from the late ’70s to mid-’90s is debatable. Far more indisputable are the monumental recordings produced during that time frame.

Eric B. & Rakim

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Queen Latifah’s All Hail The Queen (1989), A Tribe Called Quest’s The Low End Theory (1991), and so many others. Focusing on the mid-’80s to the mid-’90s as a particularly creative halcyon period of rap’s golden age, one finds far more wheat than chaff. For the lyrical equivalent to Jimi Hendrix’s revolution in electric guitar sonics, look no further than Rakim’s “Eric B. Is President” (1986). All the eclectic wordsmiths of hip-hop to follow—from Nas to Jay Z to Eminem—owe a debt to this big bang in rap history, when Rakim made complex lyricism the lingua franca of hip-hop culture. Two years passed before Big Daddy Kane proved that elevated wordplay could become the new norm on his breakthrough single, “Ain’t No Half-Steppin’” (1988). Decades later, Kendrick Lamar’s 2017 GRAMMYwinning album, DAMN.—the first non-jazz, non-classical album to receive the Pulitzer Prize for Music—would’ve been impossible without the lyrical innovations of Rakim and Big Daddy Kane.

Rap started as a poetic, braggadocious art form meant primarily for the block parties and park jams of New York City.

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a face-to-face rap battle: “The Show Stoppa (Is Stupid Fresh),” recorded by two nursing students in Queens soon to morph into the female equivalent of Run DMC. With the addition of DJ Spinderella, Salt-N-Pepa would go on to release their own career-spanning hits (“Whatta Man,” “Push It,” “Let’s Talk About Sex,” “Shoop”) featuring feminist overtones and hip-hop bravura. Along those lines, another ubiquitous single of the period spawned a response record by a teenage girl from Queens who formed an iconic career of her own. In 1984 “Roxanne, Roxanne” detailed the tall tales of rap group UTFO explaining their encounters with the titular femme fatale. Encouraged by the soon-to-be legendary record producer Marley Marl, a scrappy 14-year-old MC from the Queensbridge housing projects christened herself Roxanne Shanté and released the incendiary “Roxanne’s Revenge.” Both Salt-N-Pepa and Roxanne Shanté helped ignite a female revolution in hip-hop that made modern rappers like Cardi B and Nicki Minaj possible, providing a voice for GRAMMY winners Queen Latifah, Lauryn Hill, and scores of women MCs to come. Rap started as a poetic, braggadocious art form meant primarily for the block parties and park jams of New York City. As major record labels got involved, early singles like “The New Rap Language” (1980) by Spoonie Gee and the Treacherous Three, completely devoid of verse-chorus-verse arrangements, made way in the mid-’80s for the genre’s first classic albums featuring songs that made full use of traditional song structure: L.L. Cool J’s Radio (1985), Beastie Boys’ Licensed To Ill (1986), Eric B. & Rakim’s Paid In Full (1987), Big Daddy Kane’s Long Live The Kane (1988), N.W.A’s Straight Outta Compton (1988),

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Queen Latifah

Roxanne ShantÃ©

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Many political pundits turned to hip-hop for answers in 1992 in the wake of the Los Angeles uprising sparked by the acquittals of police officers involved in the beating of AfricanAmerican motorist Rodney King. Analysts combed through songs such as N.W.A’s “F*** Tha Police” (1988) and dominant rap albums of the time (Ice Cube’s AmeriKKKa’s Most Wanted [1990], which was inspired by Public Enemy’s It Takes A Nation Of Millions To Hold Us Back [1988]) for insight into the mindset of the black community’s inner cities. Social commentary mixed amid the humor and shocking rhyme schemes on albums such as Eazy-E’s Eazy-Duz-It (1988) and Tupac Shakur’s 2Pacalypse Now (1991) laid bare hip-hop’s intracultural analysis of white supremacy. Painter Jean-Michel Basquiat (former graffiti artist and producer of the cult-classic rap single “Beat Bop”) died in 1988, leaving behind a bohemian B-boy wave of stylistic siblings. On their 1989 debut album, 3 Feet High And Rising, De La Soul wrapped Run DMC’s blueprint in DayGlo hippie packaging, with

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Beastie Boys

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Ice Cube

a collagist production style of sampling that would later affect rock singers (Beck) and turntablists (DJ Shadow) alike. A Tribe Called Quest followed in 1990 with People's Instinctive Travels And The Paths Of Rhythm, an Afrocentric worldview laid over snatches of tunes from jazz greats (Roy Ayers, Donald Byrd), rock giants (Lou Reed, Jimi Hendrix), and anything else MC/ producer Q-Tip could get his hands on. The loose-knit collective Native Tongues also included the Jungle Brothers, Queen Latifah, and others, and would come to influence the aesthetic of Kanye West, the White Stripes, Common, and plenty more. Communal camaraderie ruled the day at the turn of the ’90s. Death Row Records launched in 1991 on the wings of The Chronic (1992), as former N.W.A MC/producer Dr. Dre came into his own melding earworm keyboard melodies influenced by Parliament-Funkadelic’s Bernie Worrell with thunderous hip-hop percussion. Introduced on that classic album, Snoop Dogg soon emerged with his own debut album, Doggystyle (1993). The catchy singles by the Compton and Long Beach natives (“Nuthin’ But A ‘G’ Thang” and “Gin And Juice”) proved Southern California youth culture had changed mightily from its surf music of the ’60s. On a commercial wane, New York City rap music took cues from the cinematic gravitas and undeniable pop appeal of Death Row’s albums. In particular, Bad Boy Entertainment—run

WBA-WBO WORLD CHAMPION

HASSAN Nâ&#x20AC;&#x2122;DAM

THE R EWA R D OF THE TITLE IS NOT WHAT YOU GET, BUT WHO YOU BECOME

OutKast

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Snoop Dogg and Tupac Shakur

by a young, energetic producer named Sean “Puffy” Combs— produced Ready To Die (1994), by its own marquee star the Notorious B.I.G. (aka Biggie Smalls). The corpulent MC cast his lazy eye on an iconic, universal appeal he quickly achieved through popular singles such as “Juicy” and “One More Chance.” Outside of these rap-corporate allegiances, in 1993 the invisible borough of Staten Island spawned an unlikely, nine-man rap crew called Wu-Tang Clan, who unleashed Enter The Wu-Tang (36 Chambers) featuring the standout track "C.R.E.A.M."; the Queensbridge-born rapper Nas inherited the mantle of Rakim on his 1994 debut, Illmatic. Down South, another style was brewing. Southern hiphop pioneers Scarface, Bushwick Bill, and Willie D, better known as the Geto Boys, introduced horrorcore with their 1989 album, Grip It! On That Other Level. Two years later, the Houston trio detailed the collective anxiety of young black men on “Mind Playing Tricks On Me.” In Atlanta, Afrocentric collective Arrested Development offered an alternative to gangsta rap with their 1992 hits “Tennessee” and “People Everyday” while OutKast and their Dungeon Family merged funk and soul with a Southern drawl. The duo’s 1994 debut album, Southernplayalisticadillacmuzik, gave the South a seat at the table, and proved that artists from the region could hold their own without help from their West and East Coast peers. Around the same time, emerging Atlanta producer Jermaine Dupri would get his talented roster on the Billboard charts, including Kris Kross (with 1992’s “Jump”) and another important female rapper, Da Brat, who became the first female solo hip-hop artist to receive platinum certification with her 1994 debut album, Funkdafied. These Southern pioneers would influence groups such as Goodie Mob and UGK, who would in turn impact the likes of Lil Wayne, Juvenile, T.I., Young Jeezy, and Ludacris, who begat almost every rapper on the radio today, from Drake, Future, and 2 Chainz to Gucci Mane, Travis Scott, Migos, and Childish Gambino. In all, the groundbreaking hip-hop singles and albums from rap’s so-called golden age have had a lasting influence. Although the sound of hip-hop has evolved over the years, remarkably, some of these early players are still reinventing and pushing the genre forward. Dr. Dre, Sean Combs, Snoop Dogg, Queen Latifah, and others are now cultural powerhouses— both on and off the charts. Today, Ice-T and LL Cool J play law enforcement roles on television, Wu-Tang Clan’s RZA scores films for the likes of Quentin Tarantino, and Ice Cube is a certified movie star. Hip-hop has permeated our culture from every angle and the music, once considered a youthful fad, is more powerful than ever. As Biggie Smalls proclaims on his classic Ready To Die, “Things Done Changed.”

Miles Marshall Lewis is the author of Promise That You Will Sing About Me: The Power And Poetry Of Kendrick Lamar (St. Martin’s Press), due this year. His essays, criticism, and celebrity profiles have appeared in GQ, The New York Times, Rolling Stone, and many other publications.

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F ON THE HAPPENED

WAY GRAMM Ys TO THE

Humor has been a GRAMMY staple, beyond the Best Comedy Album category BY DAVID WILD

UNNY STORY: LAST YEAR, ON MY FLIGHT TO NEW York to work on the 60th GRAMMY Awards, I was pleasantly surprised to find myself seated next to one of my favorite comic voices in the world today—“The Daily Show” host, comedian, and author Trevor Noah. Somewhere over America, I casually mentioned to Noah that I was

sorry he wasn’t available to be on our GRAMMY show the following Sunday, because I thought he would have been perfect to present the Best Comedy Album award onair—especially since the nominees in the category were so impressive this year: Dave Chappelle, Jim Gaffigan, Kevin Hart, Jerry Seinfeld, and Sarah Silverman.

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Trevor Noah presents the GRAMMY for Best Comedy Album to Dave Chappelle at the 60th GRAMMY Awards in 2018

The previous week, our talent producer Chantel Sausedo had formally invited Noah to present this award on the upcoming broadcast, but had been informed by Noah’s team that he had previous plans for the weekend. Yet now, directly told of this offer to be a part of the GRAMMY show by his annoyingly pushy row-mate at 35,000 feet, Noah reacted with a smile as if he were totally and pleasantly surprised. “Are you serious?” he said. “To present the Best Comedy Album award on the GRAMMYs, I’ll change my plans.” So that’s precisely what Noah did. The next Sunday, he took the stage and said, “I’m honored to be at the GRAMMYs to present the award for Best Comedy Album—an award that goes to many of my comedy heroes. In previous years this award was not presented on TV, I’m assuming because Adele hasn’t put out a comedy album, yet.” Moments later, Noah presented a shining new GRAMMY Award to Dave Chappelle for his The Age Of Spin & Deep In The Heart Of Texas recordings. Though music has always been at the heart of the GRAMMY Awards broadcast—which is, after all, known as Music’s Biggest

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Night—comedy has also played a significant and quite logically amusing part of GRAMMY festivities. And for nominees, winning a GRAMMY Award for comedy can be a very meaningful honor, indeed. Asked about her experience winning Best Comedy Album for 2013 for Calm Down Girl, Kathy Griffin now recalls, “When I found out only four women had won Best Comedy Album in the entire history of the GRAMMYs, I was determined to be the fifth. I was nominated for Best Comedy Album six years in a row—which I believe is a record. I finally won on the sixth year and I’m very proud that to this day I am, at least, the fifth woman in history to take home Best Comedy Album. Every year I root for a woman to win. That is why the GRAMMY means so much to me.” Beyond honoring notable achievements in the world of recorded comedy decade after decade, consider some of the notable comedians and comic actors who have hosted the GRAMMY festivities over the years, such as political satirist Mort Sahl at the untelevised inaugural GRAMMY ceremony in 1959; Jerry Lewis in 1966; Billy Crystal from 1987 to 1989; Garry Shandling (with future

James Corden leads a special GRAMMY edition of Carpool Karaoke at the 59th GRAMMY Awards in 2017. (Back row, l-r) Faith Hill, Keith Urban, John Legend, Ryan Tedder, and Neil Diamond. (Front row, l-r) Madison Brown, Blue Ivy Carter, Corden, and Jennifer Lopez

CH RI ST OP HE R PO LK /G ET TY IM AG ES

“ look out here at all the members of the

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Recording Academy and I see a lot of silks and satins and jewelry and new hair styles. And gee, the ladies look fantastic, too.”

