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THE BRUCE BROUGHTON COLLECTION
Celebrating Bruce Broughton’s commitment to donate his catalogue of music scores to the University of North Texas. “… I have the greatest admiration for the UNT College of Music, for its programs, its faculty and its commitment to musical education bridging a wide range of styles, creative interests and contemporary media. It’s a really great home for my work.” Bruce Broughton “We are thrilled and humbled to receive this signicant collection of Bruce Broughton’s music. This is tremendous for our university and especially for our College of Music. We could not be more grateful.” John W. Richmond, Professor and Dean of the College of Music Bruce Broughton has been media composer-in-residence at UNT since spring 2017.
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t’s an honor for me to welcome you to the 62nd Annual GRAMMY Awards. It’s also an honor and a privilege to be serving as Chair of the Recording Academy during this important and exciting time in its history. With the ultimate respect and acknowledgment for our proud organization’s history, tonight we begin a new journey forward. It starts with celebrating the best and the brightest our music industry has to offer. Our 12,000 voting members of the Academy have nominated and will now give the only peer-to-peer award to music creators who have made magic — made art that has changed our world. These are the recordings that inspire us, comfort us and unite us. This is the music that we cry to, party to and make memories to. This is music that deserves the most sought after and significant honor in music, a GRAMMY Award. Then, after the last GRAMMY has been handed out and the lights at Staples Center go down, our journey toward the future continues, and in some cases, really begins. With the constant transformation and innovation in our industry, what worked a year ago may not apply today. This is what challenges us to think bigger and dig deeper. It’s why we are working extremely hard to ensure the continued growth and evolution of the Recording Academy. From elected leaders, to staff, to our members, we are all committed to positioning the Academy in a way that allows us to do what we do best, serve the dynamic community of music creators. Whether its our advocacy work locally and in Washington, D.C., fighting for the rights of music creators, or our MusiCares charity, which last year provided more than $5.6 million of support for 7,500 clients that had career-threatening challenges, or the GRAMMY Museum’s growth as an important learning institution with the cultural appreciation of music at its heart, the Academy continues to have a greater impact and makes us all proud. So as we complete another year of supporting, nurturing and celebrating musical excellence across all genres, made by an ever more diverse and inclusive community of music makers, we are looking toward the future, envisaging how we can build on the legacy so many people have worked so hard to create and that has contributed so much. I want to thank my fellow Recording Academy Trustees for entrusting me with the role of Chair. As a music producer, my job in the studio is to work with and encourage artists, to push them and make sure they give their best performances. Similarly, as Chair, my job is to collaborate with the staff and leadership to push the Academy forward and make sure it’s the best it can be. I invite you to join me on that journey starting tonight — Music’s Biggest Night, our 62nd GRAMMY Awards. Enjoy! Musically yours,
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22 Bon Iver Billie Eilish
24 Ariana Grande H.E.R.
26 Khalid Lil Nas X Featuring Billy Ray Cyrus
28 Lizzo Post Malone & Swae Lee
30 Lana Del Rey Lil Nas X
32 Vampire Weekend Black Pumas
34 Maggie Rogers Rosalía
36 Tank And The Bangas Yola
38 Song Of The Year 42 Complete Nominations List
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Widening The Net New Recording Academy member submission process will modernize qualifications and help address diversity issues
MusiCares Person Of The Year Aerosmith: An Appreciation
In Memoriam Remembering music people we lost in 2019
184 40 Years Of GRAMMY Moments A photo salute to Executive Producer Ken Ehrlich
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RECORD OF THE YEAR ALBUM OF THE YEAR Two-time GRAMMY winners Bon Iver, led by frontman Justin Vernon, work at their own pace and on their own terms. This year’s GRAMMY-nominated I,I is only their fourth release in 11 years, and it combines the organic folksiness of their early days with touches of their recent synthy, avant-pop experiments, all enveloped by lush vocal tapestries. Like Bon Iver’s previous album, 22, A Million, this one features a veritable armada of guest musicians contributing parts both big and small. Yet, for a studio effort that has so many collaborators — among them, Bruce Hornsby, James Blake, the “Worm Crew” horn section, and members of the National — I,I does not sound overstuffed. There is plenty of emotional intimacy to be found, including on the Record Of The Yearnominated “Hey, Ma,” which NPR called “a glittering remembrance of childhood and a mother’s love.” — Bryan Reesman
GRAHAM TOLBERT AND CRYSTAL QUINN
At 17, Billie Eilish — whose voice has been described as everything from ethereal to husky — is the youngest artist to be nominated in all four of the General Field categories. Her chart-topping single “Bad Guy” is nominated for Record and Song Of The Year. Her No. 1 album, When We All Fall Asleep, Where Do We Go?, is nominated for Album Of The Year, and she is up for Best New Artist. NPR called her “the living essence of Generation Z” because, like her contemporaries, she blurs all the boundaries around her. When We All Fall Asleep … is a critically acclaimed mix of art pop, alt-rock, electronic, and trap. With her brother Finneas (who has five nominations of his own) serving as producer, Eilish’s rise has been a family affair — fitting for a teen who was homeschooled by her parents in Los Angeles. Since her single “Ocean Eyes” broke through on SoundCloud in 2015, Eilish has shown that Generation Z’s penchant to skirt tradition, musically and culturally, is the new norm. — Tammy La Gorce 22 - 62nd Annual GRAMMY Awards
RECORD OF THE YEAR ALBUM OF THE YEAR BEST NEW ARTIST
To hear Ariana Grande tell it, making thank u, next “kind of saved my life.” In 2018, following a period defined by tragedy (the Manchester bombings, an ex dying, a public breakup), she emerged with the GRAMMY-winning Sweetener, then months later, the transformative thank u, next. Grande’s fifth album has earned four GRAMMY nominations, including Album Of The Year and Best Pop Vocal Album plus Record Of The Year and Best Pop Solo Performance for “7 rings.” Produced by old friends, including Max Martin and Pop Wansel, thank u, next is all lush layers and whistle notes hinting at Grande’s mighty vocal prowess, anchored by an emotional resonance that came with the artist taking a songwriting hand on all 12 tracks. On the chart-topping “7 rings,” samples of “My Favorite Things” and Notorious B.I.G.’s “Gimme The Loot” combined with a heavy dose of bass conjure Christmas in an Atlanta trap house. Thankfully, we are the recipients of Grande’s gifts. — Sarah Jones
RECORD OF THE YEAR ALBUM OF THE YEAR
With Lauryn Hill levels of candor and an Alicia Keysian approach to musicality, 22-year-old singer/songwriter and multiinstrumentalist H.E.R. continues to peel back the layers of her soul with her Album Of The Year-nominated I Used To Know Her. Like her 2018 GRAMMY-winning album, this project combines two EPs (2018’s I Used To Know Her: The Prelude and I Used To Know Her: Part 2) with five new songs, and stands as a testament to the Cali native’s razor-sharp artistic commitment. Many of the album’s 19 tracks address love’s ebb and flow, such as the Rodney “Darkchild” Jerkins-produced “Hard Place,” which is up for Record and Song Of The Year. H.E.R.’s vocals, accompanied by acoustic instruments, scratches and a harmonious choir, combine to create a unique music moment. H.E.R.’s mastery of lyrical sentimentality coupled with tunes featuring both modern flare and soulfilled sonic nostalgia are solidifying her place in contemporary R&B. — J’na Jefferson 24 - 62nd Annual GRAMMY Awards
RECORD OF THE YEAR ALBUM OF THE YEAR
295* AND COUNTING Berklee is proud to salute our 62nd 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.
Befitting a man whose hi-top fade hairstyle recalls the 1980s heyday of quiet storm ballads, Khalid’s double-platinum single “Talk” craftily merges sensitive old skool R&B with contemporary hip-hop instrumentation. Though Khalid has said “Talk” is about “the beginning honeymoon stages of a relationship,” one could also interpret the song’s pleading lyric as a come-hither appeal to listeners. However one views it, “Talk” is an undisputed masterpiece of musical seduction, marking Khalid’s first No. 1 single on Billboard’s R&B/Hip-Hop Airplay chart, and his fifth Top 10 hit. The singer/songwriter sensed “Talk” would be a chart-topper from the moment he began collaborating with the British electronic duo Disclosure. “They played me this crazy-a** instrumental,” Khalid recalled to Apple Music, “I hopped on it for sure.” Including this current Record Of The Year nod, Khalid has racked up six GRAMMY nominations since his 2017 emergence. He’s moved well beyond the honeymoon stage. — Bruce Britt
RECORD OF THE YEAR
LIL NAS X FEATURING
RECORD OF THE YEAR In 2019, Lil Nas X rode his genre-bending sensation “Old Town Road,” featuring Billy Ray Cyrus, to six GRAMMY nominations, including Record Of The Year. The inescapable hit features a banjo sample from Nine Inch Nails’ “34 Ghosts IV,” and pairs trap music’s swagger with country music’s well-worn storyline of rural escapism. “Old Town Road” first became a smash on TikTok, before the remix with Cyrus was released last April. Within weeks, the remix entrenched itself atop the Billboard Hot 100, ultimately for a record-setting 19 weeks. Thanks in part to Lil Nas X’s enviable use of social media (he asked his Twitter followers to help him get Cyrus on the track), “Old Town Road” also became the fastest hit ever to be certified Diamond (10 million units) by the RIAA. — Jessica Nicholson
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Lizzo’s path to greatness was as circuitous as a James Galway melody. Long before she was “100 percent that b****,” Minneapolisraised Melissa Jefferson told “CBS Sunday Morning” that she studied the flute and believed that she was destined for a Parisian orchestra. But in 2018, a video of her playing the flute and twerking at the same time went viral. Since then, she released the dynamic pop album Cuz I Love You on which she sings, raps and, yes, plays the flute. “Truth Hurts,” which took nearly two years to break through, subverts the modern love song by turning its affection toward the best friend who sits you down in the salon chair and listens to your dating horror stories, instead of focusing on that elusive man. Lizzo’s ability to look beyond her circumstances, including eight years of touring at undersold shows, sleepless nights in her car and the death of her father, as she confessed on Twitter, has made her this year’s leading GRAMMY nominee. With her message of self-love, body positivity and female friendship, Lizzo picks up the formation baton from Beyoncé and continues running. — Serena Kim
RECORD OF THE YEAR ALBUM OF THE YEAR BEST NEW ARTIST
POST MALONE & SWAE LEE
Fighting for a relationship on the brink of dissipation never sounded so uplifting until self-described “rockstar” Post Malone and rap sensation Swae Lee crossed paths on their chart-topping hit, “Sunflower.” According to Lee, the song was crafted after a “crazy” all-nighter in the studio with Malone. Warm percussion patterns drummed up by co-producers Louis Bell and Carter Lang rest under a layer of vocal reverb, creating a vintage audio dreamscape. Lyrically, Malone and Lee find themselves stuck in the same romantic predicament, agitated over the difficulties of breaking free from a partner. But nothing could hold them back from success. The song, released as the lead single from the animated film Spider-Man: Into The Spider-Verse, topped the Billboard Hot 100 and earned two GRAMMY nods. The magic the two summoned to create “Sunflower” leaves fans waiting for another hit to blossom. — Ogden Payne
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RECORD OF THE YEAR
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LANA DEL REY
To her fans and critics, Lana Del Rey was teetering on a breakthrough over her first five albums. While fans swore by her earlier work, there was the devout belief there was a true American classic in her. As Judy Berman wrote in Time magazine of Norman F***ing Rockwell!, “[It’s] the first front-to-back masterpiece of a decade-long career.” Del Rey found that classic in Norman F***ing Rockwell!, an album so profound, beautiful and deep Pitchfork called her, “the next best American songwriter.” America today is a deeply complicated place, where we are divided by politics and driven further apart and deeper into loneliness by technology that should make us more connected. And Norman F***ing Rockwell! is the album that captures all of that desperation. In the opening line of the album’s nominated title track, Del Rey sings, “Goddamn man-child, you f***ed me so good, I almost said I love you,” as if that would have been a crime or a sin. But by the end of the 14-track set, she declares, “Hope Is A Dangerous Thing For A Woman Like Me To Have — But I Have It.” Hope, and an Album Of The Year nomination. — Steve Baltin
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ALBUM OF THE YEAR
LIL NAS X
Sometimes “disruption” is just a buzzword. But when it describes the effect of an authentic, game-changing, norm-defying agent of transformation, then the buzz is absolutely well-deserved. Georgia native Lil Nas X, born Montero Lamar Hill, upended all sorts of traditions and expectations this year. He might be described as a gay hip-hop artist, a black country star or a social media sensation, but really the point of his success seems to be that musical genres and cultural categories are there to be blended, if not collapsed, and a lot of long-held “rules” are ready to be broken. It’s all there on his debut EP, 7, an eight-track showcase of assumption-bending explorations and a playful mix of genres featuring appearances by Billy Ray Cyrus, Cardi B and Travis Barker. If his debut is a sign of what’s to come, all roads for Lil Nas X point to a happily disruptive future. — Chuck Crisafulli