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Kathy Griffin celebrates her GRAMMY for Best Comedy Album at the GRAMMY Awards Premiere Ceremony in 2014

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Twenty One Pilots’ Josh Dun and Tyler Joseph accept the Best Pop Duo/Group Performance GRAMMY at the 59th GRAMMY Awards in 2017 Jimmy Kimmel pats down host Jon Stewart at the 44th GRAMMY Awards in 2002

comedy icon Judd Apatow as one of his writers) in 1990 and 1991 and again in 1993 and 1994; Whoopi Goldberg in 1992; Paul Reiser in 1995; Ellen DeGeneres in 1996 and 1997; Kelsey Grammer in 1998; Rosie O’Donnell in 1999 and 2000; Jon Stewart in 2001 and 2002; and most recently, in 2017 and 2018, James Corden. In 2017, Corden kicked off his first time hosting with an altogether inspired Hamilton-esque monologue that commented on the day’s current events, including the night’s upcoming performance by a very pregnant Beyoncé. “Beyoncé performing,” Corden rapped, “the Queen is here, dummy/ She’ll slay the whole stage with twins in her tummy.” Later that night, Corden took a ride into the star-studded front rows for a very special—and very crowded—cardboard-car edition of his late-night show staple Carpool Karaoke that included Neil Diamond, Faith Hill, Tim McGraw, Jason Derulo, John Legend, Jennifer Lopez, Ryan Tedder, and even Beyoncé’s first-born Blue Ivy, who spontaneously rushed over with her friend to be a part of the funny festivities in which the whole comedy carpool sang along to Diamond’s “Sweet Caroline.” Like the song says, “Good times never seemed so good.” Of course, not all examples of memorable GRAMMY levity are delivered by one of the show’s hosts. Some other significant moments of humor occur very much in the moment from the winners and presenters. Consider the members of Twenty One Pilots at the 59th GRAMMYs in 2017 suddenly removing their tuxedo pants in

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order to accept the GRAMMY for Best Pop Duo/Group Performance because—as they helpfully explained—they once got together with their friends and watched the GRAMMYs in their underwear. This daring act inspired Corden to do likewise during his next onscreen appearance in the show. “I told myself that if I ever hosted the GRAMMYs I would do it in my underwear,” Corden joked while mounting his own act of boxer rebellion. “It’s an amazing coincidence, really.” Yet let the GRAMMY record show that Corden was not the first person to undress in search of funny business on one of our telecasts. In 1979, Steve Martin presented the Best Pop Vocal Performance, Male award pantless, only to have his trousers delivered onstage in dry-cleaner wrapping. As part of his monologue in 2002, Jon Stewart stripped down to his boxers in order to pay off a joke about the indignities of dealing with the Transportation Security Administration. I remember this vividly because my own first years working as a writer on the GRAMMY show with Executive Producer Ken Ehrlich were with Stewart as host, and I will never forget standing backstage brainstorming Eminem jokes with

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Stewart’s invited helpers—Jimmy Kimmel and Adam Carolla. Other moments of spontaneous GRAMMY wit are offered while fully dressed, such as in 2008 when Vince Gill memorably kidded Kanye West—a big and playfully boastful winner that night—by saying, “I just got an award presented to me by a Beatle. Have you had that happen yet, Kanye?” —–––––––––––––– As Noah noted onstage during his presentation last year, part of what made that moment so special is that the Best Comedy Album has been presented relatively rarely on-air during the telecast, and it has been presented under slightly different category names as well. From 1958 until 1966, comedy was recognized by the Recording Academy with the Best Comedy Performance category. The very first winner was Ross Bagdasarian Sr.—also known as David Seville—for “The Chipmunk Song.” Other early winners included the great Bob Newhart for The Button-Down Mind Strikes Back!, the comedy duo of Mike Nichols and Elaine May for An Evening With Mike Nichols And Elaine May, The First Family by Vaughan Meader, Allan Sherman for Hello Muddah, Hello Fadduh, and for a long run back when he was still widely revered, Bill Cosby, who had an uninterrupted winning streak from 1964 to 1969. In fact, such was the stature of comedy recordings at the time that both Newhart (1960) and Meader (1962) took home the Album Of The Year award against competition that included Tony Bennett, Ray Charles, Nat “King” Cole, and Frank Sinatra. From 1967 to 1990, the comedy category—then known as Best Comedy Recording—went to a wide range of comedy greats, including Flip Wilson, Lily Tomlin, George Carlin—who still holds the record with 16 GRAMMY comedy nominations—Cheech & Chong, Richard Pryor, who won three years in a row from 1974 to 1976, and Steve Martin, who won for 1977 and 1978.

The ’80s saw comedy wins from Rodney Dangerfield, Robin Williams, Richard Pryor, Eddie Murphy, “Weird Al” Yankovic, and Whoopi Goldberg. Nineties winners ranged from Jonathan Winters to Sam Kinison (for Live From Hell, with liner notes by your’s truly) to Chris Rock, and Mel Brooks and Carl Reiner winning for The 2000 Year Old Man In The Year 2000 for the year 1998. In the 21st century, first-time GRAMMY winners have included former GRAMMY host Stewart, Griffin, Stephen Colbert, Lewis Black, and just last year, Chappelle. Many comedic moments on the GRAMMY Awards take us back to a very different time in cultural history. In 1965, on “The Best On Record” show—a series of pre-taped GRAMMY specials produced by George Schlatter of “Laugh In” fame that aired prior to the live GRAMMY events that began in 1971—Woody Allen appeared and poked fun at not winning Best Comedy Performance. “My wrists are completely healed,” said Allen, who also lightly mocked the

Billy Crystal hosted the GRAMMYs for three years in a row, beginning in 1987

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very great artist in the musical world with the exception of Sonny & Cher [is here]. We hoped to have them, but Sonny didn’t have a tuxedo and Cher wouldn’t loan him hers.” Four-time GRAMMY host Garry Shandling

proceedings when he noted, “It’s a thrill for me to be included in this fantastic tribute being paid to the recording industry by the recording industry.” Throughout the ’60s, one could often sense the generational tensions beneath some of the topical humor. On “The Best On Record” show that aired in 1966, the legendary Bob Hope opened the broadcast by playfully noting that the show featured “just about every great artist in the musical world with the exception of Sonny & Cher. We hoped to have them but Sonny didn’t have a tuxedo and Cher wouldn’t loan him hers.” Similarly, on the next year’s show no less a dandy than Liberace made some mild fun of the Beatles for inspiring a generation to wear “garish” clothes. The next year, Andy Williams—who would go on to host the first seven live GRAMMY telecasts starting in 1971—made fun of his own lack of GRAMMY success. “These are the GRAMMYs. Herb Alpert uses them for earrings. Henry Mancini uses them for doorstops. The Beatles paid off their guru with four or five. LBJ is proudest of me. I haven’t taken any gold out of circulation.” Some good lines on the GRAMMY Awards scored cultural points, such as when Helen Reddy won Best Female Pop Vocal Performance for her 1972 female empowerment anthem “I Am Woman” and ended her acceptance speech by thanking God because “She makes everything possible.” In retrospect, many of the jokes told on the broadcast over the years clearly reflect their times, both in music and beyond in our culture. “We’ll be opening more envelopes than the CIA,” host Andy

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ANTHONY NESTE

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Whoopi Goldberg was the first woman to host a live GRAMMY telecast in 1992

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Steve Martin backstage at the 20th GRAMMY Awards in 1978. He won Best Comedy Recording for Let’s Get Small

“ must tell you, Deloitte

and Touche are two things I do nightly.”

Williams said in 1976. That same year, accepting the GRAMMY for Album Of The Year, Paul Simon saved his last thanks for the man who had been winning the award regularly in the ’70s. “Most of all, I’d like to thank Stevie Wonder, who didn’t make an album this year.” In accepting a GRAMMY for his work on the A Star Is Born soundtrack in 1978, Paul Williams thanked by name a physician for providing him with “some incredible Valium [that] got me through the entire experience.” Also of the moment was host John Denver’s fashion joke in 1979. “I look out here at all the members of the Recording Academy and I see a lot of silks and satins and jewelry and new hair styles. And gee, the ladies look fantastic, too.” “Is it just me, or did Art Garfunkel look different?” host Billy Crystal joked after Paul Simon opened the 29th GRAMMYs in 1987 performing “Diamonds On The Soles Of Her Shoes” with Ladysmith Black Mambazo. In a moment that snuck past the censors in 1990, host Garry Shandling quipped “compact discs are overtaking the business, of course, which is ruining my life because I make love to music and I cannot find 45s anymore.” In 1992, when grunge was ruling the airwaves, host Whoopi

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Goldberg delivered the dirtiest sounding accounting joke in GRAMMY history. “I must tell you, Deloitte and Touche are two things I do nightly.” “The GRAMMYs turn 40 tonight and who better to guide her into middle age than a mature, sober individual such as myself,” host Kelsey Grammer said in 1998. “And given the fact that four out of five of you will not get GRAMMYs tonight, it didn’t seem like a bad idea to have a psychiatrist on hand.” “There are so many women nominated this year, Fox is backstage filming their own TV special—‘When Divas Attack,’” host Rosie O’Donnell joked in 1999. Or, as Jon Stewart said after Madonna’s opening performance in 2001, “As I was watching Madonna writhing around on the hood of the car, all I could think was, that’s really gonna drive up her insurance premiums.” Rest assured—and insured—that sort of high-octane comedy will continue to be part of GRAMMY night for years to come. David Wild is an Emmy-nominated television writer, a best-selling author, and a contributing editor at Rolling Stone. He is also a producer and writer on the GRAMMY Awards telecast.

FRAN STRINE

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SMART BLONDE MusiCares Person of the Year Dolly Parton rose from destitution to an institution Dolly Parton was honored as the 2019 MusiCares Person of the Year on Feb. 8 at a special tribute performance and dinner in Los Angeles recognizing her accomplishments as an artist and humanitarian. A friend and ally of the music community, MusiCares’ mission is to ensure music people have a compassionate place to turn in times of need while focusing the resources and attention of the music industry on human service issues that directly impact the well-being of our community. Learn more at MusiCares.org.

BY DEBORAH EVANS PRICE

EW ENTERTAINERS ARE MORE UNIVERSALLY LOVED

and respected than Dolly Parton. With her signature blend of smarts, sass, humor, and heart, the eight-time GRAMMY winner overcame a hardscrabble childhood in the Smoky Mountains of East Tennessee to become the most honored female country artist of all time. This year, Parton’s lengthy list of accolades expands as she becomes the first member of the Nashville music community to be honored as MusiCares Person of the Year. The fourth of 12 children, Parton set her sights on a career in music as a young child, buoyed by her innate belief in herself and what she could accomplish with her God-given talents. Growing up in a home that was rich in faith and love, but lacking

in money and material things, Parton developed an appreciation for her roots that has inspired her art in songs such as “Coat Of Many Colors,” “My Tennessee Mountain Home,” and “In The Good Old Days (When Times Were Bad).” Parton began performing on local radio stations as a child and moved to Nashville the day after her high school graduation. In 1965, she signed a deal with Monument Records at 19, and in 1967, released her breakthrough single “Dumb Blonde.” That same year, Porter Wagoner offered her a spot as the girl singer on his weekly television show, and Parton’s career started to gain momentum. By the early ’70s, Parton started earning a string of solo hits and became one of country music’s most successful female acts.

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Though some saw it as a risky move at the time, Parton orchestrated an exit from Wagoner’s shadow and firmly established herself as a solo artist in the mid-’70s. She penned “I Will Always Love You” about their professional split and the song became a signature of her career, resurfacing in the film The Best Little Whorehouse In Texas, in which Parton starred with the late Burt Reynolds, as well as becoming a blockbuster hit for Whitney Houston from The Bodyguard soundtrack. Over the course of six decades, Parton has continued to achieve enviable success as a singer/songwriter/actress/ entrepreneur. She’s also managed to have a successful personal life, having been married to her husband Carl since 1966. Over the course of her career, Parton has had 26 songs reach No. 1 on the Billboard country charts, a record for a female artist. She has 41 career Top 10 country albums, a record for any artist, and she has 110 career-charted singles over the past 40 years. In 2011, Parton was recognized by the Recording Academy with the Lifetime Achievement Award. Most recently, Parton earned a 2019 Golden Globe nomination for Best Original Song for “Girl In The Movies” from the film Dumplin.’ Last year, the Country Music Hall of Famer partnered with Netflix to launch Heartstrings, a series of films based on her songs. Other facets of her career continue to thrive as this year marks the 33rd year of her theme park Dollywood, nestled in her beloved Smoky Mountains. Parton is also writing new songs and perpetually contemplating her next creative move. What does it mean to you to be honored as MusiCares Person of the Year? It’s always an honor to be appreciated, and of course [the Recording Academy has] done so much [for] our music industry all through the years. I just felt very humbled and honored to be the one up this year. I think it’s one of the first times for a country artist to be honored, so that made it even more special. I’m sure it’s going to be a very emotional evening for me.

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“I dreamed it. I wished it. I hoped it and I thought it, that I had what it could take.”