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ALBUM OF THE YEAR BEST NEW ARTIST
Excellence Excellence The salute Thepeople peoplewith withan aneye eye for for investments investments salute the thepeople peoplewith withan anear ear for for music music The ThePoppo PoppoGroup Groupproudly proudly supports supports the the62nd 62ndAnnual AnnualGRAMMY GRAMMY Awards®® Michael Poppo Michael F. F. Poppo Managing Director Managing Director Institutional Consultant Institutional Consultant Poppo Group TheThe Poppo Group UBS Financial Services Inc. UBS Financial Services Inc. 1251 Avenue of the Americas, Second Floor 1251 Avenue of the Americas, Second Floor New York, NY 10020 New York, NY 10020 212-626-8721 212-626-8721 ubs.com/team/thepoppogroup
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Six years is a long break between records by any standard, and if it was to reconsider their place in the pop world, then it seems Vampire Weekend succeeded with Father Of The Bride. Says Rolling Stone, “Vampire Weekend now look like the smartest guys in the room, marshalling a sumptuous, emotionally complex music perfect in this pop moment.” Their twice-nominated fourth studio release (a sprawling, 18-track set also up for Best Alternative Music Album, an award they won for 2013’s Modern Vampires Of The City), represents a critical and commercial peak for the band spawned on the Columbia University campus with its tuneful Upper West Side-meets-Soweto world pop. Highlights include “Sunflower,” with its Jonah Hill-directed video shot outside famed New York deli Zabar’s, featuring a Jerry Seinfeld cameo. Lead vocalist Ezra Koenig compared the album to the rarified Manhattan of director Whit Stillman’s Metropolitan or HBO’s epic family power struggle “Succession.” Legendary rock critic Robert Christgau called it “ ... [a] fraught combination of lost youth, career anxiety, and, way down deep, political dismay.” May career anxiety always be this rewarding. — Roy Trakin
ALBUM OF THE YEAR
Everything old is new again as Austin-based retro-soul duo Black Pumas have so elegantly displayed on their eponymous debut album, a vibrant mix of heady hip-hop and vintage R&B. The creative partnership between guitarist/producer Adrian Quesada and singer/songwriter Eric Burton began serendipitously in 2017. Quesada, a former member of GRAMMY-winning Latin funk outfit Grupo Fantasma, had recorded some tracks in his Austin studio and was looking for a vocalist. Burton, a Los Angeles native who grew up in church and musical theater, was busking on the Austin streets. “The chemistry and fire were there immediately,” said Quesada. “What Eric could do as a frontman was like nothing I’d ever seen.” Led by the spectacular first single “Black Moon Rising” and the equally powerful “Fire” and “Colors,” all of which have more than a million streams on Spotify, Black Pumas has this duo being rightly celebrated for rejuvenating the timeless sound of soul music. — John Sutton-Smith 32 - 62nd Annual GRAMMY Awards
BEST NEW ARTIST
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In 2016, Maggie Rogers sat next to Pharrell Williams — a surprise guest in a masterclass she took while finishing up her final year at New York University — and played him her soon-to-be breakout hit, “Alaska.” In the viral video of their encounter, an emotional Williams says, “I have zero notes for that … because you’re doing your own thing. It’s singular.” Three years later, not much has changed for Rogers. Oh, except she has a record deal, released her major-label debut Heard It In A Past Life (called an “understated, idiosyncratic mix of pop, folk and dance music” by Time), and earned a Best New Artist nomination. But Rogers is still creating music that defies categorization. She’s even coined a term for herself: witchy feminist rock star. Where is Maggie Rogers going next? No one knows, but she’ll surely get there doing her own thing. — Crystal Larsen
BEST NEW ARTIST
BEST NEW ARTIST Latin music was never the same after singer/songwriter Rosalía burst onto the international scene in 2017 with her debut album, Los Ángeles, which helped her receive a Latin GRAMMY Best New Artist nomination. Then came “Malamente,” an exquisite fusion of slick hip-hop en español and authentic flamenco. The song is the opening track of El Mal Querer, a stunning sophomore album that chronicles the aftermath of a toxic romantic relationship. Born in Catalonia 26 years ago, Rosalía anchors her instinctive understanding of mainstream hip-hop to a voracious appetite for sounds from all over the globe, from classical minimalism and African dance to the flamenco roots that she studied formally in Barcelona. Far from resting on her laurels, she has continued releasing intriguing hit singles, from the cinematic dance anthem “Aute Cuture” to the reggaetón flavored “Con Altura,” with J Balvin and El Guincho. She recently won an impressive three awards at the 20th Latin GRAMMYs, demonstrating that for Rosalía, this unprecedented wave of success may just be the beginning. — Ernesto Lechner 34 - 62nd Annual GRAMMY Awards
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TANK AND THE BANGAS
Tank And The Bangas are one of the most exciting and original new groups to emerge from the musical melting pot that is New Orleans. They fuse elements of funk, jazz, hip-hop, and spoken word in a fast-paced style that comes across like an absurdist poetry slam, pitting George Clinton against Marcel Duchamp. But the main attraction is frontwoman Tarriona “Tank” Ball, who mixes her rapid-fire, tongue-twisting poetic flow with hard-hitting, gospel-inflected vocals. Tank And The Bangas formed in 2011 at Liberation Lounge, an open mic in the Algiers section of New Orleans. Their debut album, Think Tank, was released in 2013, but the record that really launched them was 2017’s “Quick,” which helped them win NPR’s Tiny Desk contest and garner more than 9 million YouTube views. A resulting record contract led to their major label debut, Green Balloon, a marathon set that blends trippy pop confections such as “Smoke.Netflix.Chill” with bouts of freeform improvisation showcasing an ensemble with some deep roots and a future-focused sense of adventure. — Alan di Perna
GUS BENNETT JR.
BEST NEW ARTIST
British singer/songwriter Yolanda Quartey, known by her artistic name Yola, has gone through hell and back. She survived a house fire, was nearly homeless, faced sexism and racism in the music industry as a backup singer, and even lost her voice for a year. With a knack for turning adversity into inspiration through songwriting, the 36-year-old vocal powerhouse emerged from the trenches of personal setbacks to release her critically acclaimed, full-length debut. On Walk Through Fire, Yola delves deep and draws from a sonic palette that spans soul, country, folk, and ‘70s Britpop. Produced by Black Keys frontman Dan Auerbach, who co-wrote the title track with legendary R&B songwriter Dan Penn, Walk Through Fire is a genre-defying confluence of acoustic guitars, fiddles, mandolin, and slow-burning soul grooves. In music, as in life, Yola’s delicate interplay is informed by equal parts emotional vulnerability and soaring empowerment. — Lissette Corsa 36 - 62nd Annual GRAMMY Awards
BEST NEW ARTIST
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SONG OF THE YEAR
“ALWAYS REMEMBER US THIS WAY” Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters Lady Gaga, artist To write songs for A Star Is Born, Gaga rang Dave Cobb, who organized a songwriting retreat in Los Angeles and invited his favorite Nashville songwriters: Lori McKenna, Natalie Hemby and Hillary Lindsey. The singular songwriting prompt? To write songs for Ally, Gaga’s character in the movie. “It was magic,” Cobb said to Esquire. “[Gaga] got in the vocal booth on the microphone and the writers were in the control room. I was playing with the band, and it just happened. Her voice was as big as the house. All of us had goosebumps.” McKenna agreed: “There was a moment where we all got choked up,” she said, “Whenever that happens when writing a song, it’s gotta stay!”
“BAD GUY” Billie Eilish O’Connell & Finneas O’Connell, songwriters Billie Eilish, artist Written with her brother Finneas O’Connell, who also produced, “Bad Guy” was the fifth single from Billie Eilish’s debut album. Playing with pop conventions of men as the eternal aggressors, the singer, then all of 17 years old, paints a boldly dark portrait that she suggests with an iconic “duh!” is self-mockery. As Eilish told KIIS-FM, the song “[makes] fun of everyone and their personas of themselves — even mine.” She explained, “The initial idea for the song is people that have to tell everybody that they are a certain way all the time… They’re not that certain way.”
“BRING MY FLOWERS NOW”
Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters Tanya Tucker, artist
Ruby Amanfu, Sam Ashworth, D. Arcelious Harris, H.E.R. & Rodney Jerkins, songwriters H.E.R., artist
Shooter Jennings and Brandi Carlilie convinced Tanya Tucker to release her first album in 10 years. When brothers Phil and Tim Hanseroth joined them in the studio, they quickly created an entire song cycle. But for the album’s final song, they started with a chorus Tucker wrote herself decades earlier about living for the moment. Together they wrote the verses in 20 minutes. “So,” Tucker said to NPR, “it took me 40 years and 20 minutes to write the song!’’ About its main metaphor, she said, “I’ve always wondered, even since I was a kid, why they sent flowers [to a funeral]. That didn’t make sense to me. It just kind of had it back-asswards to me.”
Written on acoustic guitar in Nashville, the achingly melodic “Hard Place” is H.E.R’s souful reflection on love in conflict. “It’s one of those songs,” H.E.R. told Radio.com, “like a torn song … you know when something isn’t good for you, or maybe it is good for you, but you don’t know what it is that you want. You’re caught between that addiction of love and knowing this isn’t good for me ... it’s like that temporary high that you get from somebody.”
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a tiP of the hat to all NoMiNees Best of luck at this year’s GraMMy awards®
SONG OF THE YEAR
“LOVER” Taylor Swift, songwriter Taylor Swift, artist Her fourth Song Of The Year nomination, “Lover” is the first one Swift wrote alone, and the only self-written song nominated this year. As she told Rolling Stone, it represents a “return to the fundamental songwriting pillars that I usually build my house on. It’s really honest; it’s not me playing a character.” It emerged, she said, “very very, very quickly… I was working out the cadence of the first verse and it just sort of fell together.” The hypnotic tune is a departure for Swift, who continues to show her songwriting versatility as her craft develops.
“NORMAN F***ING ROCKWELL” Jack Antonoff & Lana Del Rey, songwriters Lana Del Rey, artist Lana Del Rey “wasn’t in the mood to write” when Jack Antonoff first suggested they work together. But, as she told Billboard, after he played her a few “atmospheric riffs,” she quickly developed a concept for a new album. The album’s standout title track is about a “genius artist” who “thinks he’s the s***.” She evoked the name of the legendary painter because, as she said to KROQ, “there is something familiar about the name, nostalgia in a couple words.” As for the expletive in the title, she said, she used it “just to let you know there’s a little bit of lightness somewhere in the album.”
“SOMEONE YOU LOVED”
Tom Barnes, Lewis Capaldi, Pete Kelleher, Benjamin Kohn & Sam Roman, songwriters Lewis Capaldi, artist
Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, songwriters Lizzo, artist
Catching himself still writing mournful songs about a relationship that had long since ended, Lewis Capaldi wrote this tune in just under 10 minutes. “I was trying to write about a relationship that I had been writing about for two years,” he said to MTV. Although “Someone” is interpreted as another romantic heartbreak song, he said, “it’s actually a song about loss [on] a wider spectrum. [It’s about] bereavement, or people breaking up, or just losing touch with friends over the years.”
From the TikTok app to the film Someone Great to Hillary Clinton’s Twitter account, echoes of Lizzo’s self-love hook were everywhere this past year: “I just took a DNA test, turns out I’m 100 percent that b****.” Though the title was triggered by songwriter Mina Lioness’ tweet, Lizzo wrote on Instagram: “There was no one in the room when I wrote ‘Truth Hurts,’ except me, Ricky Reed, and my tears … That song is my life and its words are my truth.” As to the line, “Why men great until they gotta be great?” she tweeted its meaning: “Men hold the highest seats of power on the planet. They’re constantly appointed greatness and yet cannot seem to do any good with it.” — Paul Zollo
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Tony Cochrane, Gus Robb, all at Fat Sam's and Keith Assai Records congratulate Lewis Capaldi, Scotland's finest Music Export, on his GRAMMY® Nomination for Song Of The Year:
“Someone You Loved” Fat Sam's Live Dundee is Scotland's legendary premier medium size live venue operating for 4 decades, and is the number one choice for record launches. 2019 record store Live Performance launch package at Fat Sams results week one UK Chart:
• Lewis Capaldi #1 • The Foals #1 • Sam Fender #1 • Dermott Kennedy #1 • Snow Patrol #3 • Two Door Cinema Club #5
NOMINATIONS For recordings released during the Eligibility Year Oct. 1, 2018, through Aug. 31, 2019. Note: More or less than 8 nominations in the General Field or 5 nominations in the other Fields is the result of ties.
ALBUM OF THE YEAR
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.
HEY, MA Bon Iver
BJ Burton, Brad Cook, Chris Messina & Justin Vernon, producers; BJ Burton, Zach Hanson & Chris Messina, engineers/ mixers; Greg Calbi, mastering engineer
BAD GUY Billie Eilish
Finneas O’Connell, producer; Rob Kinelski & Finneas O’Connell, engineers/mixers; John Greenham, mastering engineer
7 RINGS Ariana Grande
Charles Anderson, Tommy Brown, Michael Foster & Victoria Monet, producers; Serban Ghenea, John Hanes, Billy Hickey & Brendan Morawski, engineers/ mixers; Randy Merrill, mastering engineer
HARD PLACE H.E.R.
Rodney “Darkchild” Jerkins, producer; Joseph Hurtado, Jaycen Joshua, Derek Keota & Miki Tsutsumi, engineers/mixers; Colin Leonard, mastering engineer
Disclosure & Denis Kosiak, producers; Ingmar Carlson, Jon Castelli, Josh Deguzman, John Kercy, Denis Kosiak, Guy Lawrence & Michael Romero, engineers/mixers; Dale Becker, mastering engineer
OLD TOWN ROAD
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.