JB ROWLAND

Your philanthropy has always been important to you and among your most successful ventures is Imagination Library, which promotes literacy by providing free books to children. Why is that so close to your heart? It’s because of my own people and my own dad who wasn’t able to read and write. Many of my relatives and people in general don’t get a chance to go to school because you’ve got to go to work and help feed the family. My dad was always so bright, good, and smart and I always used to look at him and think, “Oh my God! If my daddy had an education, he could have been the President,” but he was crippled by that. I didn’t like him feeling embarrassed so when I got the idea to do it, it was something I wanted to do with him, for him. We worked on it together and my dad got to live long enough to see what all good it was doing. I will never be more proud of anything in my whole career than having that little program, knowing it has helped so many people.

Dolly on her Pure & Simple 2016 North American tour

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Dolly with Porter Wagoner (front left), and the WagonMasters, Wagoner’s band. Dan Warden (back left) would later become Parton’s longtime road manager

I owe Porter a great deal of consideration and appreciation for giving me that opportunity, but Porter knew up front that I was just going to be there for a while. You had to overcome poverty and a lot of obstacles to get to where you are. At what point in your career did you feel like you’d made it? I don’t know if I’ve even had that feeling yet. I feel I’m just a work in progress and I keep my home and my family so close to me that I still feel like that little girl and remember how hard my dad worked. We appreciated a value of a dollar and I’ve always said, “I count blessings more than money.” So I really always feel like I’m still striving, still working . . . I still feel like I’m a working girl. I work all the time and I enjoy the work. When did you know that you had what it took to be successful in the music industry? I knew early on, at least I dreamed it. I wished it. I hoped it and I thought it, that I had what it could take. My Uncle Bill Owens was really helpful to me in my early days, but I think when it actually hit me in the face was when I had my first [country] chart record, that was “Dumb Blonde” with Monument Records. When I had a record chart like that, I had people notice. I saw my name in Billboard and seeing and hearing my name up there with different people, famous names, that’s when I thought, “Yup! This is going to happen. This is happening.” What is the toughest obstacle that you had to overcome to get to where you are and how did you do it? I think any time you go into any business, if you are a working girl, a career-minded person, male or female, you have to

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know that you may have to make sacrifices. You have to talk it out with yourself to see what type of sacrifices you are willing to make and how many compromises you are willing to make in order to keep your own integrity, values, and principles, but I just really felt like I knew who I was. I felt like God had given me a gift and expected me to make the most of it, so I tried to use everything that I felt I had been given. I still try to do that. When I fail, I look at it like, well this hurts and I’m either embarrassed or I’m disappointed, but I try to lay it all out like a bunch of particles and sort it out like a puzzle to see what I could have done different, what I could apply to the next project. How do I separate wheat from chaff? What works here and what works there? I try to not make the same mistakes again. I just try to live life like that, my daily life, my spiritual life, and in my career life. During your career you’ve made some difficult, life-changing decisions like leaving Porter Wagoner, pursuing pop success. How do you determine the right move for your career and how do you see them through? You’ve got to realize how much you are willing to sacrifice for it. Just like when I left Porter, I had no plans to be the girl singer in someone else’s group for my life, but that was a great stepping stone. I owe Porter a great deal of consideration and appreciation for giving me that opportunity, but Porter knew up front that I was just going to be there for a while and that I wanted my own career, my own band, and my own show. So I

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Dolly and Linda Perry during the Dumplin’ sessions

ROB HOFFMAN

she’s more into melodies. We didn’t plan to do as much as we did. We were just going to write one theme song together and we didn’t know what it was going to be, but then we started writing and we’d write one and then write another one and then another and before you knew it we racked up five songs that we wrote together and still hadn’t picked out what the theme was going to be. I just loved working with her because she’s a rock star. She’s kind of dark. I’m kind of light, kind of like a day and night thing. Between her heart and this hair, we came up with some really good ideas that really worked. I never worked with a female producer before and I don’t usually write with people so it was just a whole new set of circumstances that turned out to be a whole lot more than what we set out for it to be.

“Between her heart and this hair, we came up with some really good ideas that really worked.” just had to buckle up and suffer through it and break my heart and his. Like with everything else I’ve done through the years, when it comes to that point you say, “Poop or get off the pot,” you know. You’ve got to go one way or the other. I’d rather see it through and suffer the consequences and see if I’m right about it because you can’t give your life to other people. You are on a journey with yourself and with God, and that’s the only two things you are really responsible for. I have to answer to God and answer to me and so if I can balance those two things, it gives me the strength and courage to make the types of decisions I have to make no matter how much it hurts. This year you received your sixth Golden Globe nomination for “Girl In The Movies,” an original song you wrote with Linda Perry for the soundtrack of the film Dumplin.’ What was it like collaborating with Perry? We are really different, but it worked so well. We write differently. I’m more of a word person. I’m more into lyrics and

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Talk about the Netflix deal and how that came about. What can people expect to see as these projects roll out? I’m very excited about Heartstrings. It’s a series of movies based on songs that I’ve written. We’ve done eight of them so far. I don’t know if we will continue, hopefully we will. It’s where I introduce the song and kind of sing a little bit of it and I actually perform in some of the movies. There’s really some wonderful actors and actresses and it’s just really something I’m looking forward to. Is the 9 To 5 sequel finally happening? Yes, it’s true and we’re so excited. We’re supposed to get the first script any day now and check that out. Once we sign off on that, we’ll be doing it. And we’re going over to London in February for the musical at the Savoy Hotel and they are actually reviving my “9 To 5” Broadway musical. With everything that you’ve done, what is still on your bucket list? I don’t really have a bucket list, I just carry my bucket around and sit down when I need to and fill it up with whatever I need to. I’m not going to sit on my bucket this year that’s for sure. What’s the best advice anybody ever gave you? It’s from my mom and it’s that old thing: To thine own self be true to who you are. Know what you do. Learn how to do it well and have a good life and a good career. So many people look to you as a source of inspiration, but who inspires you? I’m inspired by anybody who is out there working, hustling, making things happen, making change for the better for the whole world and not for just themselves. I was always inspired by members of my family and even in the earlier years different people in show business, whether it be the Minnie Pearls or the Roy Acuffs or the Chet Atkins who would tell you to do this or that like your parents would.

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“You are on a journey with yourself and with God, and that’s the only two things you are really responsible for.”

Over the years so many different people have recorded your songs. Do you have a favorite? I would automatically be drawn to the Whitney Houston song [“I Will Always Love You”] because it’s made me the most money [Laughs]. Any rendition of any song of mine that anybody does is a favorite of mine. Several years ago, there was a tribute album and a lot of the girls sang my songs. I was surprised and touched by all the different ways they did my songs, but I would have to say, I will always treasure the big crossover with Whitney on “I Will Always Love You” because that really put me in the forefront as a writer and an artist. It made a lot of people see me as a writer. I was just a girl with the big hair and big tits and a big personality, but I think that one kind of pointed a finger at me as a serious songwriter. I was so touched by it and so honored by it. That one will stand out in my mind forever. There’s so much talk about the Me Too movement and all that is happening with women in culture. I’m sure you haven’t been immune. How have you handled that? I’m very proud and honored as a woman in business that I’ve been able to do so well and I have an advantage over a lot of women

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as I grew up in a family of men. I have six brothers and a good husband and I know more good men than I know bad men, but you are right, I’ve certainly been hit on. I really think it should not matter who you are, whether it’s based on race, religion, color, or gender. You should be allowed to do your job. If you do it well, you should be appreciated, respected, and admired. I’m proud that I’ve done well in this business. I try to let it stand in the songs I’ve written. Through the years, long before there was ever a movement, I was moving in it and talking about it—even my [1968] album was called Just Because I’m A Woman. And we did the “9 To 5” song, so I was trying to be an example. I try to live it and be it rather than just preaching it, but everybody needs to do it their own way. So just get out there and not let anybody hold you down. You do your own job and we’ll just keep pushing. Winner of the Country Music Association’s Media Achievement Award in 2013, Deborah Evans Price is a Nashville-based journalist who writes for Billboard, Redbook, Woman’s World, Sounds Like Nashville, and CMA Close Up, among other outlets. Evans Price is also author of the Country Faith books and executive producer of the Country Faith music series.

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OPTIMISM TAKES CENTER STAGE. There are members of our community who have few opportunities to experience the arts. We believe that seeing and participating in performances can profoundly impact lives. So for almost 50 years, our Design for Sharing program has brought arts programs to more than half a million K-12 students in our community, both at their schools and on our campus. And itâ&#x20AC;&#x2122;s exposed many of them to a university environment for the first time, in itself a powerful experience. As a public university, UCLA and its arts and culture programs serve as a strong source of inspiration for all Angelenos. Thatâ&#x20AC;&#x2122;s the power of optimism.

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GRAMMY AWARDS PROCESS ®

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MEMBERSHIP & INDUSTRY RELATIONS

Linda Perry and Omâ&#x20AC;&#x2122;Mas Keith discuss songwriting and production at a Craft Session event hosted by the San Francisco Chapter

HE RECORDING ACADEMY IS THE PREMIER membership organization for music professionals. Representing the music-making process in its entirety, Recording AcademyÂ Voting Members are the creators, performers, songwriters, producers, engineers, and other creative professionals who vote in the GRAMMY Awards process. Professional Members are the managers, publicists, entertainment lawyers, and business executives who directly support creators and advance the industry in all its facets. Additionally, GRAMMY University (GRAMMY U) focuses on shaping the next generation of music leaders by offering college students the tools and opportunities necessary to start a career in music. Our Producers & Engineers Wing, a network of producers, engineers, remixers, manufacturers, technologists, and other related music-recording professionals, addresses critical issues impacting the

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art and craft of 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 Producers & Engineers Wing mix. With 12 regional Chapters 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., the Recording Academy offers members a local connection to ensure that we remain a strong community. Through active participation in the Recording Academy and its initiatives, our members ensure that music remains a thriving part of our shared cultural heritage. To learn more about Academy membership, visit recordingacademy.com/membership.

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ADVOCACY & PUBLIC POLICY

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President Donald Trump signed the Music Modernization Act into law on Oct. 11, 2018, at the White House. In attendance (from l–r behind the president) President/CEO of the Recording Academy Neil Portnow with Sens. Shelley Moore Capito (R-W.V.), Sheldon Whitehouse (D-R.I.), Orrin Hatch (R-Utah), and Bob Goodlatte (R-Va.); Rep. Doug Collins (R-Ga.); and Sens. Chris Coons (D-Del.) and Lamar Alexander (R-Tenn.)

ERHAPS ALICIA KEYS SAID IT BEST, “I DO appreciate the fact that the Recording Academy is the only organization that fights and has made great strides for all creators’ rights.” For 20 years, the Academy has been instrumental in advancing important policy issues such as the historic Music Modernization Act, which was signed into law in 2018 after years of effort. Our Washington-based Advocacy & Public Policy team partners with Academy members to present a powerful lobbying force that fights for music creators’ rights. On District Advocate Day, the largest nationwide grassroots lobbying campaign for music, Academy members visit the district offices of their congressional members. The GRAMMY Fund for Music Creators—a political action committee—gives Academy members the opportunity to help protect the rights of music makers by supporting our congressional champions. Recording Academy leaders also serve as expert witnesses during congressional and regulatory hearings and briefings. GRAMMYs on the Hill brings GRAMMY winners and nominees to the nation’s capital each spring to advocate for creators’ rights, while thousands of members across the country join the efforts online. The Academy used each of these initiatives to

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advance the Music Modernization Act. This milestone demonstrates what Academy members can achieve through advocacy whenever Washington considers issues that will affect all music creators. Our education efforts include the Recording Arts and Sciences Congressional Caucus, where we produce events with members of Congress on Capitol Hill to educate policymakers about the issues facing music makers. We make it easy for members to stay informed and engaged across a multitude of platforms. GRAMMY.com/Advocacy provides weekly content, policy updates and an action tool for members to connect directly with legislators in support of key policies. Through social media, the Academy promotes dialogue with stakeholders and policymakers. And, a quarterly newsletter provides a comprehensive rundown on all matters advocacy. Building on our success with the Music Modernization Act, we want all Recording Academy members to be part of the movement that will ensure a better future for all music creators. For more information about Advocacy & Public Policy, visit GRAMMY.com/Advocacy.

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GMP is the authority that grows and improves the music economy in Georgia. By working with legislators, industry leaders and educators, we led the charge to pass Georgiaâ&#x20AC;&#x2122;s first standalone music tax incentive, the Georgia Music Investment Act, which is now in effect. We continue to work to protect and strengthen this groundbreaking opportunity for the music industry. Today, recording music in Georgia, rehearsing it in Georgia, and scoring music for film and TV in Georgia are activities that qualify for 15%-30% in tax credits.