I,I Bon Iver
ALWAYS REMEMBER US THIS WAY
Lana Del Rey
Jack Antonoff & Lana Del Rey, producers; Jack Antonoff & Laura Sisk, engineers/mixers; Jack Antonoff & Lana Del Rey, songwriters; Chris Gehringer, mastering engineer
WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Billie Eilish
Finneas O’Connell, producer; Rob Kinelski & Finneas O’Connell, engineers/mixers; Billie Eilish O’Connell & Finneas O’Connell, songwriters; John Greenham, mastering engineer
THANK U, NEXT Ariana Grande
Tommy Brown, Ilya, Max Martin & Victoria Monet, producers; Serban Ghenea, Sam Holland & Brendan Morawski, engineers/ mixers; Tommy Brown, Ariana Grande, Savan Kotecha, Max Martin, Victoria Monet, Tayla Parx & Ilya Salmanzadeh, songwriters; Randy Merrill, mastering engineer
I USED TO KNOW HER H.E.R.
SUNFLOWER Post Malone & Swae Lee
Louis Bell & Carter Lang, producers; Louis Bell & Manny Marroquin, engineers/ mixers; Mike Bozzi, mastering engineer 42 - 62nd Annual GRAMMY Awards
SONG OF THE YEAR
NORMAN F***ING ROCKWELL!
TRUTH HURTS Lizzo
3 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.
Andrew “VoxGod” Bolooki, Jocelyn “Jozzy” Donald & YoungKio, producers; Andrew “VoxGod” Bolooki, Cinco & Joe Grasso, engineers/ mixers; Eric Lagg, mastering engineer
Ricky Reed & Tele, producers; Chris Galland, Manny Marroquin & Ethan Shumaker, engineers/ mixers; Chris Gehringer, mastering engineer
Ezra Koenig & Ariel Rechtshaid, producers; John DeBold, Chris Kasych, Takemasa Kosaka, Ariel Rechtshaid & Hiroya Takayama, engineers/mixers; Ezra Koenig, songwriter; Emily Lazar, mastering engineer
Brad Cook, Chris Messina & Justin Vernon, producers; Zach Hanson & Chris Messina, engineers/mixers; BJ Burton, Brad Cook & Justin Vernon, songwriters; Greg Calbi, mastering engineer
David “Swagg R’Celious” Harris, H.E.R., Walter Jones & Jeff Robinson, producers; Miki Tsutsumi, engineer/mixer; Sam Ashworth, Jeff “Gitty” Gitelman, David “Swagg R’Celious” Harris & H.E.R., songwriters; Dave Kutch, mastering engineer
Lil Nas X Featuring Billy Ray Cyrus
FATHER OF THE BRIDE
Lil Nas X
Joe Grasso, engineer/mixer, Montero Lamar Hill, songwriter; Eric Lagg, mastering engineer
CUZ I LOVE YOU (DELUXE) Lizzo
Ricky Reed, producer; Manny Marroquin & Ethan Shumaker, engineers/mixers; Eric Frederic & Melissa Jefferson, songwriters; Chris Gehringer, mastering engineer
Natalie Hemby, Lady Gaga, Hillary Lindsey & Lori McKenna, songwriters (Lady Gaga)
BAD GUY Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)
BRING MY FLOWERS NOW Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters (Tanya Tucker)
HARD PLACE Ruby Amanfu, Sam Ashworth, D. Arcelious Harris, H.E.R. & Rodney Jerkins, songwriters (H.E.R.)
LOVER Taylor Swift, songwriter (Taylor Swift)
NORMAN F***ING ROCKWELL Jack Antonoff & Lana Del Rey, songwriters (Lana Del Rey)
SOMEONE YOU LOVED Tom Barnes, Lewis Capaldi, Pete Kelleher, Benjamin Kohn & Sam Roman, songwriters (Lewis Capaldi)
TRUTH HURTS Steven Cheung, Eric Frederic, Melissa Jefferson & Jesse Saint John, songwriters (Lizzo)
HERE’S TO CREATING
YOUR OWN SOUND.
At Delta, we’re inspired by those who inspire the world. Congratulations to 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®.
GRAMMY®, GRAMMY Awards® and the gramophone logo are registered trademarks of The Recording Academy® and are used under license ©2020 The Recording Academy.
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.
For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.
Billie Eilish Lil Nas X
Ariana Grande & Social House
8 BEST POP VOCAL ALBUM For albums containing at least 51% playing time of new vocal pop recordings.
THE LION KING: THE GIFT Beyoncé
WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?
OLD TOWN ROAD
THANK U, NEXT
Lil Nas X Featuring Billy Ray Cyrus
Tank And The Bangas
NO.6 COLLABORATIONS PROJECT
Post Malone & Swae Lee
Shawn Mendes & Camila Cabello
5 BEST POP SOLO PERFORMANCE For new vocal or instrumental pop recordings. Singles or Tracks only.
BAD GUY Billie Eilish
7 RINGS Ariana Grande
TRUTH HURTS Lizzo
YOU NEED TO CALM DOWN Taylor Swift
7 BEST TRADITIONAL POP VOCAL ALBUM
LOVER Taylor Swift
9 BEST DANCE RECORDING
For albums containing at least 51% playing time of new traditional pop recordings.
For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or Tracks only.
LOVE (DELUXE EDITION) Michael Bublé
LOOK NOW Elvis Costello & The Imposters
A LEGENDARY CHRISTMAS John Legend
WALLS Barbra Streisand
Simon Green, producer; Simon Green & Frank Merritt, mixers
GOT TO KEEP ON The Chemical Brothers
The Chemical Brothers, producers; Steve Dub Jones & Tom Rowlands, mixers
PIECE OF YOUR HEART Meduza Featuring Goodboys
Simone Giani, Luca De Gregorio & Mattia Vitale, producers; Simone Giani, Luca De Gregorio & Mattia Vitale, mixers
UNDERWATER RÜFÜS DU SOL
Jason Evigan & RÜFÜS DU SOL, producers; Cassian Stewart-Kasimba, mixer
MIDNIGHT HOUR Skrillex, Boys Noize & Ty Dolla $ign Boys Noize & Skrillex, producers; Tom Norris & Skrillex, mixers
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BEST DANCE/ ELECTRONIC ALBUM
For vocal or instrumental albums. Albums only.
NO GEOGRAPHY The Chemical Brothers
HI THIS IS FLUME (MIXTAPE) Flume
SOLACE RÜFÜS DU SOL
WEATHER Tycho Featuring Saint Sinner
CONTEMPORARY INSTRUMENTAL MUSIC
11 BEST CONTEMPORARY INSTRUMENTAL ALBUM For albums containing approximately 51% or more playing time of instrumental material. For albums containing at least 51% playing time of new recordings.
ANCESTRAL RECALL Christian Scott aTunde Adjuah
STAR PEOPLE NATION Theo Croker
BEAT MUSIC! BEAT MUSIC! BEAT MUSIC! Mark Guiliana
METTAVOLUTION Rodrigo y Gabriela
BEST ROCK PERFORMANCE For new vocal or instrumental solo, duo/group or collaborative rock recordings.
PRETTY WASTE Bones UK
THIS LAND Gary Clark Jr.
HISTORY REPEATS Brittany Howard
WOMAN Karen O & Danger Mouse
TOO BAD Rival Sons
14 BEST ROCK SONG A Songwriter(s) award. Includes rock, hard rock and metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
FEAR INOCULUM Danny Carey, Justin Chancellor, Adam Jones & Maynard James Keenan, songwriters (Tool)
GIVE YOURSELF A TRY George Daniel, Adam Hann, Matthew Healy & Ross MacDonald, songwriters (The 1975)
HARMONY HALL Ezra Koenig, songwriter (Vampire Weekend)
13 BEST METAL PERFORMANCE For new vocal or instrumental solo, duo/group or collaborative metal recordings.
ASTOROLUS — THE GREAT OCTOPUS Candlemass Featuring Tony Iommi
HUMANICIDE Death Angel
BOW DOWN I Prevail
UNLEASHED Killswitch Engage
Brittany Howard, songwriter (Brittany Howard)
THIS LAND Gary Clark Jr., songwriter (Gary Clark Jr.)
15 BEST ROCK ALBUM For albums containing at least 51% playing time of new rock, hard rock or metal recordings.
AMO Bring Me The Horizon
SOCIAL CUES Cage The Elephant
IN THE END The Cranberries
TRAUMA I Prevail
FERAL ROOTS Rival Sons
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BEST TRADITIONAL R&B PERFORMANCE
BEST URBAN CONTEMPORARY ALBUM
BEST ALTERNATIVE MUSIC ALBUM Vocal or instrumental.
U.F.O.F. Big Thief
ASSUME FORM James Blake
I,I Bon Iver
FATHER OF THE BRIDE Vampire Weekend
For new vocal or instrumental traditional R&B recordings.
TIME TODAY BJ The Chicago Kid
STEADY LOVE India.Arie
REAL GAMES Lucky Daye
BUILT FOR LOVE PJ Morton Featuring Jazmine Sullivan
17 BEST R&B PERFORMANCE For new vocal or instrumental R&B recordings.
LOVE AGAIN Daniel Caesar & Brandy
COULD’VE BEEN H.E.R. Featuring Bryson Tiller
EXACTLY HOW I FEEL Lizzo Featuring Gucci Mane
ROLL SOME MO Lucky Daye
COME HOME Anderson .Paak Featuring André 3000
19 BEST R&B SONG
APOLLO XXI Steve Lacy
CUZ I LOVE YOU (DELUXE) Lizzo
OVERLOAD Georgia Anne Muldrow
BEING HUMAN IN PUBLIC Jessie Reyez
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.
BJ The Chicago Kid
Dernst Emile II, David “Swagg R’Celious” Harris, H.E.R. & Hue “Soundzfire” Strother, songwriters (H.E.R. Featuring Bryson Tiller)
LOOK AT ME NOW Emily King & Jeremy Most, songwriters (Emily King)
NO GUIDANCE Chris Brown, Tyler James Bryant, Nija Charles, Aubrey Graham, Anderson Hernandez, Joshua Huizar, Michee Patrick Lebrun, Noah Shebib & Teddy Walton, songwriters (Chris Brown Featuring Drake)
ROLL SOME MO David Brown, Dernst Emile II & Peter Lee Johnson, songwriters (Lucky Daye)
SAY SO PJ Morton, songwriter
(PJ Morton Featuring JoJo)
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For albums containing at least 51% playing time of newly recorded contemporary vocal tracks derivative of R&B.
1123 PAINTED Lucky Daye
ELLA MAI Ella Mai
PAUL PJ Morton
VENTURA Anderson .Paak
Sulfate Free Paraben Free Dye Free Stress Free
22 BEST RAP PERFORMANCE For a rap performance. Singles or Tracks only.
MIDDLE CHILD J. Cole
DOWN BAD Dreamville Featuring J.I.D, Bas, J. Cole, EARTHGANG & Young Nudy
RACKS IN THE MIDDLE Nipsey Hussle Featuring Roddy Ricch & Hit-Boy
CLOUT Offset Featuring Cardi B
BEST RAP 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.
BAD IDEA Chancelor Bennett, Cordae Dunston, Uforo Ebong & Daniel Hackett, songwriters
BEST COUNTRY SOLO PERFORMANCE For new vocal or instrumental solo country recordings.
(YBN Cordae Featuring Chance The Rapper)
GIRL GOIN’ NOWHERE
Noel Cadastre, Aubrey Graham, Anderson Hernandez, Khristopher RiddickTynes, William Leonard Roberts II, Joshua Quinton Scruggs, Leon Thomas III & Ozan Yildirim, songwriters (Rick Ross Featuring Drake)
RIDE ME BACK HOME Willie Nelson
GOD’S COUNTRY Blake Shelton
Jermaine Cole, Dacoury Natche, 21 Savage & Anthony White, songwriters
BRING MY FLOWERS NOW
RACKS IN THE MIDDLE
(21 Savage Featuring J. Cole)
23 BEST RAP/SUNG PERFORMANCE
Ermias Asghedom, Dustin James Corbett, Greg Allen Davis, Chauncey Hollis, Jr. & Rodrick Moore, songwriters
For a solo or collaborative performance containing both elements of R&B melodies and rap.
(Nipsey Hussle Featuring Roddy Ricch & Hit-Boy)
DaBaby, Jetsonmade & Pooh Beatz, songwriters
DJ Khaled Featuring Nipsey Hussle & John Legend
DRIP TOO HARD Lil Baby & Gunna
PANINI Lil Nas X
BALLIN Mustard Featuring Roddy Ricch
THE LONDON Young Thug Featuring J. Cole & Travis Scott
For new vocal or instrumental duo/group or collaborative country recordings.
BRAND NEW MAN Brooks & Dunn With Luke Combs
I DON’T REMEMBER ME (BEFORE YOU)
25 BEST RAP ALBUM For albums containing at least 51% playing time of new rap recordings.
REVENGE OF THE DREAMERS III Dreamville
CHAMPIONSHIPS Meek Mill
I AM > I WAS 21 Savage
IGOR Tyler, The Creator
THE LOST BOY YBN Cordae
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BEST COUNTRY DUO/GROUP PERFORMANCE
SPEECHLESS Dan + Shay
THE DAUGHTERS Little Big Town
COMMON Maren Morris Featuring Brandi Carlile
@ U SP O L OA SSN | USPOLOASSNGLOB AL.COM
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.