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THE DIGITAL ACADEMY

S RAPID ADVANCES IN DIGITAL technology continue to redefine society, the Recording Academy remains committed to expanding the organizationâ&#x20AC;&#x2122;s digital and social media footprints to better communicate and advance our mission and brand. Recordingacademy.com serves as the Academyâ&#x20AC;&#x2122;s online destination, allowing users to connect the lines between our GRAMMY Awards, advocacy, education, and MusiCares initiatives. To help build awareness and drive viewership, our digital ecosystem features the website, social media, a chatbot, and voice artificial intelligence platforms, which offer a variety of engaging music content, including the latest industry news, exclusive video performances, interviews with music creators, and comprehensive

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GRAMMY Awards history featuring archives of past telecasts, winners, nominees, and more. Additionally, Recording Academy members are now able to vote in the GRAMMY Awards process online, creating greater efficiency while providing flexibility for musicians who are often on the go. As part of this process, the Academy provides Voting Members the ability to listen to full tracks of nominated music in a streaming, on-demand format. As we enter our sixth decade of celebrating and supporting music, the Recording Academy will continue to make significant investments to create contemporary digital programs while continually innovating our digital initiatives for the best engagement and communication with music fans and our members.

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GLOBAL SECURITY EXPERTS The organization, led by Special Operations, Law Enforcement, and Venue Management Professionals, works with our committed partners to design, build, implement, and maintain comprehensive solution sets to deter bad actors, address contingencies, and mitigate the risks associated with the sophisticated threats of today and the rapidly evolving threats of the future. Our team is mission oriented, passionate, and aggressive in our efforts to improve safety and security outcomes for our clients. As enthusiastic fans of both sports and live entertainment ourselves, we understand the implied contract between venue and guests. We are driven by the desire to safeguard the experiences and events that create unforgettable memories and shape lives.

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MUSICARES

President Bill Clinton; Fleetwood Mac’s Stevie Nicks, Lindsey Buckingham, Christine McVie, Mick Fleetwood, and John McVie; and Recording Academy President/CEO Neil Portnow attend the MusiCares Person of the Year gala honoring Fleetwood Mac

HE RECORDING ACADEMY DOESN’T JUST celebrate music, we support its creators. MusiCares was established by the Academy to safeguard the health and well-being of music people. A four-star charity and safety net in times of need, MusiCares offers confidential preventative, recovery, and emergency programs to address financial, medical, and personal health issues. The MusiCares safety net of services provided more than $6.5 million to nearly 8,600 music professionals in the last fiscal year alone—the largest number of clients served and dollars distributed in a single year in the charity’s history. Open to music professionals who meet the qualifications for aid, MusiCares’ Emergency Financial Assistance Program provides support for basic living expenses, including rent, utilities, and car payments; medical expenses, including dentist and hospital bills; psychotherapy; and medical treatment for critical illnesses. MusiCares is a leading force in the effort to address the problems of addiction in our industry by providing members of the music community access to addiction recovery treatment and sober living. Prevention is our most powerful ally to keep our community members from falling into crisis. MusiCares hosts a variety of Healthy Essentials maintenance and preventative services year-round, including dental and medical screenings, hearing clinics, and personal health workshops.

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Our Safe Harbor Rooms offer support to those in recovery while participating in televised music shows and major music events. These rooms are a safe place for those in recovery to gather with like-minded individuals while working on the road. Throughout the year, MusiCares raises funds through a variety of means, from house concerts and benefit concerts to our online auction program and two annual fundraising events—the MusiCares Person of the Year tribute and Concert For Recovery. Held during GRAMMY Week, the MusiCares Person of the Year gala honors a recording artist whose contributions to the world of music are matched by their humanitarian and philanthropic efforts. Recent honorees include Dolly Parton, Fleetwood Mac, Tom Petty, Lionel Richie, Bob Dylan, and Carole King. The Concert For Recovery raises funds for our addiction recovery programs and recent honorees include Adam Clayton, Mike McCready, and Smokey Robinson. Your help is more important now than ever. Please consider MusiCares for your personal or professional charitable contribution. Your support can make a real difference in the lives of the members of our music family. If you are a music professional in need, visit musicares.org. We’re here to help.

A Friend Of The Music Community Assistance In Times Of Need We provide funds for basic living needs, insurance premiums, medical bills, and more. Addiction Recovery Aid We provide financial resources so no one in the music industry will go through this process alone. Preventative Care Our free screenings, clinics, and workshops help ensure the music community stays healthy and well. MusiCares.org

TIMOTHY NORRIS/GETTY IMAGES

GRAMMY MUSEUM

Dua Lipa performs at the GRAMMY Museum’s Spotlight event in the Clive Davis Theater

HE GRAMMY MUSEUM IS A PHILANTHROPIC arts organization dedicated to cultivating a greater understanding of the history and significance of music through exhibitions, education, and public programs. Since opening its doors in 2008, the Museum’s permanent and special exhibition galleries have showcased more than 60 exhibits, spotlighting artists ranging from Michael Jackson, Ella Fitzgerald, and the Ramones to Carlos Vives, Tupac Shakur, Taylor Swift, and many others. Many of these exhibits tour cultural institutions around the world as a part of the Museum’s Traveling Exhibitions Program. The 200-seat Clive Davis Theater at GRAMMY Museum L.A. Live hosts public programs yearround. These programs feature intimate interviews with award-winning and up-and-coming artists, live performances, film screenings, lectures, and continuing education classes. Knowing that music education has a lasting impact on children and their development, the Museum’s education department offers a variety of multidisciplinary programs designed to bring music to students, schools, and communities in need.

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National programs such as GRAMMY Camp and the Music Revolution Project, and local programs such as Summer Session and After-School Sessions, are conducted year-round, building students’ knowledge of the world through music and the arts. Recognizing those in the classroom who use music to inspire the next generation of creators, the Museum presents two awards each year—the Music Educator Award, in conjunction with the Recording Academy, honors a music teacher, and the Jane Ortner Educator Award recognizes non-music teachers who use music in the classroom to teach other subjects. To expand the Museum’s reach in other historically significant music communities, the first GRAMMY Museum outside of Los Angeles opened in the Mississippi Delta in Cleveland, Miss., in 2016. That same year, the GRAMMY Museum Gallery at Musicians Hall of Fame debuted in Nashville, Tenn. In 2017, the Museum opened its first East Coast outpost with the debut of the GRAMMY Museum Experience Prudential Center in Newark, N.J. To learn more about the GRAMMY Museum and its programs, visit grammmymuseum.org.

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THE LATIN RECORDING ACADEMY

J Balvin performs at the 19th Annual Latin GRAMMY Awards on Nov. 15, 2018, in Las Vegas

HE LATIN RECORDING ACADEMY IS AN international, membership-based organization comprised of Spanish- and Portuguesespeaking musicians, songwriters, producers, and other creative and technical music professionals specializing in Latin genres. With the 20th anniversary of the Latin GRAMMY Awards on the horizon, the organization continues to be dedicated to celebrating and improving the quality of life and cultural condition for the United States and international Latin music communities. Each fall, Latin GRAMMY Awards nominees and winners are recognized by their peers through a process that follows a path established by the GRAMMY Awards, with a few significant changes: membership and voting are international, the eligible releases can be issued both inside and outside the United States, and the recordings are made primarily in Spanish or Portuguese, regardless of the ethnicity of the artist. During Latin GRAMMY Week, The Latin Academy hosts its annual Person of the Year gala, which celebrates a notable Latin recording artist (the 2018 honoree was Maná), and benefits educational

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programs supported by the organization. The Latin Academy also recognizes the long-lasting careers of legendary Latin music creators with a Special Awards ceremony honoring Lifetime Achievement and Trustees Award recipients, and the Circle of Producers & Engineers brings together technical professionals who influence the arts and crafts of the recording arts in Latin communities. The 19th Latin GRAMMY Awards telecast aired worldwide on the Univision Network live from MGM Grand Garden Arena in Las Vegas. According to Nielsen, the Latin GRAMMY Awards telecast positioned Univision as the No. 3 network for the entire night, outperforming CBS, NBC, the CW, Telemundo, and all cable networks among adults 18–34. According to Nielsen’s Social Content Ratings for the week of Nov. 12, the trophy went to the Latin GRAMMY Awards. Univision’s broadcast tallied 4.24 million interactions across Facebook, Twitter, and Instagram, ranking No. 1. Last, but not least, estimates put the Latin GRAMMY telecast at more than 80 million simultaneous viewers worldwide. Since 2014, when The Latin Recording Academy launched the Latin GRAMMY Cultural Foundation, the organization has advanced the awareness and appreciation of the significant contributions of Latin music and The Latin Academy’s educational programs through scholarships and fellowships. Generous contributions have been pledged to the Latin GRAMMY Foundation to help young talented students fulfill their music dreams. To date, the Foundation has awarded close to 180 scholarships and made donations of music instruments totaling an impressive $4 million in value. LatinGRAMMY.com continues to be an effective source of The Latin Academy’s international communication for members, media, and Latin music fans. The Latin GRAMMYs’ social networks reach nearly 5 million users worldwide and growing. The active, generous, and selfless participation of The Latin Recording Academy’s Board of Trustees, various ad hoc committees, and active members, along with supportive sponsors and the help of its sister organization, the Recording Academy, ensure that The Latin Academy’s programs and activities are current and relevant to the Latin music community as the organization prepares to enter its third decade of existence. To learn more about The Latin Recording Academy, visit LatinGRAMMY.com.

NEUROTRANSMITTER RESTORATION THERAPY (NTR): Addiction Recovery Using Intravenous NAD

While anxiety is not an occupation-specific disorder, a recent study conducted by the University of Westminster and MusicTank has shown that more than 71 percent of musicians who participated reported experiencing panic attacks or high levels of anxiety, and 65% reported suffering from depression. The addiction recovery program at MindBody Medicine Center is highly effective and unique for two reasons: 1. Ten days of intravenous NAD and amino acids restores depleted neurotransmitters, such as serotonin, dopamine, adrenaline and GABA. Withdrawal symptoms are reduced by 60 to 70% when compared to “cold turkey” withdrawal. After three to five days withdrawal symptoms disappear, cravings subside, and clarity of thinking is restored. 2. Next, using functional, or integrative medicine, we treat the biological basis for anxiety, depression, reduced pain tolerance, poor focus, fatigue and more, thereby reducing the chances of relapse. The conditions that contribute to these symptoms include: • • • • • • • • • •

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ABOVE: President’s Merit Award honorees Swizz Beatz and Alicia Keys perform during their remarks at the Producers & Engineers Wing’s annual GRAMMY Week gala RIGHT: Recording Academy President/CEO Neil Portnow presents Jay Z with the GRAMMY Salute to Industry Icons award at Clive Davis’ and the Recording Academy’s Pre-GRAMMY Gala

URING GRAMMY WEEK, THE RECORDING Academy produces an impressive schedule of private and public programs that celebrate and illuminate the indelible place of music in our society. We honor groundbreaking industry leaders with GRAMMY Salute To Industry Icons, celebrated during Clive Davis’ and the Recording Academy’s Pre-GRAMMY Gala, an exclusive event for which the Academy teams with the innovative music executive to produce this legendary annual GRAMMY party. The official GRAMMY Nominees Reception brings together GRAMMY nominees in a night of celebration prior to the GRAMMY Awards telecast. The Producers & Engineers Wing’s annual GRAMMY Week gala celebrates recording excellence and the professionals working “behind the glass” whose visionary talents have significantly impacted the audio production landscape.

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MICHAEL KOVAC/GETTY IMAGES

MATTHEW EISMAN/GETTY IMAGES

GRAMMY WEEK

The Entertainment Law Initiative aims to promote future careers in entertainment law by inviting law students to participate in a legal writing competition awarding scholarships to winning students. The competition culminates with a high-profile event during GRAMMY Week where the winner, as well as a prominent entertainment attorney, are recognized. MusiCares hosts the prestigious Person of the Year tribute dinner and concert two nights before the GRAMMY Awards. The event honors individuals for their philanthropic and creative achievements and raises funds for MusiCares’ health and human services programs. Finally, the week ends with the GRAMMY Awards Premiere Ceremony, GRAMMY Awards telecast, and the GRAMMY Celebration after-party, a glamorous postshow affair. It’s an entire day of celebrating not just the GRAMMY Awards nominees and recipients, but also the spirit and value of music.

THE POWER

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MORE THAN A DESTINATION, A JOURNEY. There is power in purpose.