BRING MY FLOWERS NOW Brandi Carlile, Phil Hanseroth, Tim Hanseroth & Tanya Tucker, songwriters
BEST NEW AGE ALBUM For albums containing at least 51% playing time of new vocal or instrumental new age recordings.
FAIRY DREAMS David Arkenstone
HOMAGE TO KINDNESS
GIRL GOIN’ NOWHERE
Jeremy Bussey & Ashley McBryde, songwriters
IT ALL COMES OUT IN THE WASH Miranda Lambert, Hillary Lindsey, Lori McKenna & Liz Rose, songwriters (Miranda Lambert)
SOME OF IT Eric Church, Clint Daniels, Jeff Hyde & Bobby Pinson, songwriters (Eric Church)
SPEECHLESS Shay Mooney, Jordan Reynolds, Dan Smyers & Laura Veltz, songwriters (Dan + Shay)
29 BEST COUNTRY ALBUM For albums containing at least 51% playing time of new country recordings.
DESPERATE MAN Eric Church
STRONGER THAN THE TRUTH Reba McEntire
INTERSTATE GOSPEL Pistol Annies
CENTER POINT ROAD Thomas Rhett
WHILE I’M LIVIN’ Tanya Tucker
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VERVE Sebastian Plano
32 BEST JAZZ VOCAL ALBUM For albums containing at least 51% playing time of new vocal jazz recordings.
THIRSTY GHOST Sara Gazarek
LOVE & LIBERATION Jazzmeia Horn
ALONE TOGETHER Catherine Russell
12 LITTLE SPELLS Esperanza Spalding
SCREENPLAY Tierney Sutton Band
DEVA Deva Premal
31 BEST IMPROVISED JAZZ SOLO For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or Tracks only.
ELSEWHERE Melissa Aldana, soloist
SOZINHO Randy Brecker, soloist
TOMORROW IS THE QUESTION Julian Lage, soloist
THE WINDUP Branford Marsalis, soloist
SIGHTSEEING Christian McBride, soloist
33 BEST JAZZ INSTRUMENTAL ALBUM For albums containing at least 51% playing time of new instrumental jazz recordings.
IN THE KEY OF THE UNIVERSE Joey DeFrancesco
THE SECRET BETWEEN THE SHADOW AND THE SOUL Branford Marsalis Quartet
CHRISTIAN MCBRIDE’S NEW JAWN Christian McBride’s New Jawn
FINDING GABRIEL Brad Mehldau
COME WHAT MAY Joshua Redman Quartet
UNION OF HEARTS & MINDS
Business Manager/Financial Secretary 7th District International Executive Council
600 N Diamond Bar Blvd, Diamond Bar, CA 91765 (909) 860-4239
Tyrone Chamois • President Ron Baker • Vice President Greg Vetter • Treasurer Shane Sullivan • Recording Secretary
Executive Board Dave Aguon • Chris Avila • Terrance Bynum Larry Lopez, Jr. • Richard Paul Willie Rios • Michael Slye • Hipolito Tavarez
PROUDLY SUPPORTING OUR HEROES
Examining Board Tim Billman • Scott Knudtson • Casey Lavin
NOMINATIONS 34 BEST LARGE JAZZ ENSEMBLE ALBUM For albums containing at least 51% playing time of new ensemble jazz recordings.
TRIPLE HELIX Anat Cohen Tentet
DANCER IN NOWHERE Miho Hazama
HIDING OUT Mike Holober & The Gotham Jazz Orchestra
THE OMNI-AMERICAN BOOK CLUB Brian Lynch Big Band
ONE DAY WONDER Terraza Big Band
GOSPEL/CONTEMPORARY CHRISTIAN MUSIC
GOD’S NOT DONE WITH YOU (SINGLE VERSION)
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.
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.
ANTIDOTE Chick Corea & The Spanish Heart Band
SORTE! MUSIC BY JOHN FINBURY Thalma de Freitas With Vitor Gonçalves, John Patitucci, Chico Pinheiro, Rogerio Boccato & Duduka Da Fonseca
UNA NOCHE CON RUBÉN BLADES Jazz At Lincoln Center Orchestra With Wynton Marsalis Featuring Rubén Blades
CARIB David Sánchez
SONERO: THE MUSIC OF ISMAEL RIVERA Miguel Zenón
38 BEST GOSPEL ALBUM
Kirk Franklin Kirk Franklin, songwriter
TALKIN’ ‘BOUT JESUS
LONG LIVE LOVE
Gloria Gaynor Featuring Yolanda Adams Bryan Fowler, Gloria Gaynor & Chris Stevens, songwriters
Travis Greene Featuring Jekalyn Carr
SPEAK THE NAME Koryn Hawthorne Featuring Natalie Grant
THIS IS A MOVE (LIVE) Tasha Cobbs Leonard Tony Brown, Brandon Lake, Tasha Cobbs Leonard & Nate Moore, songwriters
GOSHEN Donald Lawrence Presents The Tri-City Singers
TUNNEL VISION Gene Moore
SETTLE HERE William Murphy
SOMETHING’S HAPPENING! A CHRISTMAS ALBUM CeCe Winans
37 BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG
39 BEST CONTEMPORARY CHRISTIAN MUSIC ALBUM
This award is given to the Artist(s) and Songwriter(s) (for new compositions) for the best contemporary Christian music single or track, including pop, rap/hip-hop, Latin or rock.
For albums containing at least 51% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin or rock recordings.
I KNOW A GHOST
Casting Crowns Mark Hall, Bernie Herms & Matthew West, songwriters
GOD ONLY KNOWS for KING & COUNTRY & Dolly Parton Josh Kerr, Jordan Reynolds, Joel Smallbone, Luke Smallbone & Tedd Tjornhom, songwriters
HAVEN’T SEEN IT YET Danny Gokey Danny Gokey, Ethan Hulse & Colby Wedgeworth, songwriters 54 - 62nd Annual GRAMMY Awards
Zach Williams Ethan Hulse, Andrew Ripp, Jonathan Smith & Zach Williams, songwriters
For albums containing at least 51% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.
SEE THE LIGHT
BURN THE SHIPS for KING & COUNTRY
HAVEN’T SEEN IT YET Danny Gokey
THE ELEMENTS TobyMac
HOLY ROAR Chris Tomlin
TRUSTED QUALITY F O R N E A R LY
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BEST ROOTS GOSPEL ALBUM
BEST LATIN ROCK, URBAN OR ALTERNATIVE ALBUM
BEST TROPICAL LATIN 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.
DEEPER ROOTS: WHERE THE BLUEGRASS GROWS Steven Curtis Chapman
TESTIMONY Gloria Gaynor
DEEPER OCEANS Joseph Habedank
HIS NAME IS JESUS Tim Menzies
GONNA SING, GONNA SHOUT (Various Artists) Jerry Salley, producer
41 BEST LATIN POP ALBUM For albums containing at least 51% playing time of new Latin pop recordings.
VIDA Luis Fonsi
MONTANER Ricardo Montaner
#ELDISCO Alejandro Sanz
FANTASIA Sebastian Yatra
56 - 62nd Annual GRAMMY Awards
For albums containing at least 51% playing time of new Latin rock, urban or alternative recordings.
X 100PRE Bad Bunny
OASIS J Balvin & Bad Bunny
INDESTRUCTIBLE Flor De Toloache
EL MAL QUERER ROSALÍA
43 BEST REGIONAL MEXICAN MUSIC ALBUM (INCLUDING TEJANO)
For albums containing at least 51% playing time of new tropical Latin recordings.
OPUS Marc Anthony
TIEMPO AL TIEMPO Luis Enrique + C4 Trio
CANDELA Vicente García
LITERAL Juan Luis Guerra 4.40
A JOURNEY THROUGH CUBAN MUSIC Aymée Nuviola
AMERICAN ROOTS MUSIC
45 BEST AMERICAN ROOTS PERFORMANCE
For albums containing at least 51% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera, and Tejano) recordings.
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).
POCO A POCO
FATHER MOUNTAIN Calexico And Iron & Wine
I’M ON MY WAY
La Energia Norteña
Rhiannon Giddens With Francesco Turrisi
CALL MY NAME
Mariachi Divas De Cindy Shea
DE AYER PARA SIEMPRE Mariachi Los Camperos
I’m With Her
FARAWAY LOOK Yola
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NOMINATIONS 46 BEST AMERICAN ROOTS SONG A Songwriter(s) award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
BLACK MYSELF Amythyst Kiah, songwriter
BEST BLUEGRASS ALBUM
BEST CONTEMPORARY BLUES ALBUM
For albums containing at least 51% playing time of new vocal or instrumental bluegrass recordings.
TALL FIDDLER Michael Cleveland
LIVE IN PRAGUE, CZECH REPUBLIC Doyle Lawson & Quicksilver
(Our Native Daughters)
TOIL, TEARS & TROUBLE
CALL MY NAME
The Po’ Ramblin’ Boys
Sarah Jarosz, Aoife O’Donovan & Sara Watkins, songwriters
(I’m With Her)
CROSSING TO JERUSALEM Rosanne Cash & John Leventhal, songwriters
IF YOU CAN’T STAND THE HEAT Frank Solivan & Dirty Kitchen
FARAWAY LOOK Dan Auerbach, Yola Carter & Pat McLaughlin, songwriters (Yola)
I DON’T WANNA RIDE THE RAILS NO MORE Vince Gill, songwriter (Vince Gill)
47 BEST AMERICANA ALBUM For albums containing at least 51% playing time of new vocal or instrumental Americana recordings.
YEARS TO BURN Calexico And Iron & Wine
WHO ARE YOU NOW Madison Cunningham
OKLAHOMA Keb’ Mo’
TALES OF AMERICA J.S. Ondara
WALK THROUGH FIRE Yola
58 - 62nd Annual GRAMMY Awards
49 BEST TRADITIONAL BLUES ALBUM
For albums containing at least 51% playing time of new vocal or instrumental contemporary blues recordings.
THIS LAND Gary Clark Jr.
VENOM & FAITH Larkin Poe
BRIGHTER DAYS Robert Randolph & The Family Band
SOMEBODY SAVE ME Sugaray Rayford
KEEP ON Southern Avenue
51 BEST FOLK ALBUM
For albums containing at least 51% playing time of new vocal or instrumental traditional blues recordings.
For albums containing at least 51% playing time of new vocal or instrumental folk recordings.
MY FINEST WORK YET
Christone “Kingfish” Ingram
TALL, DARK & HANDSOME
REARRANGE MY HEART
Delbert McClinton & Self-Made Men + Dana
SITTING ON TOP OF THE BLUES
BABY, PLEASE COME HOME
Gregory Alan Isakov
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.
KALAWAI’ANUI Amy Hānaiali’i
WHEN IT’S COLD — CREE ROUND DANCE SONGS Northern Cree
GOOD TIME Ranky Tanky
For albums containing at least 51% playing time of new vocal or instrumental World Music recordings.
GECE Altin Gün
WHAT HEAT Bokanté & Metropole Orkest Conducted By Jules Buckley
BEASTIE BOYS BOOK (Various Artists) Michael Diamond, Adam Horovitz, Scott Sherratt & Dan Zitt, producers
BECOMING Michelle Obama
RECORDED LIVE AT THE 2019 NEW ORLEANS JAZZ & HERITAGE FESTIVAL
I.V. CATATONIA: 20 YEARS AS A TWO-TIME CANCER SURVIVOR
Rebirth Brass Band
Nathalie Joachim With Spektral Quartet
(Various Artists) Imua Garza & Kimié Miner, producers
53 BEST REGGAE ALBUM For albums containing at least 51% playing time of new reggae recordings.
AS I AM
BEST CHILDREN’S MUSIC ALBUM For albums containing at least 51% playing time of new musical or spoken word recordings that are created and intended specifically for children.
AGELESS SONGS FOR THE CHILD ARCHETYPE
THE FINAL BATTLE: SLY & ROBBIE VS. ROOTS RADICS
MORE WORK TO BE DONE Third World
I LOVE RAINY DAYS Daniel Tashian
THE LOVE Alphabet Rockers
WINTERLAND The Okee Dokee Brothers
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SEKOU ANDREWS & THE STRING THEORY Sekou Andrews (& The String Theory)
Sly & Robbie & Roots Radics
57 BEST COMEDY ALBUM For albums containing at least 51% playing time of new recordings.
QUALITY TIME Jim Gaffigan
RELATABLE Ellen DeGeneres
RIGHT NOW Aziz Ansari
SON OF PATRICIA Trevor Noah
STICKS & STONES Dave Chappelle
NETFLIX PROUDLY CONGRATULATES OUR
62ND GRAMMY AWARDS NOMINEES ®
BEST MUSIC FILM
BEST COMEDY ALBUM
BEST COMEDY ALBUM
“GIRL IN THE MOVIES”
BEST SONG WRITTEN FOR VISUAL MEDIA
BEST COMEDY ALBUM
BEST MUSIC FILM
BEST COMEDY ALBUM
NOMINATIONS MUSICAL THEATER
MUSIC FOR VISUAL MEDIA
BEST MUSICAL THEATER ALBUM
BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA
BEST SCORE 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.
AIN’T TOO PROUD: THE LIFE AND TIMES OF THE TEMPTATIONS Saint Aubyn, Derrick Baskin, James Harkness, Jawan M. Jackson, Jeremy Pope & Ephraim Sykes, principal soloists; Scott M. Riesett, producer (Original Broadway Cast)
HADESTOWN Reeve Carney, André De Shields, Amber Gray, Eva Noblezada & Patrick Page, principal soloists; Mara Isaacs, David Lai, Anaïs Mitchell & Todd Sickafoose, producers (Anaïs Mitchell, composer & lyricist) (Original Broadway Cast)
MOULIN ROUGE! THE MUSICAL
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).