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GRAMMY AWARDS PROCESS

HE GRAMMY AWARDS PROCESS continuously evolves to reflect the changing world of music. Each year, from early July through August, we receive more than 20,000 entries, which are processed and verified by Recording Academy staff for eligibility. Next, over a three-week period each fall at the annual GRAMMY Awards screening meetings, hundreds of qualified music experts gather in Los Angeles to fully vet the entries and ensure they are placed in their appropriate genre Fields. Once the screening process is complete, the entry list is created and posted online for Voting Members who are eligible to cast their votes in the first round. Members of 25 craft committees with expertise in the Fields of packaging, album notes, historical, immersive audio, remixing, composing/arranging, producing, and engineering also meet to determine the nominees in these respective specialty categories. When the first ballot has closed, the initial results are tallied by the Recording Academy’s independent accounting firm and the nominations list is created. In some categories, the nominations are determined by this vote. In the General Field and in several of the specialized genre Fields, the initial list is brought down to the top 15 to 30 vote recipients in each category

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and is then voted on by special national nominations review committees—by genre—comprising Voting Members from each of the Academy’s Chapters and approved by the National Board of Trustees. These committees gather for multiday meetings to determine the nominees in these categories. The votes are cast by secret ballot and are, once again, tabulated by our independent accounting firm. The top eight vote recipients in the General Field, and the top five recipients in our other categories, become GRAMMY nominees. The nominations for the 61st GRAMMY Awards were announced in December. A week later, final ballots were posted online for Voting Members, who select the GRAMMY recipients by casting their votes. The accounting firm again tabulates the votes and the sealed results are opened for the first time during the GRAMMY Awards telecast and GRAMMY Awards Premiere Ceremony. A group of specialists representing every genre of music meets in April to determine the necessity, integrity, and feasibility of Awards-related proposals submitted throughout the year. Any proposals approved by the Academy’s Board of Trustees will be implemented immediately for the upcoming Awards year.

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CONGRATULATIONS GRAMMY® WINNERS

W he

ny ou

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Yo u

ser ve

Billings Artworks Ridgway Colorado

MAKER OF THE GRAMMY® FOR FORTY ONE YEARS

est

RECORDING ACADEMY EXECUTIVE STAFF

WAYNE ZAHNER Chief Financial Officer

NEIL PORTNOW President/CEO

BRANDEN CHAPMAN Executive In Charge of Production & Chief Business Development Officer

RICK ENGDAHL Chief Information Officer

BILL FREIMUTH Chief Awards Officer

DARYL P. FRIEDMAN Chief Industry, Government & Member Relations Officer

GAETANO FRIZZI Chief People & Culture Officer

EVAN GREENE Chief Marketing Officer

DAVID KONJOYAN Vice President, Creative Services

LAURA SEGURA MUELLER Vice President, Membership & Industry Relations

ADVISORS

JOEL KATZ General Counsel

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CHUCK ORTNER National Legal Counsel

61st Annual GRAMMY Awards

BOBBY ROSENBLOUM Deputy General Counsel

SANDRA CRAWSHAWSPARKS Deputy National Legal Counsel

DANIEL KURTZ Special Counsel

GARY SMITH Managing Partner, Deloitte & Touche

ROSIE PROCOPIO Audit & Assurance Managing Director, Deloitte & Touche

NATIONAL TRUSTEE OFFICERS AND TRUSTEES TRUSTEE OFFICERS

JOHN POPPO Chair Of The Board

RUBY MARCHAND Vice Chair

TERRY HEMMINGS Secretary/Treasurer

CHRISTINE ALBERT Chair Emeritus

TRUSTEES

MINDI ABAIR

CARLOS ALVAREZ

JEFF BALDING

IVAN BARIAS

SCOTT BILLINGTON

CLAUDIA BRANT

JOHN BURK

TERRI LYNE CARRINGTON

BRIAN DECK

SUE ENNIS

TRACY GERSHON

TRACY HAMLIN

LALAH HATHAWAY

Los Angeles

GEORGE J. FLANIGEN IV

Nashville

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Florida

Los Angeles

FLETCHER FOSTER

Nashville

New York

Nashville

Philadelphia

Chicago

Washington, D.C.

Memphis

Pacific Northwest

Los Angeles

TRUSTED QUALITY F O R N E A R LY

YEARS

T R U S T E D Q U A L I T Y F O R N E A R LY Available at

◊Source:

Nielsen xAOC 52 weeks ending 6/30/18. **20 billion active cultures per serving guaranteed at time of manufacture.

*These statements have not been evaluated by the Food and Drug Administration. These products are not intended to diagnose, treat, cure or prevent any disease.

YEARS

742218CVS-KA

NATIONAL TRUSTEE OFFICERS AND TRUSTEES TRUSTEES

MATT HENNESSY

Chicago

MIKE KNOBLOCH

Los Angeles

Atlanta

TERESA LABARBERA

Texas

BOOKER T. JONES

Los Angeles

JEFF LEVENSON

New York

LESLIE ANN JONES

San Francisco

LEE LEVIN

Florida

TERRY JONES

Philadelphia

HARVEY MASON JR.

Los Angeles

DAVID MESSIER

ANN MINCIELI

RIGGS MORALES

TIM PALMER

NICK PHILLIPS

GINO ROBAIR

JUSTIN ROBERTS

NILE RODGERS

New York

SHANNON SANDERS

SASSYBLACK

MATT STILL

RICHARD STUMPF

Texas

San Francisco

ERIC SCHILLING

Florida

222

TAMMY HURT

61st Annual GRAMMY Awards

New York

Chicago

KEN SHEPHERD

Memphis

New York

Atlanta

Texas

Nashville

New York

San Francisco

Pacific Northwest

CARL “KOKAYI” WALKER

Washington, D.C.

a flo ri d a fi lm p ro d uc t i o n c o m p a n y

CONGRATULATES ALL THE NOMINEES pi n s t r i pep r o d u c t io n s . n e t ( 9 17 ) 420 - 4822

cla ri ce @ pi n s t r i p e p r o d uc t i o n s . n e t

NATIONAL STAFF THANK YOU TO THE DEDICATED STAFF OF THE RECORDING ACADEMY

224

Tracey Adlai

Yasmin de Soiza

Brian Klinsport

Jamesina Rammelkamp

Mazen Alawar

Adrian Diaz

David Konjoyan

Aubrie Reimerink

Christee Albino

Ivan Diaz

Leah LaRocco

Sean Riley

Tera Allegri

Jenny Dinh

Katrina Lee

Tricia Robinson

Jessica Allen

Maureen Droney

Jordan Leonard

Adriana Rodriguez

Michael Almanza

Christina Dudash

Michael Lewan

Jasmine Rodriguez

Stacy Anderson

Todd Dupler

Claudine Little

Laura Rodriguez

Lyn Aurelius

Rick Engdahl

Lourdes Lopez Patton

Sean Ruderman

Grace Baca

Patricia Eredia

Lauren Loverde

Rachel Ryding

Gaige Barahona

Ashley Ernst

Nora Luna

Stephen Salazar

Erin Baxter

Virginia Faddy

Ricky Lyon

Luke Savage

Graceann Belgiorno

Rachel Fentz

Paul Madeira

Mark Schulz

Joaquin Benavente

Juan Frausto

Shelly Maree

Tahsan Scott

Kate Blair

Bill Freimuth

Alan Matkovic

Ashley Sheehan

Delaney Borders

Daryl P. Friedman

Christen McFarland

Justin Shover

Rachel Brodsky

Gaetano Frizzi

Ann Meckelborg

Lani Simmons

Len Brown

Lindsay Gingerich

Joseph Melendez

Julie Smith

Nicole Brown

Jason Gino

Hillary Melin

Susan Stewart

Bri Buchanan

Lisa Goich-Andreadis

Daniel Mendoza

Kennelia Stradwick

Kiana Butler

Allison Gomer

Philip Merrill

Rex Supa

Marlena Campbell

Shonda Grant

Charles Lee Mills IV

Ashley Thomas

Jim Cannella

Evan Greene

Clinton Misamore

Jonathan Tol

Michele Caplinger

Brian Haack

Christian Mitchell

Clay Upton

Jose Cardenas Jr.

Shumetris Halford

Miranda Eggleston Moore

Kevin Veiga

Chris Cassidy

Tera Healy

Alexis Mouer

Tanushree Verma

Jamieson Chandler

Anthony Helguera

Laura Segura Mueller

Alicia Warwick

Anthony Chanes

Shannon Herber

Marc Mutnansky

Kali Weissman

Branden Chapman

Nate Hertweck

Jalyn Nelson

Tim Whalen

Joanna Chu

Anis Hoffman

Kiyumi Nishida

Courtney White

Marta Clark

Brittany Hoover

Ralph J. Olivarez

Reid Wick

Brian Clasby

Jon Hornyak

Todd Parker

Alex Williams

Uziel Colon

Casey Immoor

Melissa Pazornik

Charlotte Williams

Michael Compton

Sharon Ingram

Scott Petersen

Linda Wilvang

Qiana Conley

Frances Inomata

Jessica Pickett

Michael Winger

Natalia Constantin

Sarah Jansen

Neil Portnow

Iman Woodley

Kenny Cordova

Theresa Jenkins

Adriana Preciado

Candice Yang

Andie Cox

Jeriel Johnson

Brittany Presley

Betty Zabezhinsky

Laura Crawford

Justin Joseph

Kelley Purcell

Wayne Zahner

Neil Crilly

Maurice Kalous

Nathan Pyle

Nick Cucci

Jane Kim

Esperanza Ramirez

Kelly Darr

Kristin Klimas

Moises Ramirez

61st Annual GRAMMY Awards

NATIONAL STAFF MUSICARES EXECUTIVE STAFF

MUSICARES BOARD OF DIRECTORS HONORARY CHAIR John Branca CHAIR Michael McDonald VICE CHAIR Kirdis Postelle

NEIL PORTNOW President

LATIN RECORDING ACADEMY BOARD OF TRUSTEES EXECUTIVE COMMITTEE DAVINA ARYEH Chief Marketing Officer

SECRETARY/ TREASURER James Higa

JUDY WONG Vice President, Finance

DEBBIE CARROLL Vice President, Health And Human Services STAFF Angela Bilkic Danielle Bowker Brett Bryngelson Stefanie Curtiss Ryan Donahue Carol Flores Shireen Janti Reid Erica Krusen Hannah Kulis Jennifer Leff Harold Owens Anita Ramsarup Diane Santana Christina Scholz Ana Serrato Roger Tang Wynnie Wynn

LATIN RECORDING ACADEMY EXECUTIVE STAFF

GABRIEL ABAROA JR. President/CEO

61st Annual GRAMMY Awards

TREASURER Javier Aguirre Neil Portnow IVELIESSE MALAVÉ Vice President, Communications

AIDA SCORZA Vice President, Awards STAFF Diana Alvarado Karine Bello Livys Cerna Victoria Cruell Berenice Diaz Maria Estrella Melanie Galarce Adriano Haubenthal Caitlin Marino Edda Martinéz Andres Mendez Ixamar Patiño Madari Pendas Laura Pieretti Grace Santa-Ana Claudia Santos Angelica Veliz

CHAIR EMERITUS Laura Tesoriero TRUSTEES Christine Albert Carlos Alvarez Luis Alvarez-Fiol Luis Balaguer Eduardo Bergallo Paty Cantú Alexandra Lioutikoff John Poppo Rafa Sardina Manuel Tejada Eduardo Weisse LEGAL COUNSEL Jorge Hernandez-Toraño Joel Katz Bobby Rosenbloum

LATIN GRAMMY CULTURAL FOUNDATION EXECUTIVE STAFF

MANOLO DÍAZ Senior Vice President

LUIS DOUSDEBÉS Chief Financial Officer

226

VICE CHAIR Eva Cebrián SECRETARY Aloysio Reis

CHAIR EMERITUS Alexandra Patavas Christine Albert Steve Boom Jody Gerson Jeff Harleston Ambrosia Healy Tamara Hrivnak Jeff Jones Mike Knobloch Rob Light Carianne Marshall Harvey Mason Jr. John Poppo Scott Powell Andie Simon

CHAIR Eduardo Hütt

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NATIONAL STAFF

BECKY VILLAESCUSA Vice President, Strategic Planning & Corporate Development

RITA GEORGE Chief Operating Officer

STAFF Coralys Julian Nannette Vélez

LATIN GRAMMY CULTURAL FOUNDATION BOARD OF DIRECTORS

WAYNE ZAHNER Chief Financial Officer

CHAIR Luis Cobos

GRAMMY MUSEUM FOUNDATION BOARD OF DIRECTORS

VICE CHAIR Neil Portnow SECRETARY/TREASURER Raúl Vázquez PRESIDENT Gabriel Abaroa Jr. DIRECTOR Mireya Cisneros