THE LION KING: THE SONGS (Various Artists) Jon Favreau & Hans Zimmer, compilation producers
QUENTIN TARANTINO’S ONCE UPON A TIME IN HOLLYWOOD (Various Artists) Quentin Tarantino, compilation producer; Mary Ramos, music supervisor
ROCKETMAN Taron Egerton Giles Martin, compilation producer
Danny Burstein, Tam Mutu, Sahr Ngaujah, Karen Olivo & Aaron Tveit, principal soloists; Justin Levine, Baz Luhrmann, Matt Stine & Alex Timbers, producers
SPIDER-MAN: INTO THE SPIDER-VERSE
(Original Broadway Cast)
(Various Artists) Spring Aspers & Dana Sano, compilation producers; Kier Lehman, music supervisor
THE MUSIC OF HARRY POTTER AND THE CURSED CHILD — IN FOUR CONTEMPORARY SUITES
A STAR IS BORN
Imogen Heap, producer; Imogen Heap, composer (Imogen Heap)
OKLAHOMA! Damon Daunno, Rebecca Naomi Jones, Ali Stroker, Mary Testa & Patrick Vaill, principal soloists; Daniel Kluger & Dean Sharenow, producers (Richard Rodgers, composer; Oscar Hammerstein II, lyricist) (2019 Broadway Cast)
Lady Gaga & Bradley Cooper Paul “DJWS” Blair, Bradley Cooper, Lady Gaga, Nick Monson, Lukas Nelson, Mark Nilan Jr. & Benjamin Rice, compilation producers; Julianne Jordan & Julia Michels, music supervisors
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.
AVENGERS: ENDGAME Alan Silvestri, composer
CHERNOBYL Hildur Guðnadóttir, composer
GAME OF THRONES: SEASON 8 Ramin Djawadi, composer
THE LION KING Hans Zimmer, composer
MARY POPPINS RETURNS Marc Shaiman, 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.
THE BALLAD OF THE LONESOME COWBOY Randy Newman, songwriter (Chris Stapleton)
GIRL IN THE MOVIES Dolly Parton & Linda Perry, songwriters (Dolly Parton)
I’LL NEVER LOVE AGAIN (FILM VERSION) Natalie Hemby, Lady Gaga, Hillary Lindsey & Aaron Raitiere, songwriters (Lady Gaga & Bradley Cooper)
SPIRIT Beyoncé Knowles-Carter, Timothy McKenzie & Ilya Salmanzadeh, songwriters (Beyoncé)
SUSPIRIUM Thom Yorke, songwriter (Thom Yorke)
62 - 62nd Annual GRAMMY Awards
TONY HEYES ~ THE REAL-LIFE CAMERON WALSH, LEADER OF THE ROADHOUSE SONS BAND!
C O M I N G
2 0 2 0 !
J. H. SANDERSON’S AUDIOBOOK FIVE OF THE ROADHOUSE SONS SERIES! “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
THAT WAS THEN...
NARRATED BY BROADWAY’S PHILIP HERNÁNDEZ THE ONLY ACTOR IN BROADWAY’S HISTORY TO PLAY BOTH JEAN VALJEAN AND JAVERT IN LES MISÉRABLES!
SEWELL & HEYES ...THIS IS NOW!
TREVOR SEWELL NARRATES “DANGEROUS GAMBLES”, AND WRITES AND RECORDS THE ROADHOUSE SONS SONG!
C O M I N G
2 0 2 0 !
62 BEST INSTRUMENTAL COMPOSITION A Composer’s award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
BEGIN AGAIN Fred Hersch, composer
(Fred Hersch & The WDR Big Band Conducted By Vince Mendoza)
CRUCIBLE FOR CRISIS Brian Lynch, composer (Brian Lynch Big Band)
LOVE, A BEAUTIFUL FORCE Vince Mendoza, composer
Jacob Collier, arranger
Irwan Awalludin, art director
BEST ARRANGEMENT, INSTRUMENTS AND VOCALS
BEST BOXED OR SPECIAL LIMITED EDITION PACKAGE
An Arranger’s award. (Artist names appear in parentheses.) Singles or Tracks only.
ALL NIGHT LONG Jacob Collier, arranger
(Jacob Collier Featuring Jules Buckley, Take 6 & Metropole Orkest)
JOLENE Geoff Keezer, arranger (Sara Gazarek)
MARRY ME A LITTLE
ANIMA Stanley Donwood & Tchocky, art directors (Thom Yorke)
GOLD IN A BRASS AGE Amanda Chiu, Mark Farrow & David Gray, art directors (David Gray)
1963: NEW DIRECTIONS Josh Cheuse, art director
(Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
Cyrille Aimée & Diego Figueiredo, arrangers
STAR WARS: GALAXY’S EDGE SYMPHONIC SUITE
THE RADIO RECORDINGS 1939–1945
OVER THE RAINBOW
(Wilhelm Furtwängler & Berliner Philharmoniker)
John Williams, composer
Vince Mendoza, arranger
12 LITTLE SPELLS (THORACIC SPINE)
Christian McBride, composer (Christian McBride)
63 BEST ARRANGEMENT, INSTRUMENTAL OR A CAPPELLA An Arranger’s award. (Artist names appear in parentheses.) Singles or Tracks only.
BLUE SKIES Kris Bowers, arranger (Kris Bowers)
HEDWIG’S THEME John Williams, arranger
(Anne-Sophie Mutter & John Williams)
LA NOVENA Emilio Solla, arranger
(Emilio Solla Tango Jazz Orchestra)
LOVE, A BEAUTIFUL FORCE Vince Mendoza, arranger
(Vince Mendoza, Terell Stafford, Dick Oatts & Temple University Studio Orchestra)
Esperanza Spalding, arranger (Esperanza Spalding)
Marek Polewski, art director
WOODSTOCK: BACK TO THE GARDEN — THE DEFINITIVE 50TH ANNIVERSARY ARCHIVE Masaki Koike, art director (Various Artists)
BEST RECORDING PACKAGE ANÓNIMAS & RESILIENTES Luisa María Arango, Carlos Dussan, Manuel García-Orozco & Juliana Jaramillo-Buenaventura, art directors (Voces Del Bullerengue)
CHRIS CORNELL Barry Ament, Jeff Ament & Joe Spix, art directors (Chris Cornell)
HOLD THAT TIGER Andrew Wong & Fongming Yang, art directors
BEST ALBUM NOTES THE COMPLETE CUBAN JAM SESSIONS Judy Cantor-Navas, album notes writer (Various Artists)
THE GOSPEL ACCORDING TO MALACO Robert Marovich, album notes writer (Various Artists)
PEDAL STEAL + FOUR CORNERS Brendan Greaves, album notes writer
(Terry Allen And The Panhandle Mystery Band)
(The Muddy Basin Ramblers)
PETE SEEGER: THE SMITHSONIAN FOLKWAYS COLLECTION
Jeff Place, album notes writer
Aaron Anderson & Eric Timothy Carlson, art directors (Bon Iver)
STAX ‘68: A MEMPHIS STORY Steve Greenberg, album notes writer (Various Artists)
64 - 62nd Annual GRAMMY Awards
Congratulations on Two GRAMMY® Nominations
TERELL STAFFORD, trumpet DICK OATTS, alto saxophone
TEMPLE UNIVERSITY STUDIO ORCHESTRA
Robert Stroker, Founder and Executive Producer Available on iTunes, Google Play and Spotify, along with other GRAMMY® nominated recordings.
BEST HISTORICAL ALBUM THE GIRL FROM CHICKASAW COUNTY — THE COMPLETE CAPITOL MASTERS Andrew Batt & Kris Maher, compilation producers; Simon Gibson, mastering engineer (Bobbie Gentry)
THE GREAT COMEBACK: HOROWITZ AT CARNEGIE HALL Robert Russ, compilation producer; Andreas K. Meyer & Jennifer Nulsen, mastering engineers (Vladimir Horowitz)
KANKYO ONGAKU: JAPANESE AMBIENT, ENVIRONMENTAL & NEW AGE MUSIC 1980–1990 Spencer Doran, Yosuke Kitazawa, Douglas Mcgowan & Matt Sullivan, compilation producers; John Baldwin, mastering engineer (Various Artists)
PETE SEEGER: THE SMITHSONIAN FOLKWAYS COLLECTION Jeff Place & Robert Santelli, compilation producers; Pete Reiniger, mastering engineer (Pete Seeger)
WOODSTOCK: BACK TO THE GARDEN — THE DEFINITIVE 50TH ANNIVERSARY ARCHIVE Brian Kehew, Steve Woolard & Andy Zax, compilation producers; Dave Schultz, mastering engineer, Brian Kehew, restoration engineer (Various Artists)
BEST ENGINEERED ALBUM, NON-CLASSICAL An Engineer’s award. (Artists names appear in parentheses.)
ALL THESE THINGS Tchad Blake, Thomas Dybdahl, Adam Greenspan & Roderick Shearer, engineers; Bernie Grundman, mastering engineer (Thomas Dybdahl)
ELLA MAI Chris “Shaggy” Ascher, Jaycen Joshua & David Pizzimenti, engineers; Chris Athens, mastering engineer (Ella Mai)
RUN HOME SLOW Paul Butler & Sam Teskey, engineers; Joe Carra, mastering engineer (The Teskey Brothers)
SCENERY Tom Elmhirst, Ben Kane & Jeremy Most, engineers; Bob Ludwig, mastering engineer (Emily King)
WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? Rob Kinelski & Finneas O’Connell, engineers; John Greenham, mastering engineer (Billie Eilish)
FINNEAS • When We All Fall Asleep, Where Do We Go? (Billie Eilish) (A)
RICKY REED • Almost Free (Fidlar) (A) • Burning (Maggie Rogers) (T) • Confidence (X Ambassadors Featuring K.Flay) (T) • Juice (Lizzo) (T) • Kingdom Of One (Maren Morris) (T) • Power Is Power (SZA Featuring The Weeknd & Travis Scott) (T) • Tempo (Lizzo Featuring Missy Elliott) (T) • Truth Hurts (Lizzo) (T) • The Wrong Man (Ross Golan) (A)
71 BEST REMIXED RECORDING A Remixer’s award. (Artists names appear in parentheses.) Singles or Tracks only.
I RISE (TRACY YOUNG’S PRIDE INTRO RADIO REMIX) Tracy Young, remixer (Madonna)
MOTHER’S DAUGHTER (WUKI REMIX)
70 PRODUCER OF THE YEAR, NON-CLASSICAL A Producer’s award. (Artists names appear in parentheses.)
JACK ANTONOFF • Arizona Baby (Kevin Abstract) (A) • Lover (Taylor Swift) (A) • Norman F***ing Rockwell! (Lana Del Rey) (A) • Red Hearse (Red Hearse) (A)
DAN AUERBACH • The Angels In Heaven Done Signed My Name (Leo Bud Welch) (A) • “Let’s Rock” (The Black Keys) (A) • Mockingbird (The Gibson Brothers) (A) • Myth Of A Man (Night Beats) (A) • Southern Gentleman (Dee White) (A) • Walk Through Fire (Yola) (A) 66 - 62nd Annual GRAMMY Awards
JOHN HILL • Heat Of The Summer (Young The Giant) (T) • Hundred (Khalid) (T) • No Drug Like Me (Carly Rae Jepsen) (T) • Outta My Head (Khalid With John Mayer) (T) • Social Cues (Cage The Elephant) (A) • Superposition (Young The Giant) (T) • Too Much (Carly Rae Jepsen) (T) • Vertigo (Khalid) (T) • Zero (From “Ralph Breaks The Internet”) (Imagine Dragons) (T)
Wuki, remixer (Miley Cyrus)
THE ONE (HIGH CONTRAST REMIX) Lincoln Barrett, remixer (Jorja Smith)
SWIM (FORD. REMIX) Luc Bradford, remixer (Mild Minds)
WORK IT (SOULWAX REMIX) David Gerard C Dewaele & Stephen Antoine C Dewaele, remixers (Marie Davidson)
O F F I C I A L A U T O M O T I V E PA R T N E R
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NOMINATIONS PRODUCTION, IMMERSIVE AUDIO
72 BEST IMMERSIVE AUDIO ALBUM
73 BEST ENGINEERED ALBUM, CLASSICAL An Engineer’s award. (Artist names appear in parentheses.)
For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned downloadonly/streaming-only copies and must provide a new immersive mix of four or more channels. Award to the Immersive Mix Engineer, Immersive Producer (if any) and Immersive Mastering Engineer (if any).