GRAMMY MUSEUM GRAMMY MUSEUM FOUNDATION EXECUTIVE STAFF

MICHAEL STICKA Executive Director

228

61st Annual GRAMMY Awards

Ben Moore Hillary Morimoto John Morrison Wendy Murphy Julie Mutnansky Kaitlyn Nader Schyler O’Neal Maria Pacheco Vivek Paul Karla Perez Michael Rohrbacher Pablo Saldana Rosalie Sanchez Bryan Schiller David Sears Lynne Sheridan Derek Spencer Stacie Takaoka-Fidler Christian Tejero Nick Vega Kevin Yang

BOB SANTELLI Founding Executive Director STAFF Alejandra Aceves Kelsey Balch Christopher Barahona Jerry Buszek Shaun Carter Hugo Chavez Ali Courtemanche Ana Estrada Hilary Fahlsing Loren Fishbein Eric Forcen Erlin Frausto Sergio Galvez Pablo Garces Kelsey Goelz Scott Goldman Cynthia Gomez Benjamin Guzman Kristen Jennings Kimber Kristy Erin Kulinski Harold Lehr Daniel Lopez Jasmine Lywen-Dill LaShon Malone

David Webster

GRAMMY MUSEUM MISSISSIPPI EXECUTIVE STAFF

EMILY HAVENS Executive Director STAFF Carlee Calderon NaCherrie Cooper Chace Holland Katie Hugley Jack McWilliams Kelly Naylor LindseyAnna Pardue

CHAIR Neil Portnow

GRAMMY MUSEUM MISSISSIPPI BOARD OF DIRECTORS

VICE CHAIR Dan Beckerman

PRESIDENT Becky Nowell

TREASURER Michal Katz

VICE PRESIDENT Sen. Willie Simmons

SECRETARY Charles B. Ortner

TREASURER Jim Tims

ASSISTANT SECRETARY Ted Fikre

ASSISTANT TREASURER Eddie Guillot

Pamela Alexander John Branca Tim Bucher John Burk Branden Chapman Ken Ehrlich Giselle Fernandez Todd Goldstein Brian Hoesterey Jimmy Jam Joel Katz Terry Lickona Andra Liemandt Jay Marciano Mattie McFadden-Lawson John Poppo Carolyn Powers Brian Sheth

SECRETARY Wilma Wilbanks Victor Byas Jon Hornyak Will Hooker Carol Puckett Craig Ray Nan Sanders Bill Simmons Myrtis Tabb Jim Trotter Tricia Walker

CHAPTER BOARDS AND STAFF EAST REGION

REGIONAL DIRECTOR

Tera Healy

Ashley Sheehan

ADMINISTRATIVE ASSISTANT, EAST REGION/NEW YORK CHAPTER

Graceann Belgiorno

CHICAGO

NEW YORK

PHILADELPHIA

WASHINGTON, D.C.

MARK HUBBARD

LINDA LORENCE CRITELLI

CAROL RIDDICK

VON VARGAS

CHAPTER BOARD

TRUSTEES Brian Deck Matt Hennessy Justin Roberts

TRUSTEES Terri Lyne Carrington Jeff Levenson Ann Mincieli Riggs Morales Nile Rodgers Richard Stumpf

PRESIDENT Mark Hubbard VICE PRESIDENT Matt Brown SECRETARY Lisa Kaplan GOVERNORS Andrew Barber Jeffrey Becker Alison Chesley Shemekia Copeland Dani Deahl Daryl Jones Cedric LeMoyne James “Stump” Mahoney Jonathan McReynolds Tomeka Reid James “J. Ivy” Richardson David Roberts Ken Shipley Stephen Shirk David Skidmore William James “Sir The Baptist” Stokes Susan Voelz Anita Wilson ADVISOR Ed Ackerson Ryan Argast

CHAPTER STAFF EXECUTIVE DIRECTOR Sarah Jansen SENIOR MEMBERSHIP MANAGER Maurice Kalous PROJECT COORDINATOR Kristin Klimas

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SENIOR PROJECT & PRODUCTION MANAGER

PRESIDENT Linda Lorence Critelli VICE PRESIDENT Tracey Jordan SECRETARY Samantha Cox GOVERNORS Ben Allison Carolina Arenas Nabil Ayers Richard Barone Jennifer Blakeman Adam Block Torae Carr Joe D’Ambrosio John Doelp Jamie Dominguez Erika Elliott Tom Elmhirst Charlie Feldman Sean Patrick Flahaven Ken “Duro” Ifill David Kahne Emily Lazar Juan Losada Martha Mooke Nicki Richards Kim Rosen Catherine Russell Ayelet Schiffman Maria Schneider Karen Sherry Kathy Sommer Sharon Tapper Judy Tint Philip Traugott Lenny White

61st Annual GRAMMY Awards

CHAPTER BOARD

ADVISORS Marioso DeJesus Katherine Turman

TRUSTEES Ivan Barias Terry Jones

TRUSTEES Tracy Hamlin Carl “Kokayi” Walker

CHAPTER STAFF

PRESIDENT Carol Riddick

PRESIDENT Von Vargas

VICE PRESIDENT Lauren Hart

VICE PRESIDENT Elise Perry

SECRETARY Jeri Johnson

SECRETARY Priscilla Clarke

GOVERNORS Marcus Baylor Anthony Bell Jason Berger Randy Bowland Matt Cappy Andrea Clearfield Aliya Crawford Paul “Starkey” Geissinger David Ivory Eric “Chill” Moody Phil Nicolo Kristal “Tytewriter” Oliver Ben O’Neill Darrell Robinson Deidre Robinson Ashley Scott Stephanie Seiple Dana Sorey Dan “Dilemma” Thomas Dyana Williams

GOVERNORS Diane Blagman Wayne Bruce Ferddy Calderon Tarik “Konshens The MC” Davis Patrick “9th Wonder” Douthit Brandon Felder Angie Gates James “JJ” Hairston Tracey Lee Mark Meadows Dan Merceruio Pete Novak Pete Reiniger Andrés Salguero Tonya Sharpe Michelle Shellers Art Sherrod Jr. Tamara Wellons Wayna Wondwossen Billy Zero

EXECUTIVE DIRECTOR Nick Cucci PROJECT MANAGER Lauren Loverde MEMBERSHIP MANAGER Yasmin de Soiza MANAGER, CHAPTER ADMINISTRATIVE OPERATIONS Stacy M. Anderson

ADVISORS Mitch Beer Donn Thompson Morelli

CHAPTER STAFF SENIOR EXECUTIVE DIRECTOR Mark Schulz MEMBERSHIP & PROJECT MANAGER Ashley Thomas

ADVISORS Alexandria Davila Dom Flemons

CHAPTER STAFF EXECUTIVE DIRECTOR Jeriel A. Johnson MEMBERSHIP & PROJECT MANAGER Sharon Ingram

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W W W.T R O U S DA L E M O D E R N O A S I S . C O M | W W W. S TJ A M E S C A N T E R . C O M

©2019 Berkshire Hathaway HomeServices California Properties (BHHSCP) is a member of the franchise system of BHH Affiliates LLC. BHH Affiliates LLC and BHHSCP do not guarantee accuracy of all data including measurements, conditions, and features of property. Info. is obtained from various sources and will not be verified by broker or MLS. Sellers will entertain and respond to all offers within this range. Buyer is advised to independently verify the accuracy of that information.

CHAPTER BOARDS AND STAFF SOUTH REGION

SENIOR REGIONAL DIRECTOR

Susan Stewart

Lyn Aurelius

MANAGER, ADMINISTRATIVE OPERATIONS

Ashley Ernst

ATLANTA

FLORIDA

MEMPHIS

NASHVILLE

JOREL “JFLY” FLYNN

DOUG EMERY

GEBRE WADDELL

TREY FANJOY

CHAPTER BOARD

TRUSTEES Tammy Hurt Matt Still

TRUSTEES Carlos Alvarez Lee Levin Eric Schilling

TRUSTEES Scott Billington Ken Shepherd

TRUSTEES Jeff Balding George J. Flanigen IV Fletcher Foster Tracy Gershon Shannon Sanders

PRESIDENT Jorel “JFly” Flynn VICE PRESIDENT Kevin Leahy SECRETARY Melissa Love GOVERNORS Martina Albano David Barbe Michael Burton Bryan-Michael Cox Diane Durrett Kennard Garrett Traci Hale Justin “Henny” Henderson John Driskell Hopkins Crystal JohnsonPompey Thom “TK” Kidd Shay M. Lawson Al “Butter” McLean Lyn Schenbeck Ian Schumacher Greggory Smith Ben Tanner Velena Vego Sharon “Shar” White Matt Williams

PRESIDENT Doug Emery VICE PRESIDENT Jorge Mejia SECRETARY Marianne Mijares GOVERNORS Chad Bernstein Jimmy Douglass Jon FX Stephen Gibb Nicole Henry Monica Jordan Rico Love Tony Mardini Joey Mercado Veronica “Milcho” Milchorena Lukes Morgan Teedra Moses George Noriega Natalia Ramirez Lauren “Lolo” Reskin Jon Secada Urales "DJ Buddha" Vargas Dan Warner Betty Wright Angel Zamora

ADVISORS Lucy Lawler-Freas Michael Rizzi

ADVISORS Walshy Fire DJ GQ

CHAPTER STAFF

SENIOR EXECUTIVE DIRECTOR Michele Rhea Caplinger

EXECUTIVE DIRECTOR Kenny Cordova

SENIOR MEMBERSHIP & PROJECT MANAGER Erin Baxter

232

SENIOR PROJECT & PRODUCTION MANAGER

SENIOR MEMBERSHIP MANAGER Marta Clark SENIOR PROJECT MANAGER Jessica Allen

61st Annual GRAMMY Awards

PRESIDENT Gebre Waddell VICE PRESIDENT Halley Phillips SECRETARY Tim Kappel GOVERNORS Sean Ardoin Brad Blackwood Cindy Cogbill Chris Finney Justin Fisher Erin Frankenheimer Catrina Guttery John Paul Keith Yvette Landry Vicki Loveland Susan Marshall Shannon McNally Lawrence “Boo” Mitchell PJ Morton Carl Nappa Jeff Powell Matt Ross-Spang Terrance Simien Kirk Whalum Pat Mitchell Worley ADVISORS Tavia Osbey Tyrone “Tyke T” Stroble

CHAPTER STAFF SENIOR EXECUTIVE DIRECTOR Jon Hornyak SENIOR MEMBERSHIP & PROJECT MANAGER Reid Wick

PRESIDENT Trey Fanjoy VICE PRESIDENT Joanna Carter SECRETARY Tree Paine GOVERNORS Chuck Ainlay Ruby Amanfu Alison Brown Barry Dean John Esposito Leslie Fram Garth Fundis Jennifer Hanson Dave Haywood Daniel Hill Doug Howard Beverly Keel Jacquire King Frank Liddell David Macias Gordon Mote Erika Wollam Nichols Leslie Richter Leslie Roberts Ken Robold Akiko Rogers Liz Rose Steve Schnur Victoria Shaw Shaun Silva Jon Randall Stewart Phil Thornton Troy Tomlinson Jimi Westbrook Kristin Wilkinson

ADMINISTRATIVE COORDINATOR, SOUTH REGION/NASHVILLE CHAPTER

Nathan Pyle

ADVISORS Chuck Harmony Dave Mustaine

CHAPTER STAFF EXECUTIVE DIRECTOR Alicia Warwick PROJECT MANAGER Courtney White SENIOR MEMBERSHIP COORDINATOR Laura Crawford ADMINISTRATIVE COORDINATOR Bri Buchanan

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CHAPTER BOARDS AND STAFF WEST REGION

Neil Crilly

PROJECT MANAGER

Jessica Pickett

ADMINISTRATIVE ASSISTANT

Luke Savage

ADMINISTRATIVE ASSISTANT, WEST REGION/LOS ANGELES CHAPTER

Patricia Eredia

LOS ANGELES

PACIFIC NORTHWEST

SAN FRANCISCO

TEXAS

PETER ASHER

KRIS ORLOWSKI

CAMILO LANDAU

YOLANDA ADAMS

CHAPTER BOARD

TRUSTEES Mindi Abair Claudia Brant John Burk Lalah Hathaway Booker T. Jones Mike Knobloch Harvey Mason Jr.