AEQUA — ANNA THORVALDSDÓTTIR
BRUCKNER: SYMPHONY NO. 9
Luke Argilla, immersive audio engineer; Jurgen Scharpf, immersive audio mastering engineer; Jona Bechtolt, Claire L. Evans & Rob Kieswetter, immersive audio producers (YACHT)
KVERNDOKK: SYMPHONIC DANCES Jim Anderson, immersive audio engineer; Robert C. Ludwig, immersive audio mastering engineer; Ulrike Schwarz, immersive audio producer (Ken-David Masur & Stavanger Symphony Orchestra)
LUX Morten Lindberg, immersive audio engineer; Morten Lindberg, immersive audio mastering engineer; Morten Lindberg, immersive audio producer (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
THE ORCHESTRAL ORGAN Keith O. Johnson, immersive audio engineer; Keith O. Johnson, immersive audio mastering engineer; Marina A. Ledin & Victor Ledin, immersive audio producers (Jan Kraybill)
THE SAVIOR Bob Clearmountain, immersive audio engineer; Bob Ludwig, immersive audio mastering engineer; Michael Marquart & Dave Way, immersive audio producers (A Bad Think)
Daniel Shores, engineer; Daniel Shores, mastering engineer
(International Contemporary Ensemble)
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
RACHMANINOFF — HERMITAGE PIANO TRIO Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
RILEY: SUN RINGS Leslie Ann Jones, engineer; John Kilgore, Judith Sherman & David Harrington, engineers/mixers; Robert C. Ludwig, mastering engineer (Kronos Quartet)
WOLFE: FIRE IN MY MOUTH Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)
74 PRODUCER OF THE YEAR, CLASSICAL A Producer’s award. (Artist names appear in parentheses.)
BLANTON ALSPAUGH • Artifacts — The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale) • Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra) • Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra) • Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
68 - 62nd Annual GRAMMY Awards
• Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY) • Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers) • Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble) • Visions Take Flight (Mei-Ann Chen & ROCO)
JAMES GINSBURG • Project W — Works By Diverse Women Composers (Mei-Ann Chen & Chicago Sinfonietta) • Silenced Voices (Black Oak Ensemble) • 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck & Chicago Philharmonic) • Twentieth Century Oboe Sonatas (Alex Klein & Phillip Bush) • Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham & Chicago Youth Symphony Orchestra)
MARINA A. LEDIN, VICTOR LEDIN • Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus) The Orchestral Organ (Jan Kraybill) • The Poetry Of Places (Nadia Shpachenko) • Rachmaninoff — Hermitage Piano Trio (Hermitage Piano Trio)
MORTEN LINDBERG • Himmelborgen (Elisabeth Holte, Kåre Nordstoga & Uranienborg Vokalensemble) • Kleiberg: Do You Believe In Heather? (Various Artists) • Ljos (Fauna Vokalkvintett) • LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor) • Trachea (Tone Bianca Sparre Dahl & Schola Cantorum) • Veneliti (Håkon Daniel Nystedt & Oslo Kammerkor)
DIRK SOBOTKA • Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)
T H A N K
Y O U
A huge thank you to those who have voted for my first-ever GRAMMY® win - The Best Immersive Audio Album for The 35th-anniversary edition of Eye In The Sky, by the Alan Parsons Project. I would also like to recognize the important engineering contribution by P.J. Olsson and Dave Donnelly of DNA Mastering, both of whom are physical recipients of the award. Forty-eight years and 13 nominations prove that patience has its reward! Sincerely, we greatly appreciate the knowledge Sincerel and expertise that you, the voting members, bring to the table, and we will always be grateful for the great work you do in this regard. Further, thanks go to these people behind the scenes without whom the original album, and therefore the Immersive mix would never have seen the light of day. These include Eric and Sally Woolfson, Clive Davis and all at Arista Records, Monti Lüftner and all at Ariola BMG, Universal Music Publishing, Sony Music, all the great session musicians, vocalists, and technicians who appeared on the album, Ken Rose and all at the Recording Academy®.
75 BEST ORCHESTRAL PERFORMANCE Award to the Conductor and to the Orchestra.
BRUCKNER: SYMPHONY NO. 9 Manfred Honeck, conductor
(Pittsburgh Symphony Orchestra)
COPLAND: BILLY THE KID; GROHG Leonard Slatkin, conductor (Detroit Symphony Orchestra)
NORMAN: SUSTAIN Gustavo Dudamel, conductor (Los Angeles Philharmonic)
TRANSATLANTIC Louis Langrée, conductor
(Cincinnati Symphony Orchestra)
WEINBERG: SYMPHONIES NOS. 2 & 21 Mirga Gražinytė-Tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)
PICKER: FANTASTIC MR. FOX
FREEDOM & FAITH
Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer
(Boston Modern Orchestra Project; Boston Children’s Chorus)
WAGNER: LOHENGRIN Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)
77 BEST CHORAL PERFORMANCE Award to the Conductor, and to the Choral Director and/or Chorus Master, where applicable, and to the Choral Organization/Ensemble.
BOYLE: VOYAGES Donald Nally, conductor (The Crossing)
DURUFLÉ: COMPLETE CHORAL WORKS Robert Simpson, conductor
(Ken Cowan; Houston Chamber Choir)
76 BEST OPERA RECORDING Award to the Conductor, Album Producer(s) and Principal Soloists.
BENJAMIN: LESSONS IN LOVE & VIOLENCE George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; Raphaël Mouterde & James Whitbourn, producers (Orchestra Of The Royal Opera House)
BERG: WOZZECK Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
CHARPENTIER: LES ARTS FLORISSANTS; LES PLAISIRS DE VERSAILLES Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
70 - 62nd Annual GRAMMY Awards
THE HOPE OF LOVING Craig Hella Johnson, conductor
PERPETULUM Third Coast Percussion
RACHMANINOFF — HERMITAGE PIANO TRIO Hermitage Piano Trio
SHAW: ORANGE Attacca Quartet
79 BEST CLASSICAL INSTRUMENTAL SOLO Award to the Instrumental Soloist(s) and to the Conductor, when applicable.
THE BERLIN RECITAL Yuja Wang
HIGDON: HARP CONCERTO Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
MARSALIS: VIOLIN CONCERTO; FIDDLE DANCE SUITE Nicola Benedetti; Cristian Măcelaru, conductor
SANDER: THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM
THE ORCHESTRAL ORGAN
Peter Jermihov, conductor
(Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
SMITH, K.: THE ARC IN THE SKY Donald Nally, conductor (The Crossing)
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.
CERRONE: THE PIECES THAT FALL TO EARTH Christopher Rountree & Wild Up
TORKE: SKY, CONCERTO FOR VIOLIN Tessa Lark; David Alan Miller, conductor (Albany 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.
THE EDGE OF SILENCE — WORKS FOR VOICE BY GYÖRGY KURTÁG Susan Narucki
(Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
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AFM musicians who record under our agreement share in the following funds:
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NOMINATIONS HIMMELSMUSIK Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’Arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
SCHUMANN: LIEDERKREIS OP. 24, KERNER-LIEDER OP. 35 Matthias Goerne; Leif Ove Andsnes, accompanist
SONGPLAY Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter & Craig Terry, accompanists
82 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.
BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA Derek Bermel, composer
(Steve Barnett & Lautaro Greco)
(Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
A TE, O CARA
HIGDON: HARP CONCERTO
Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)
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.
AMERICAN ORIGINALS 1918
Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
SAARIAHO: TRUE FIRE; TRANS; CIEL D’HIVER Hannu Lintu, conductor; Laura Heikinheimo, producer
Lil Nas X & Billy Ray Cyrus Calmatic, video director; Candice Dragonas, Melissa Larsen & Saul Levitz, video producers
MARSALIS: VIOLIN CONCERTO IN D MAJOR Wynton Marsalis, composer
(Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
NORMAN: SUSTAIN Andrew Norman, composer
(Gustavo Dudamel & Los Angeles Philharmonic)
WOLFE: FIRE IN MY MOUTH
THE POETRY OF PLACES
OLD TOWN ROAD (OFFICIAL MOVIE)
Tove Lo Vania Heymann & Gal Muggia, video directors; Natan Schottenfels, video producer
LESHNOFF: SYMPHONY NO. 4 “HEICHALOS”; GUITAR CONCERTO; STARBURST
Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
FKA twigs Andrew Thomas Huang, video director; Alex Chamberlain, video producer
GLAD HE’S GONE
Caroline Shaw, composer
MELTZER: SONGS AND STRUCTURES
Jennifer Higdon, composer
(Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
John Morris Russell, conductor; Elaine Martone, producer
Giancarlo Guerrero, conductor; Tim Handley, producer
THIS LAND Gary Clark Jr. Savanah Leaf, video director; Jason Cole, Danielle Hinde, Alicia Martinez & Devin Sarno, video producers
Julia Wolfe, composer
(Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)
83 BEST MUSIC VIDEO Award to the Artist, Video Director and Video Producer.
WE’VE GOT TO TRY The Chemical Brothers Ninian Doff, video director; Ellie Fry, video producer
84 BEST MUSIC FILM For concert/performance films or music documentaries. Award to the Artist, Video Director And Video Producer.
HOMECOMING Beyoncé Beyoncé Knowles-Carter & Ed Burke, video directors; Steve Pamon & Erinn Williams, video producers
REMEMBER MY NAME David Crosby A.J. Eaton, video director; Cameron Crowe, Michele Farinola & Greg Mariotti, video producers
BIRTH OF THE COOL (Miles Davis) Stanley Nelson, video director; Nicole London, video producer
SHANGRI-LA (Various Artists) Jeff Malmberg & Morgan Neville, video directors; Danny Breen, video producer
ANIMA Thom Yorke Paul Thomas Anderson, video director; Paul Thomas Anderson, Erica Frauman & Sara Murphy, video producers 72 - 62nd Annual GRAMMY Awards
RECORDING A C A D E M Y®
SPECIAL MERIT AWA R D S
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. They include 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.
L I F E T I M E A C H I E V E M E N T AWA R D The Lifetime Achievement Award, established in 1962, is presented by vote of the Recording Academy’s National Trustees to performers who, during their lifetimes, have made creative contributions of outstanding artistic significance to the field of recording.
T R U S T E E S AWA R D This Special Merit Award is presented by vote of the Recording Academy’s National Trustees to individuals who have made significant contributions, other than performance, to the field of recording. The Trustees Award was established in 1967.
T E C H N I C A L G R A M M Y ® AWA R D Presented by vote of the Recording Academy’s National Trustees, the Technical GRAMMY Award recognizes individuals and companies that have made contributions of outstanding technical significance to the field of recording. The Technical GRAMMY was first awarded in 1994.
G R A M M Y L E G E N D AWA R D This Special Merit Award is presented on occasion by the Recording Academy to individuals or groups for ongoing contributions and influence in the recording field. The GRAMMY Legend Award was inaugurated in 1990.
M U S I C E D U C AT O R A W A R D ™ Launched in 2013, in collaboration with the GRAMMY Museum, the Music Educator Award recognizes current educators who have made a significant and lasting contribution to the field of music education and who demonstrate a commitment to the broader cause of maintaining music education in their schools. The recipient is approved by the Recording Academy’s Board of Trustees.
G R A M M Y H A L L O F FA M E ® The GRAMMY Hall Of Fame Award was established by the Recording Academy’s National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. Inductees are selected annually by a special member committee of experts and historians from all branches of the recording arts with final approval by the Recording Academy’s Board of Trustees.
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Congratulations to Chicago on your amazing 53 year career. We are proud to bring the light to your shows.
CON G R ATU LATION S
CONGRATULATIONS TO CHICAGO FOR RECEIVING THE RECORDING ACADEMYÂ® LIFETIME ACHIEVEMENT AWARD. WE ARE PROUD TO BE YOUR TOURING PARTNER.
IAN SHOWELL/KEYSTONE/GETTY IMAGES
L I F E T I M E A C H I E V E M E N T AWA R D
Chicago was among the first acts to bring big jazz band-style horns into rock music, and sustained their style through three decades of Top 40 chart hits. According to Billboard chart data, they trail only the Beach Boys as the most successful American rock band ever.
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Congratulations On your Recording Academy® Lifetime Achievement Award
We are so proud to be on your team From your friends at
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One of the purest voices on the radio in the ‘70s and ‘80s, Roberta Flack straddled pop, folk and R&B with elegance and unquestioned taste. She won back-to-back Record Of The Year GRAMMYs for “The First Time Ever I Saw Your Face” in 1972 and “Killing Me Softly With His Song” in 1973.
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L I F E T I M E A C H I E V E M E N T AWA R D
Congratulations Dear Roberta,
You have always said, â€œLove is a Song!â€? Your love, your songs and the emotions in them are the lights and colors that have helped us find our way through life. Forever, your voice and music help us all feel deeply, dream, connect and be inspired to transcend our limitations. We have only love and gratitude for the decades we have shared together and for the honor of being a part of putting your musical legacy into the world. Congratulations, Roberta!
Suzanne Koga and Joan Martin Artist Management for Roberta Flack
Isaac Hayes had an outsized impact on soul music in the ‘60s and ‘70s, first as an in-house writer/producer at Stax Records responsible for penning such hits as “Soul Man” and “B-A-B-Y,” and later as a solo artist who was at the cutting edge of what would become slow jams, disco, pre-rap, and, not least, the blaxpoitation phenomenon when he scored the first major hit of the genre with the GRAMMY- and Academy Award-winning “Theme From Shaft.”
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ANTHONY BARBOZA/GETTY IMAGES
L I F E T I M E A C H I E V E M E N T AWA R D
As the personification of the danger, mayhem and nihilism in rock at its most rebellious, Iggy Pop is the Godfather of Punk. His impact and influence stretches from those he worked with, such as David Bowie, to those who followed his spirit of musical and stage abandon, including punk acts such as Sid Vicious and the Clash, and hard rockers such as Axl Rose.
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L I F E T I M E A C H I E V E M E N T AWA R D
L I F E T I M E A C H I E V E M E N T AWA R D
One of the most revered singer/songwriters of the past five decades, John Prine used both irreverent wit and heartfelt sincerity in his masterful storytelling. Discovered by Kris Kristofferson, his songs have been covered by Johnny Cash, Bonnie Raitt and Dwight Yoakam, among others, and his own albums, including his classic eponymous debut, remain highly regarded. 88 - 62nd Annual GRAMMY Awards
MICHAEL OCHS ARCHIVES/GETTY IMAGES
Public Enemy set the standard for rap in the late ‘80s. With a militant black consciousness and no-holds-barred political rhetoric, Chuck D, Flavor Flav, Professor Griff, and Terminator X kicked down the doors of mainstream America with a new brand of music that Chuck D called “the CNN of the ghetto.” Their brilliant 1988 sophomore album, It Takes A Nation Of Millions To Hold Us Back, was inducted into the GRAMMY Hall Of Fame this year.
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L I F E T I M E A C H I E V E M E N T AWA R D
Congratulations On your Recording AcademyÂŽ Lifetime Achievement Award
Peace and respect, Lorrie Boula & Soul Kitchen
L I F E T I M E A C H I E V E M E N T AWA R D
In recounting the progenitors of rock, much is made of Elvis Presley, Little Richard, even Ike Turner. But Sister Rosetta Tharpe’s rousing combination of gospel and blues, often accompanied with fiery abandon on her electric guitar, influenced many of the rock originators as well as those who learned their chops from traditional music, such as Bob Dylan. She became known as “the original soul sister.” 92 - 62nd Annual GRAMMY Awards
JAMES KRIEGSMANN/MICHAEL OCHS ARCHIVES/GETTY IMAGES
T R U S T E E S AWA R D
For 40 years, Ken Ehrlich has had a major hand in guiding the GRAMMY Awards telecast, the last 15 as executive producer. Along the way, he helped pioneer the GRAMMY Moment — unique performances and artist collaborations never before seen onstage — and helped grow Music’s Biggest Night into the most respected music awards broadcast. He was honored with a star on the Hollywood Walk Of Fame in 2015.
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Ehrlich (left) with pioneering GRAMMY Executive Producer
Congratulations Ken! Your clear vision and exquisite taste have inspired our industry and have touched our world, over all these years. Thank you for giving us so many wonderful memories. We are honored and proud to call you a colleague, a partner and a friend.
GRAMMY® EXECUTIVE PRODUCER
CELEBRATING Ken Ehrlich, BSJ ‘64, Ohio University Wishing you all the best from Athens, Ohio
We're proud of you!
YEARS SCRIPPS COLLEGE OF COMMUNICATION
Ken, When I started working for you at the age of 10, I thought it was just a temporary summer job and I would go back to medical school. Thirty years later – I think this was the better ride!! I have learned so much from you as a legend and mentor and have always respected what you have shown the world with your creativity. Look forward to many more years working on these great productions and more importantly growing our friendship. Love Renato….
T R U S T E E S AWA R D
Among the handful of noted 20th century classical composers, Philip Glass helped pioneer minimalist music as well as innovative ways in which seemingly simple music challenges the listener, such as adding and lengthening note values. In experimenting with the conventions of western music, Glass would be an influence on such artists as David Bowie, David Byrne, Brian Eno, and others. 98 - 62nd Annual GRAMMY Awards
The Juilliard School salutes esteemed alumnus Philip Glass, recipient of the Recording AcademyÂŽ Trustees Award, for his extraordinary artistry and dedication to the performing arts
Philip Glass performs at Juilliardâ€™s 2019 Convocation Ceremony, photo by Erin Baiano
T R U S T E E S AWA R D
As an A&R producer, artist manager and label chief, Frank Walker worked directly with artists ranging from opera great Enrico Caruso, country giant Hank Williams and R&B and blues legends Bessie Smith, Clara Smith and Blind Willie Johnson. Along the way, he would play a key role in establishing the Recording Industry Association of America, becoming regarded as the dean of the American record industry. 100 - 62nd Annual GRAMMY Awards
T E C H N I C A L G R A M M Y AWA R D
GEORGE AUGSPURGER George Augspurgerâ€™s career in pro audio is storied and long; at 90 years old and still working, very long. His journey as an acoustical engineer began at JBL, where he helped launch and manage the JBL Professional division. He ultimately founded his own consulting firm. In this role, he has designed many of North Americaâ€™s most prestigious studio rooms and monitors.
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GEORGE AUGSPURGER for your
Technical GRAMMY® Award
THANK YOU TO OUR FRIEND... YOU’RE THE REASON WE SOUND SO GOOD
M U S I C E D U C AT O R AWA R D
MICKEY SMITH JR. The head band director at Maplewood Middle School in Sulphur, Louisiana, Mickey Smith Jr.â€™s band has grown more than 500 percent and now encompasses an amazing 50 percent of the total school population. His philosophy matches current research that music education enhances learning in all subjects. He is valued for his humanity and dedication to his students becoming the best versions of themselves. 104 - 62nd Annual GRAMMY Awards
2 02 0 G RA M M Y
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 1,100 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 Miles Marshall Lewis
he 2020 class of GRAMMY Hall Of Fame inductees range in time from the antebellum-era spiritual “Oh Mary Don’t You Weep” to the agitpop hip-hop of the Public Enemy masterpiece It Takes A Nation Of Millions To Hold Us Back. This year, the Recording Academy also honors jazz (Mary Lou Williams, James P. Johnson, Scott Joplin, Machito), the blues (Skip James, Bo Diddley, Taj Mahal), surf music (the Surfaris,
Dick Dale), country (Willie Nelson, Patsy Cline), gospel (the Chuck Wagon Gang, Swan Silvertones), and more. Even with the diversity of the inductees, commonalities can still be found. Two songs owe their origins to slightly dissimilar earlier tunes: Bo Diddley’s “I’m A Man” owes much to the Muddy Waters classic “(I’m Your) Hoochie Cooche Man,” just as the Surfaris’ “Wipe Out” traces back to “Bongo Rock” by Preston Epps. Three recordings represent the most popularized versions of songs that predate recorded music: “Miserlou” by
Dick Dale And The Del-Tones stems from Eastern Mediterranean folk music; Swan Silvertones’ “Oh Mary Don’t You Weep” harkens back to the age of American slavery; and the Chuck Wagon Gang’s own gospel entry, “I’ll Fly Away,” was composed in 1929. Nineteen artists saw their first recordings inducted into the Hall of Fame this year, including Devo, Eurythmics, Peter Frampton, Blind Alfred Reed, and Nancy Sinatra, making this a truly eclectic collection of recordings for the premiere year of the new decade.
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AFRO-CUBAN JAZZ SUITE Machito
Mercury (1950), Track Written, arranged and conducted by Arturo “Chico” O’Farrill for Machito and his rhythm section, this suite seamlessly blends jazz, big band, classical structures, and Afro-Cuban rhythms into a Latin jazz masterpiece. Commissioned by jazz impresario Norman Ganz, the suite features a fiery sax duel between the legendary Charlie Parker and Flip Phillips, as well as a kinetic drum solo by Buddy Rich. Machito and O’Farrill, both born in Havana, helped create and refine AfroCuban jazz, and this suite puts their talents on full display.
CAPITOL PRESENTS THE KING COLE TRIO The King Cole Trio Capitol (1944), Album
When Billboard magazine launched its first album chart in 1945, this recording was the first to reach No. 1. Featuring guitarist Oscar Moore, bassist Johnny Miller and inimitable leader Nat “King” Cole on piano and vocals, the King Cole Trio released this set on 78 RPM records, before the music industry established the LP format that dominated for decades. Album tracks such as the jazz standards “Sweet Lorraine,” “Embraceable You,” “What Is This Thing Called Love,” and “It’s Only A Paper Moon,” provided a blueprint for soulful pianists such as Ray Charles and Charles Brown.
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Okeh (1921), Single
Reprise (1969), Album
James P. Johnson
Perhaps one of the earliest recorded piano solos in jazz history, “Carolina Shout” helped bring stride piano pioneer James P. Johnson’s style to the masses. A mix of highly rhythmic stride piano, syncopated ragtime and purely improvisational jazz, the song became a standard at cutting contests of battling pianists in the ‘20s and ‘30s, inspiring future titans Duke Ellington, Fats Waller and others. The song distils Johnson’s genius into four minutes of overlapping time signatures and energetic tempos. Responsible for the “Charleston” (the song that accompanied the popular dance) two years later, Johnson couldn’t have crafted that without this.
Canadian singer/songwriter Joni Mitchell came fully into her own almost immediately with this sophomore album, released one year after her debut, Song To A Seagull. Full of the contemplative, introspective poetic lyricism that became her trademark, this album is a pillar of California folk rock. “Both Sides, Now” has since been covered by Judy Collins, Willie Nelson, Frank Sinatra, and Herbie Hancock (on his GRAMMYwinning album of Mitchell covers), and the song helped Mitchell earn her first GRAMMY for Best Folk Performance. Mitchell also illustrated her own self-portrait for the album’s cover.
Like a “Saturday In The Park,” for 3 decades... you’ve been a “Hard Habit To Break.” “Does Anybody Really Know What Time It Is?” It's Recording Academy® Lifetime Achievement Award time! You guys “Make Me Smile.” Congratulations on yet another milestone, Your Friend, Dave Donnelly
DEVIL GOT MY WOMAN
EAT A PEACH
Paramount (1931), Single
Capricorn (1972), Album
The rediscovery of 1930s Delta blues musician Nehemiah Curtis “Skip” James in the 1960s has been cited as the spark of the decade’s blues revival in the United States, and this recording stands at the center of James’ catalog. Known for playing his guitar in an open D-minor tuning, James turned in a dark, moody vocal performance on this song that inspired King of the Delta Blues Robert Johnson and many other seminal players. Though Cream’s rendition of James’ “I’m So Glad” brought him a windfall in 1966, this recording is his signature moment.
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The Allman Brothers Band This double album marked a significant watershed for the Allman Brothers Band, released after their breakthrough album, At Fillmore East, rehab stints and the fatal motorcycle accident of guitarist Duane Allman. The group upheld its reputation as a jam rock band on the half-hour long improvised instrumental “Mountain Jam” and gifted classic rock radio with a venerable staple, “Blue Sky.” The album’s spartan bluesy rock included musical tributes to Duane, including “Ain’t Wastin’ Time No More,” “Les Brers In A Minor” and “Melissa.”
FRAMPTON COMES ALIVE! Peter Frampton
A&M (1976), Album Recorded live at the Long Island Arena (Commack, New York), Winterland (San Francisco), Marin County Civic Center (San Rafael, California), and the SUNY Plattsburgh campus in upstate New York, this double-disc concert album sold more than 11 million copies worldwide. As the best-selling album of the year, and selected as one of the greatest live albums of all time by Rolling Stone, it had an ubiquitous presence in the record collections of a huge swath of 1970s music lovers. “Baby, I Love Your Way,” “Do You Feel Like We Do” and “Show Me The Way” all charted in the Top 20 on the Billboard Hot 100.
CONGRATULATIONS TO TONIGHTâ€™S NOMINEES AND WINNERS
I’M A MAN OF CONSTANT SORROW
The Stanley Brothers & The Clinch Mountain Boys Columbia (1951), Single
HOW CAN A POOR MAN STAND SUCH TIMES AND LIVE? Blind Alfred Reed Victor (1930), Single
Recorded by Virginia-born fiddler Blind Alfred Reed, whose songwriting made him one of the first protest singers in the United States, this recording documents the trials of the Great Depression. Yet, a great deal of the lyrics hold a prescient value to modern times, whether Reed is critiquing the education system (“Oh, the schools we have today ain’t worth a cent”), rising inflation (“now prices nearly puts a man to sleep”), police brutality (“officers kill without a cause”) or medical malfeasance (“a dose of dope and a great big bill”). Bruce Springsteen and UB40 count among those who have remixed this song’s lyrics for the 21st century.
I’LL FLY AWAY
The Chuck Wagon Gang Columbia (1949), Single
Penned by the prolific Southern gospel songwriter Albert E. Brumley, this hymn is a staple at the worship services of several Christian denominations and funerals. This rendition by the country gospel group Chuck Wagon Gang — led by D.P. Carter and his son Jim and daughters Lola and Effie — sold more than a million copies. In 2017, the Library of Congress chose the song for preservation in the National Recording Registry.
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I’M A MAN Bo Diddley
Checker (1955), Single “I’m A Man” marks one of the first major hits for rock and roll progenitor Bo Diddley. Built off the stop-time musical arrangement and structure of bluesman Muddy Waters’ 1954 hit “(I’m Your) Hoochie Cooche Man,” Diddley’s version inspired covers by the Who, the Sonics, the Yardbirds, and many others. The song garnered acclaim as the B-side to “Bo Diddley,” which was inducted into the Hall in 1998. Diddley’s robust blues shuffle also inspired another Waters creation, the answer record “Mannish Boy.”
Covered by many (Bob Dylan, Rod Stewart, Judy Collins, Joan Baez, Peter, Paul & Mary), this recording by the Stanley Brothers & The Clinch Mountain Boys remains the quintessential version. With slight lyrical variations from the traditional folk song first published by blind Kentucky fiddler Dick Burnett around 1913, the bluegrass duo of Carter and Ralph Stanley also took a faster approach. Their performance at the 1959 Newport Folk Festival spread the song far and wide among folk singers, cementing it as a classic of the genre. The song became a recurring musical motif of the Coen brothers film O Brother, Where Art Thou?, helping the soundtrack win a 2001 GRAMMY for Album Of The Year.