ADVISORS Steve Aoki Lynn Grossman

TRUSTEES Sue Ennis SassyBlack

CHAPTER STAFF

PRESIDENT Kris Orlowski

TRUSTEES Leslie Ann Jones Nick Phillips Gino Robair

TRUSTEES Teresa LaBarbera David Messier Tim Palmer

PRESIDENT Camilo Landau

PRESIDENT Yolanda Adams

PRESIDENT Peter Asher

SENIOR MANAGER, CHAPTER ADMINISTRATIVE OPERATIONS Nicole Brown

VICE PRESIDENT Brian Hinman

VICE PRESIDENT Laura Mordecai

SECRETARY Jessica Thompson

SECRETARY Ricky Anderson

GOVERNORS Larry Batiste Nahuel Bronzini Juan-Manuel Caipo Ariane Cap Kevin Choice Michael Denten McKay Garner Jim Greer Meklit Hadero Michelle Jacques Tony Leong Daniel Levitin Justin Lieberman Cava Menzies Piper Payne Michael Romanowski Julie Schuchard Marc Senesac Mads Tolling Judy Tsang

GOVERNORS Chip Adams Rodney Alejandro Dwight Baker Bernard “Bun B” Freeman Ernest Gonzales Taylor Hanson Malcolm Harper Jack Ingram Danny Jones Lisa Morales Tre Nagella Michael Salgado Chris Shaw Chris “Frenchie” Smith Tami Thomsen Gilbert Velasquez Andrea Villarreal Heather Wagner Reed Paul Wall Brian Courtney Wilson

ADVISORS Solomon “Jumbo” David Jerry Suarez

ADVISOR El Dusty Juan Treviño

CHAPTER STAFF

EXECUTIVE DIRECTOR Michael Winger

SENIOR EXECUTIVE DIRECTOR Theresa Jenkins

VICE PRESIDENT Julia Michels SECRETARY Jeff Greenberg GOVERNORS John Beasley Evan Bogart Darrell Brown busbee Ed Cherney Lynne Earls Andrew Gould Sarah Hudson Om’Mas Keith Larry Klein Ledisi John Legend Orly Marley Manny Marroquin Carianne Marshall Mozella Loretta Muñoz Orianthi Linda Perry Julie Pilat Carmen Rizzo Lindsay Rothschild Dana Sano Rafa Sardina Leland Sklar Ryan Tedder Christopher Tin Beka Tischker Justin Tranter

234

REGIONAL DIRECTOR

EXECUTIVE DIRECTOR Qiana Conley

PROJECT MANAGER Jamesina Rammelkamp MEMBERSHIP MANAGER Brittany Presley

61st Annual GRAMMY Awards

VICE PRESIDENT David Gross SECRETARY Jen Czeisler GOVERNORS André Anjos Tim Bierman Jody Brotman Madeline Dowling Astra Elane Gifted Gab Ryan Hadlock Andrew Joslyn D’Vonne Lewis Eric Lilavois Dmitriy Lipay Glenn Lorbecki Ian Moore Daniel Pak Chris Porter Portia Sabin Sarah Shannon Amber Sweeney Maggie Vail Michael Wansley ADVISORS Adra Boo Kalani Pe’a

CHAPTER STAFF EXECUTIVE DIRECTOR Michael Compton MEMBERSHIP & PROJECT MANAGER Jordan Leonard

SENIOR PROJECT MANAGER Christen McFarland MEMBERSHIP MANAGER Allison Gomer

SENIOR PROJECT MANAGER Christee Albino MEMBERSHIP MANAGER Brittany Hoover

MYTH & TRADITION

Music by Su Lian Tan, Philip Cashian, and Richard Wernick | Featuring Darrett Adkins, cello

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Music by Billy Drewes Featuring Jamey Haddad, percussion

GINASTERA: ONE HUNDRED

Featuring Gil Shaham, violin | Jason Vieaux, guitar Yolanda Kondonassis, harp | Orli Shaham, piano

PAST CHAIRS

JAMES B. CONKLING

ACTING NATIONAL CHAIRMAN 1957–1961

F.M. SCOTT III

ROBERT L. YORKE

JOHN SCOTT TROTTER

CHAIRMAN/PRESIDENT 1961–1962

CHAIRMAN/PRESIDENT 1962–1963

CHAIRMAN/PRESIDENT 1963–1964

CHAIRMAN/PRESIDENT 1965–1966

CHAIRMAN/PRESIDENT 1966–1967

GEORGE AVAKIAN

PETE KING

MORT L. NASATIR

WESLEY H. ROSE

BILL LOWERY

JAY L. COOPER

J. WILLIAM DENNY

CHAIRMAN/PRESIDENT 1971–1973

WILLIAM IVEY

CHAIRMAN/PRESIDENT 1973–1975

CHAIRMAN/PRESIDENT 1967–1968

CHAIRMAN/PRESIDENT 1975–1977

CHAIRMAN/PRESIDENT 1968–1969

CHAIRMAN/PRESIDENT 1977–1979

NESUHI ERTEGUN

CHAIRMAN/PRESIDENT 1964–1965

IRVING TOWNSEND

CHAIRMAN/PRESIDENT 1969–1971

JAY S. LOWY

CHAIRMAN/PRESIDENT 1979–1981

CHAIRMAN/PRESIDENT 1981–1983, CHAIRMAN 1989-1991

CHAIRMAN/PRESIDENT 1983–1985

MICHAEL MELVOIN

MICHAEL GREENE

ALFRED SCHLESINGER CHAIRMAN 1987–1989

CHAIRMAN 1991–1993

HANK NEUBERGER

JOEL A. KATZ

PHIL RAMONE

LESLIE ANN JONES

GARTH FUNDIS

TERRY LICKONA

JIMMY JAM

GEORGE J. FLANIGEN IV

CHRISTINE ALBERT

CHAIRMAN 1993–1995

DANIEL CARLIN CHAIRMAN 2003–2005

236

PAUL WESTON

61st Annual GRAMMY Awards

CHAIRMAN 1995–1997

CHAIRMAN 2005–2007

CHAIRMAN/PRESIDENT 1985–1987

CHAIRMAN 1997–1999

CHAIR 2007–2009

CHAIRWOMAN 1999–2001

CHAIR 2009–2013

RON KRAMER

CHAIRMAN 2001–2003

CHAIR 2013–2015

Bloom

Wildly

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WE SALUTE OUR CLIENTS WHO HAVE BEEN GRAMMYÂ® - NOMINATED AND AWARDED DURING THE DECADES AND WELCOME FUTURE CUSTOMERS ON BOARD.

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IN MEMORIAM José Antonio Abreu Rusty Adams Graciela Agudelo Andie Airflix Joel Alanís Xiomara Alfaro Maartin Allcock Marty Allen Paul Allen Sammy Allred Barbara Ann Alston John Amirante Bill Amonette Eddy Amoo Clarence “Casey” Anderson Roberto Angleró Pepín Rayburn Anthony Khaira Arby Neil Argo Gerald Q. Arthur Robert Arthur Lys Assia Charles Aznavour Roy Bailey Winston “Shadow” Bailey Kenny Baker Balabhaskar Marty Balin Tommy Banks Rim Banna Dale Barclay Mamane Barka John Perry Barlow Yigal Bashan Stu Basore Richard Bateman Gary Beach Howell Begle Cody Belgard Delia Bell Max Bennett John T. Benson III Tim Bergling aka Avicii Franz Beyer Arun Bhaduri Vicente Bianchi David Bianco Roberto Bianco Shane Bisnett “Big” Bill Bissonnette Mike Blackburn Troy Blakely

238

61st Annual GRAMMY Awards

José Andrés Blanco aka Blanquito Man Santos Blanco Paul Bloch Hamiet Bluiett Steve “Bogie” Bogdanovich Jack Boles Ponty Bone Greg Bonham Inge Borkh Neal Boyd Scott Boyer Glenn Branca Nick Breed Allan Bregman Fletcher Bright Reuben Brown Brian Browne Jason Browning Colin Brumby Anshel Brusilow Alexander “Bender” Buchanan Rolf Budde Gary Burden Bill Burkette Jim Burns Roger V. Burton Blanche Burton-Lyles Don Bustany Henry Butler Ariel Bybee Montserrat Caballé Bill Caddick Jim Caine Tony Calder Tim Calvert George Cameron Tony Camillo Carmen Campagne Dorothy Campbell Doug Campbell Eddie C. Campbell Ace Cannon Tito Capobianco Jim Caradine Mary Carlisle Jeff Carlton Roy Carr Judy Carrier Mike Carroll Dawn Carter David Cavanagh

C. Gil Cawood Ndugu Chancler Tim Chandler Kak Channthy Don Cherry Jerry Chesnut Siva Choy George Christie Barry Chuckle Brandon Church Frank Cipra Stelvio Cipriani Roger Clark Roy Clark “Fast” Eddie Clarke Eddy Clearwater Dan Cleary Laurence Cleary Buzz Clifford Paul Clipson Angelica Cob-Baehler Lorrie Collins Hubert Cooke Nelson Cooke Ray Cooper Jack “Mr. Bongo” Costanzo William Wirt Courtney Johnny Cowell Peter “Mars” Cowling Steve Coy Anthony Cruz Pete Cummings Paul Curcio Ben Daglish Jeffrey Lee Dalton Vic Damone Windu Andi Darmawan Akilah DaSilva Arthur Davies Ivan Davis John Davis Little Sammy Davis Nathan Davis Merle Debuskey Theryl “Houseman” DeClouet Michael DeFosche Refugio “Cuco” Del Cid Del Delker Mike Denneen June Denny Carlos Denogean André Di Cesare

Evio Di Marzo Tom Diaz David DiChiera Matt Dike Dennis Dixon Ken Dodd Kim Dong-yoon Larry Keith Doolittle Bob Dorough John L. Downs Patrick Doyle Oliver Dragojevic Daryl Dragon Saul “Sy” Dresner Ronald Dunbar Paul Lustig Dunkel Dennis Edwards Nokie Edwards Gene Eichelberger Shawn Elliott Jody Ellis Harlan Ellison Geoff Emerick Phil Emmanuel Lenore Engdahl Scott English Yvonne Ervin Terry Evans Nanette Fabray Brien Fain Harold Farberman Helen Farmer Jimmy Farrar Josh Fauver Jordan Feldstein Grant Fell Brian Ferriman Helmut Fest Lin Folk Claudia Fontaine D.J. Fontana Dean Ford Rob Fortney Sonny Fortune Mark Fosson Clarence Fountain Rick Fowler Hardy Fox Richard Frank Jerry Frankel Aretha Franklin Andrew Frierson Dominic Frontiere

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IN MEMORIAM Mikio Fujioka Bob Fuller Irwin Gage Renaud Gagneux France Gall Lucho Gatica Jeremy Geffen Mark Genfan Bonaldo Giaiotti Richard Gill Norman Gimbel Harold Goad Pete Goble Andy Goessling Jonathan Gold Otoniel Gonzaga Jerry González Jimmy Gonzalez Marcelo “Chino” González Pedro “Perico” González Lino Freddie Goodhart Lorraine Gordon Ron Grant Ben Graves Paul Gray Ross Grierson Enoch Zu Guttenberg Gary Haisman Carol Hall Dave Hall Rick Hall Bill Hamel Charles Hamlen Earla Harding Duane S. Hargis Roy Hargrove Barbara Harris Gary Harris Larry Harris Neil Harris Mike Harrison Freddie Hart Marc Hauser Al Hawkes Edwin Hawkins George Hawkins Jr. Eric Haydock Hairl Hensley Oli Herbert Héctor Everzon Hernández aka Samurai Kelso Herston

240

61st Annual GRAMMY Awards

Bill Hicks Jacques Higelin Bob Higgins Theresa Hightower Tony Hiller Jimmy Hills Algia Mae Hinton Jon Hiseman Richard Ho’opi’i Chas Hodges Irwin Hoffman Bret Hoffmann Leonard Hollifield Joseph “Jo Jo” Hoo Kim Jeff Hooker Brian Henry Hooper Katherine Hoover Jerry Hopkins Yvette Horner Seth Howard John Hsu Alfred Hubay Sid Hudson Ronn Huff Richard Hundley Tab Hunter Scott Hutchison Søren Hyldgaard Madalena Iglésias Dan Ingram Navid Izadi Joe Jackson Al James Hank Janney Jill Janus Irvin “Carrot” Jarrett Boyd Jarvis Ricky Jay Gloria Jean Brandon Jenkins Marian Jewell Jóhann Jóhannsson Nick John Billy Johnson Pamela Joy Johnson Michael Wayne Jones Mickey Jones Spencer P. Jones Theodore Jones aka Young Greatness James Jordan John Joubert Nikolay Kaufman

Brian Kellow Mike Kennedy Ed Kenney Jr. Brooks Kerr Kato Khandwala Ras Kimono Ed King Morgana King Ralph A. King Tony Kinman Danny Kirwan Nick Knox Tom Knox Oliver Knussen Iosif Kobzon Steve Kocour Takehisa Kosugi Beth Krakower M. William Krasilovsky Leah LaBelle Bert LaBour Francis Lai Jake Landers Honey Lantree Dona Ivone Lara Felipe de LaRosa Denise LaSalle Billy Ray Latham Trent LeClaire Stan Lee Mike Leech Ted LeGarde Leslie “Lazy” Lester Miggie Lewis Polly Lewis Stan Lewis Shaun Lewis aka Stormin Tommie Lewis Collins Leysath aka DJ Ready Red Les Lieber Devin Lima Dionisio Lind Erik Lindmark Michael Lindsey Siegfried Linkwitz Didier Lockwood Jeff Loeffelholz Pat Long Alan Longmuir Ellen Joyce Loo Jesús López-Cobos Garry Lowe

Reggie Lucus Stewart Lupton Jason “J-Sin” Luttrell Rebecca Lynch Alfred Lynn aka Allah Real Galt MacDermot Wade Macey Craig MacGregor Craig Mack Suzanne MacNary Johnny Maddox Arthur Maia Dominick Maita Jean-Claude Malgoire Robbie Malinga James Mallinson Jim Malloy Hansjorg Malonek Stephen A. Mandell C.K. Mann Ellie Mannette Angela Maria Rose Marie Kenny Marks Matt Marks Gustavo Marquez Raúl Marrero Eric Marshall Penny Marshall Josh Martin Vince Martin Eddie Mascolo Hugh Masekela Draylen Mason Andrew Massey Joe Masteroff Joseíto Mateo Timmy Matley Joseph Maus Michael Mavrolas Jan Maxwell Mayra Mayra Marin Mazzie Robert “Kooster” McAllister “Big Tom” McBride Lisa McCay George McCeney George McCormick Malcolm McCormick aka Mac Miller Pilar McCurry Hugh McDowell Christine McGuire

IN MEMORIAM Don McGuire Tom McKinney Van McLain Allyn Ann McLerie Jon James McMurray Trevor McNaughton Big Jay McNeely Victor Mecyssne Sam Mehran Fabio Melanitto László Melis Heather Menzies-Urich Floyd Miles Blue Miller Clarence “Count Prince” Miller Seo Minwoo Linda “ProKid” Mkhize Liliane Montevecchi Thom Moore Carlos Morean Wilson Moreira Patricia Morison Audrey Morris John Morris Alfred Morris III Johnny Mosby Colin Michael Mulhern Brian Murphy Matt “Guitar” Murphy Melton Mustafa Janka Nabay Queeneth Ndaba Buell Neidlinger Joe F. Neil Madeleine Yayodele Nelson Charles Neville Calvin Newborn Steve “Grizzly” Nisbett James “Nick” Nixon Jalal Mansur Nuriddin Russell Nype John O’Daniel Kenny O’Dell Liam O’Flynn Herb O’Mell Dolores O’Riordan Jackson Odell Abi Ofarim Baba Oje Jahseh Onfroy aka XXXTentacion Geoffrey Oryema

242

61st Annual GRAMMY Awards

Joe Osborn Mike Owens Hisashi Ozaki Cano Ozgener Bert Padell Cyril Pahinui Marlene Palmer Aldo Parisot Gaile Foote Parks Rebecca Parris Floyd Parton Vinnie Paul Kyle Pavone “Sunshine” Sonny Payne Alan R. Pearlman Danny Pearson Maurice Peress Francisco Jesús Pérez Cuevas aka Paco Luna Tom Perryman Stacy Phillips Steve Phillips Pat Pipolo Eugene Pitt Robert Plotnik Billy Poe Augusto Polo Campos Anca Pop Royce Porter J. Lyman Potts Maria Dolores Pradera Terence Prejean aka Big T Carlos Puig Premión Ronnie Prophet Felton Pruett Frank “Killjoy” Pucci Rico J. Puno M. Awal “Bani” Purbani Charlie Quintana Mowzey Radio Charlotte Rae Melvin Ragin aka Wah Wah Watson Joe Rainey Randy Rampage James Randolph Tom Rapp Liza Redfield Rusty Reed Maurice Reedus Jr. aka Sax Man Eddie Reeves Russ Regan

Herb Remington Burt Reynolds John Reynolds Kenneth Reynolds Wes Rineer Jerry Riopelle Steve Ripley Jimmy Robinson Perry Robinson Richard Robinson Jim Rodford Norm Rogers Philip Roth Zeno Roth Glen Roven Dave Rowland Gennady Rozhdestvensky Chuck Rubin Arthur B. Rubinstein Roswell Rudd Otis Rush Rukmana “Ujang” Rustam Ira Sabin Chingiz Sadykhov Hideki Saijo Daniel Sais Albert Saladin Billy Sammeth Ronnie Samoset Fredo Santana Ralph Santolla Leo Sarkisian Conway Savage Ray Sawyer Sherytha Scaife Harvey Schmidt David Schober Heinz Jakob “Coco” Schumann Glenn Schwartz Caleb Scofield Randy Scruggs David Sebring Curly Seckler Wayne Secrest Elisa Serna Albert Serrano Gretchen Serrao Walter Settles Jr. Ntozake Shange Preston Shannon Ben Sharpa Eddie Shaw

Carole Shelley Pete Shelley Mark Shelton Gayle Shepherd Noam Sheriff G.G. Shinn Jon Sholle Herman Sikumbang Greg Sill Lowrell Simon Neil Simon Edward Simons Samina Sindhu Daryle Singletary John Sippel Milan Škampa Jahvante Smart aka Smoke Dawg Hazel Smith Joel Smith Mark E. Smith Glenn Snoddy Russ Solomon Steve Soto Don Sowards Sridevi Tomasz Stańko Yvonne Staples John “Jabo” Starks Lovebug Starski Dave Stein Jonathan Sternberg Guy Stevenson Jimmy Stewart Buster Stiggs Steve Stone Joseph Stonestreet Alan Stout Bruce Nelson Stratton Neil Stretcher Johnny Strike Peter Stringfellow Joe Sullivan Richard Swift Jay Switzer Rachid Taha Tony Taño Cecil Taylor Joe Taylor Lonnie “Lil Lonnie” Taylor Mike “Beard Guy” Taylor Moriss Taylor Glen Telford

Ernie Thacker Phil Thomas Ray Thomas Fay Jennings Thompson Sonia Thompson Billy ThunderKloud Steve Thurman Wesley Tinglin Pat Torpey David Tower Doreen Tracey Michael Tree John Trout Jabulani Tsambo aka Hip Hop Pantsula Chris Tsangarides Dan Tshanda Bill Turpin Nitin Vadukul Jorge Valenzuela Alexander Vedernikov Pedro Ramírez Velazquez

Joseph Vella Marlene VerPlanck Leana Villarreal John Von Ohlen Jeff Vonn Hooker Roger Vorce Bill Wagner Marcin “Valeo” Walenczykowski George Walker Frances Walker-Slocum Lawrence “Larry” Waltman Gene Wardell Harry Warner Pam Warren aka Pam The Funkstress Thayer Washer Bill Watrous C.J. Watson Ensayne Wayne Dean Webb Herman Webb

Earl Webster Ron Weed Michael Weiley Charles Weldon Linda Westbrook Randy Weston Billy Wheeler Lari White Tony Joe White Wesla Whitfield Brendon “Alias” Whitney John Wicks Freddy Wieland Jerry Wiggins Oki Wijaya Wanda Wiłkomirska Dick Williams Harless “Tootie” Williams Jody Williams Patrick Williams Betty Jane Willis Eddie Willis

James Calvin Wilsey Nancy Wilson Olly Wilson Sam Wilson Les Woodie Jimmy Wopo James “Big Jim” Wright Roy Wunsch Pegi Young Todd Youth Craig Zadan David Zard Jimi Zhivago Igor Zhukov

(List through Jan. 8, 2019)

In celebration of 18-time GRAMMY winner Aretha Franklin, the Recording Academy will air “Aretha! A GRAMMY Celebration For The Queen Of Soul” on March 10 on CBS. Hosted by actor and filmmaker Tyler Perry, and staged at the historic Shrine Auditorium in Los Angeles, “Aretha!” celebrates Franklin’s extraordinary music and activism through performances and appearances by an all-star lineup of GRAMMY-winning and -nominated artists. The special will also feature never-before-seen footage and interviews highlighting Franklin’s career, including her iconic GRAMMY performances. PHOTOS: GETTY IMAGES

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61st Annual GRAMMY Awards

Jennifer Hudson

Patti LaBelle

Yolanda Adams, BeBe Winans, and Shirley Caesar

Brandi Carlile

Celine Dion

Alicia Keys and SZA

Andra Day

Fantasia

H.E.R.

John Legend

Janelle Monรกe

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60 YEARS OF

MOTOWN

LENI SINCLAIR/GETTY IMAGES

RB/REDFERNS

The Recording Academy is set to honor the iconic label with an upcoming television special

Motown headquarters in Detroit circa 1975

Later this year, the Recording Academy will celebrate the 60th anniversary of Motown Records. One of the storied independent record labels of the 20th century, Berry Gordy’s Motown Records had cultural implications well beyond “the sound of young America” that its stable of artists, songwriters, and musicians were creating starting in 1959. As a black-run and primarily staffed enterprise, it was a social signpost of the promise and possibilities of a more equitable society. From the Miracles and the Supremes to Boyz II Men to Migos, Motown hits have spanned six decades.

THE MUSIC GRAMMY Hall Of Fame inductees “ABC” (The Jackson 5) “Ain’t No Mountain High Enough” (Marvin Gaye And Tammi Terrell) “Dancing In The Street” (Martha And The Vandellas)

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61st Annual GRAMMY Awards

“For Once In My Life” (Stevie Wonder) “I Can’t Help Myself” (Four Tops) “I Heard It Through The Grapevine” (Marvin Gaye) “I Heard It Through The Grapevine” (Gladys Knight & The Pips) “I Want You Back” (The Jackson 5)

THE CHAIRMAN Yes, Berry Gordy Jr. worked on a Lincoln-Mercury assembly line in Detroit, a job that likely informed the efficiency with which he approached Motown Records. But it was music that was always in his soul, first as a record store owner, then as a songwriter for Jackie Wilson, and ultimately as one of music’s great entrepreneurs. Gordy was honored with the Recording Academy’s Industry Icon award in 2008, and received a Trustees Award in 1991.

“I’ll Be There” (The Jackson 5) Innervisions (Stevie Wonder) Let’s Get It On (Marvin Gaye) “Mercy Mercy Me (The Ecology)” (Marvin Gaye) “My Girl” (The Temptations)

THE ARTISTS

THE SONGWRITERS

Valerie Simpson and Nickolas Ashford

“My Guy” (Mary Wells) “Papa Was A Rollin’ Stone” (The Temptations) “Please Mr. Postman” (The Marvelettes) “Reach Out I’ll Be There” (Four Tops) “Shop Around” (The Miracles)

MICHAEL OCHS ARCHIVES/GETTY IMAGES

Recording Academy Trustees Award recipients

Lamont Dozier, Edward Holland, and Brian Holland

“Shotgun” (Jr. Walker And The All-Stars) Songs In The Key Of Life (Stevie Wonder) “Stop! In The Name Of Love” (The Supremes) “Superstition” (Stevie Wonder) Talking Book (Stevie Wonder)

ECHOES/REDFERNS

MICHAEL OCHS ARCHIVES/ GETTY IMAGES

Michael Jackson RICHARD E. AARON/REDFERNS

Diana Ross

The Temptations

Smokey Robinson

Stevie Wonder

THE BAND

Recording Academy Lifetime Achievement Award recipients

GAB ARCHIVE/REDFERNS

The Four Tops

ECHOES/REDFERNS

RON GALELLA/WIREIMAGE.COM

Marvin Gaye

MICHAEL OCHS ARCHIVES/ GETTY IMAGES

MICHAEL OCHS ARCHIVES/GETTY IMAGES

Recording Academy Lifetime Achievement Award recipients

The Funk Brothers

“The Tears Of A Clown” (Smokey Robinson & The Miracles) “The Tracks Of My Tears” (The Miracles) “War” (Edwin Starr) What’s Going On (Marvin Gaye)

“Where Did Our Love Go?” (The Supremes) “You Are The Sunshine Of My Life” (Stevie Wonder) “You Keep Me Hangin’ On” (The Supremes) “You’ve Really Got A Hold On Me” (The Miracles)

61st Annual GRAMMY Awards

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