On Your Recording AcademyÂŽ Lifetime Achievement Award
IT TAKES A NATION OF MILLIONS TO HOLD US BACK Public Enemy
Def Jam (1988), Album Public Enemy’s instantly classic sophomore album is full of agitpop politics, black nationalist social commentary and braggadocious bluster from rappers Chuck D and Flavor Flav, as well as collage-style sampling techniques from the Bomb Squad production team. The album addresses fake news (“Don’t Believe The Hype”) and the ‘80s crack addiction epidemic (“Night Of The Living Baseheads”), culminating with a narrated jail break set to an Isaac Hayes piano riff (“Black Steel In The Hour Of Chaos”).
OH MARY DON’T YOU WEEP
Vee-Jay (1959), Single
Dick Dale And The Del-Tones
Deltone (1962), Single Surf music doesn’t get more classic than this song, an early ‘60s reworking of an Eastern Mediterranean folk song widely known by Arabic, Jewish and Greek musicians since the turn of the 20th century. With a Turkish-derived title meaning, loosely, “Egyptian woman,” this rock and roll guitar instrumental was inspired by a version Dick Dale once heard performed on a single string of an oud. Though the Beach Boys recorded their own popular version in 1963, director Quentin Tarantino turned to this signature recording to open Pulp Fiction decades later.
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PANCHO AND LEFTY
Of all the numerous renditions of this slavery-era spiritual, the Library of Congress inducted this Swan Silvertones recording into the National Recording Registry in 2015. The ad-lib of lead singer Claude Jeter (“I’ll be your bridge over deep water if you trust in my name”) inspired Simon & Garfunkel’s stark pop lamentation “Bridge Over Troubled Water” more than a decade later. During the civil rights movement of the 1960s, the song became a rallying cry for African-Americans because of its Biblical message of hope and freedom.
Willie Nelson And Merle Haggard Epic (1982), Single
Many cover versions exist of this 1972 original by the country music great Townes Van Zandt, including renditions by Bob Dylan, Rosanne Cash and Emmylou Harris. But only this one reached the top of the country chart. The tale of a Mexican “bandit boy” (Pancho) betrayed by a gringo frenemy from Ohio (Lefty), and the American’s subsequent attempt at redemption, this song struck a nerve with listeners as one of the most cinematic folk ballads of all time. The single became a hit during the earliest days of MTV, complete with a music video featuring Nelson as Pancho, Haggard as Lefty and a cameo by Van Zandt.
PIANO RAGS BY SCOTT JOPLIN Joshua Rifkin
Nonesuch (1970), Album King of Ragtime Scott Joplin wrote 44 original ragtime pieces, two operas and one ragtime ballet in the late 1890s through the new century, but his legacy was reintroduced to the American public through this 1970 album by Joshua Rifkin. The album set off a ragtime revival, the first of three Joplin volumes Rifkin recorded for Nonesuch. Piano Rags By Scott Joplin earned two GRAMMY nominations, including Best Album Notes, and became the label’s first million seller.
Q: ARE WE NOT MEN? A: WE ARE DEVO! Devo
Warner Bros. (1978), Album A seminal link in the 1970s rock music evolution from punk to new wave, this album is the debut of the deadpan absurdist band Devo. Produced by Brian Eno with assistance from David Bowie, the cold, robotic atmosphere of the record created new parameters for the increasingly computer-driven forms of pop music. Leaning heavily on keyboards as a precursor to the synth-pop movement around the corner, Devo deconstructed the Rolling Stones’ “(I Can’t Get No) Satisfaction” with detached, ironic sonics that this album established as their signature. Devo’s wide-ranging influence on the industrial, electronic and art pop music to come begins here.
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SWEET CAROLINE (GOOD TIMES NEVER SEEMED SO GOOD) Neil Diamond
Uni (1969), Single Written by Neil Diamond in an hour in a Memphis hotel room, this song is perhaps the catchiest single in all his lengthy career. The titular Caroline has been previously identified as either Caroline Kennedy (at the time, the 11-year-old daughter of President John F. Kennedy) or a pseudonym for Diamond’s then wife, Marcia. The song’s cryptic origins hardly impacted its popularity: The Library of Congress preserved the single in the National Recording Registry in 2019; Fenway Park has played it during the eighth inning of every baseball game since 2002; and it became Diamond’s first platinum single.
SWEET DREAMS (ARE MADE OF THIS) Eurythmics
RCA (1983), Single The first single by the British new-wave duo released in the United States, this song stands as one of the most instantly recognizable synth-pop recordings of the 1980s. In tandem with one of the era’s most popular videos — featuring androgynous, carrot-topped lead singer Annie Lennox alongside keyboardist Dave Stewart — the song quickly captured the popular imagination of the first-generation MTV era. Innovative to its core, a close listen reveals that the entire song is comprised only of its chorus, a prechorus and a brief bridge. Girded solely by an MCS Drum Computer, Roland SH-101 and Oberheim OB-X synthesizers, and Lennox’s vocals, the experimental track hit No. 1 on the Billboard Hot 100.
THESE BOOTS ARE MADE FOR WALKIN’ Nancy Sinatra
Reprise (1965), Single
TAJ MAHAL Taj Mahal
Columbia (1968), Album Born Henry Saint Clair Fredericks Jr. in Harlem, blues legend Taj Mahal released this self-titled debut album in 1968, featuring modernized versions of blues tunes by Robert Johnson (“Dust My Broom”), Blind Willie McTell (“Statesboro Blues”), Sonny Boy Williamson (“Checkin’ Up On My Baby”), and others. Coupled with the underrated Electric Mud by Muddy Waters that same year — featuring a psychedelic rock take on the blues — this record came at a seminal point in the development of the blues rock built upon by Led Zeppelin, Eric Clapton and the Rolling Stones. “Statesboro Blues” provided inspiration for the Allman Brothers to create their own version, which Rolling Stone ranks as one of the top 10 greatest guitar songs of all time.
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A pop classic covered by a diverse collection of artists, including Ella Fitzgerald, the Supremes and Lil’ Kim, this song encapsulates the spirit of female empowerment movements from women’s lib to #MeToo. Confronting a duplicitous lover with a promise to turn the tables on his unfaithfulness, Nancy Sinatra — Frank Sinatra’s eldest daughter — walked into the history books of feminism with this No. 1 hit. Backed by Los Angeles’ famed Wrecking Crew session musicians, Sinatra created an anthem that revealed a shifting tide in gender politics.
TINY DANCER Elton John
Uni (1972), Single This recording captures the essence of all the free-spirited California women Elton John encountered upon leaving his native England. Co-written with his long-standing songwriting partner Bernie Taupin, “Tiny Dancer” is the second single off John’s fourth album, Madman Across The Water. Composed by Taupin in honor of his then-fiancée Maxine Feibelman, the song is the first of eight songs inspired by her. Though the song made only a modest chart appearance upon its release — mostly due to its 6:12 length — its legacy as one of the most lasting songs in John’s discography has been long since set in stone.
Dot (1963), Single
Asch (1945), Album
WALKIN’ AFTER MIDNIGHT Patsy Cline
Decca (1957), Single Recognized as one of the greatest country songs of all time, this recording marked the first hit (No. 2 on the country chart, No. 12 on the pop chart) for country pioneer Patsy Cline. First performed live on CBS’s Arthur Godfrey’s Talent Scouts, where it won Cline the top prize after the audience maxed the applause meter, the song was fast-tracked to record stores as a single. Cline would suffer a series of tragedies, including a serious car wreck, ultimately dying in an airplane accident at 30. But this recording continues its life in commercials and movies, including the Cline biopics Sweet Dreams and Patsy & Loretta.
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Built on a 12-bar blues progression, this instrumental became one of the most wellknown surf music songs of the rock and roll era. Surfaris drummer Ron Wilson performed his Charter Oak High School marching band’s drum cadence double-time solo midway through the song. Based on the 1959 pop hit “Bongo Rock” by AfricanAmerican percussionist Preston Epps, this track hit the charts several times in the early ‘60s as several different labels released the single — peaking at No. 2 in 1963. The maniacal laughter and spoken “wipe out” introducing the song belongs to Surfaris manager Dale Smallin.
Mary Lou Williams
Writer and arranger for jazz luminaries such as Duke Ellington and Benny Goodman, the Atlantaborn piano prodigy Mary Lou Williams (née Mary Elfrieda Scruggs) crafted this classically influenced suite of 12 songs — each of which corresponds to an astrological sign. She added the same modernist flare that led her to mentor and work with such early be-bop players as Thelonious Monk and Dizzy Gillespie. Williams dedicated each song to a gallery of friends with corresponding zodiac signs, e.g., “Aries” for Billie Holiday, “Taurus” for Ellington.
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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Please read this information carefully before you, or your family member, start taking LIVALO and each time your prescription is refilled in case anything has changed or new information has become available. This information is not meant to take the place of discussions with your healthcare provider. Talk with your healthcare provider or pharmacist if there is something you do not understand or if you want to learn more about LIVALO. Always follow your healthcare provider’s instructions for taking LIVALO. Please see Consumer Brief Summary Information continued on the back of this page.
LIVALO® (pitavastatin) tablets (LIV-ah-lo) — Consumer Brief Summary Information, Cont’d What is LIVALO?
• LIVALO is a prescription medicine that belongs to a group of cholesterol-lowering medicines called “statins.” • LIVALO, along with diet, lowers total cholesterol, “bad” cholesterol (LDL-C) and triglycerides. It can also raise “good” cholesterol (HDL-C). • The effect of LIVALO on cardiovascular morbidity and mortality has not been determined.
What is the most important information I should talk with my doctor about?
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You are encouraged to report negative side effects of all drugs to the FDA. Visit www.fda.gov/medwatch or call 1-800-FDA-1088. Can other medications affect my treatment with LIVALO?
Yes, other medications may affect LIVALO; you should consult with your doctor if you take any of the following: • Cyclosporine • Erythromycin • Gemfibrozil • Other drugs for high cholesterol (i.e., fenofibrates, niacin) • Rifampin • Colchicine
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What are the most common side effects of LIVALO? The most common side effects of LIVALO in clinical studies were: • Back pain • Constipation • Diarrhea • Muscle pain • Pain in the legs or arms This is not a complete list of side effects. Talk to your healthcare provider for more information. The information provided is not complete. Please see the full Prescribing Information available at www.LivaloRx.com. Manufactured for: Kowa Company, Limited Tokyo 103-8433 Japan Manufactured by: Patheon Pharmaceuticals, Inc. Cincinnati, OH 45237 USA or by Kowa Company, LTD Nagoya, 462-0024 Japan Marketed and Distributed by: Kowa Pharmaceuticals America, Inc. Montgomery, AL 36117 USA © Kowa Pharmaceuticals America, Inc. (2019) — All rights reserved. LIV-MT-3758 December 2019
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Widening The Net New Recording Academy member submission process will modernize qualifications and help address diversity issues
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for the Recording Academy when it implemented a change that has the potential to make a long-term positive impact on the Academy, its Awards process and the music industry as a whole. The Academy revolutionized its new-member submission process for the first time in more than 60 years, enacting a community-driven membership model that allows established members and invitees to recommend potential new members. Previously, prospective members would submit an application, show that they had the minimal requisite credits, pay nominal dues, and they were in. Those rules were instituted in the late ‘50s, when working on commercially released recordings meant you were an audio professional of some season or an artist who had gained the awareness of noted label and A&R executives. Today, technology makes it possible for nearly anyone to make recordings and streaming services allow for national distribution with a click. A new way of calculating qualifications for new members was needed. It was also clear that the previous criteria was contributing to institutionalizing industrywide diversity challenges into the Academy’s membership. Two USC Annenberg Inclusion Initiative studies released in 2018 and 2019 revealed a lopsided gender breakdown in the industry, reporting that across the Billboard charts women only account for 21.7 percent of artists, 12.3 percent of songwriters and 2.1 percent of producers. These figures stunned much of the music industry. In response to all this, a new approach to membership was adopted and the Academy welcomed its first class of new members under its refreshed model last fall. The proverbial needle has already been moved.
November 2018 marked a turning point of sorts
Joining the Academy means we can help elevate fellow artists we believe in. I wanted to learn more about how the industry is evolving to help support artists and help us achieve stability. I think it will be a good way for us to understand how to work together." — Sima Cunningham I was drawn to joining the Academy because I want the GRAMMYs to reflect the multifaceted and diverse music that I am surrounded by on a daily basis. There are so many local artists in Chicago and around the country that make unique and truly inspired music, and I hope I can help make that known to more people. It's important to help get innovative creators recognized in order to make it sustainable for all of us." — Macie Stewart Rock duo OHMME released their debut studio album, Parts, in 2018.
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Among 743 new members, 49 percent of the class are women, 41 percent are from traditionally underrepresented communities, and 51 percent are 39 or under. The Academy’s current membership is 26 percent women, 24 percent traditionally underrepresented communities, and 29 percent are 39 or under. While the improvement is clear, the work is just beginning. “When you compare these figures to what was reported in the 2019 Annenberg study, it’s clear that our new member class shows a marked improvement,” said Laura Segura Mueller, Vice President of Membership & Industry Relations at the Recording Academy. “We are deeply committed to continuing this positive trend for years to come.” While the Recording Academy is committed to doing its part to improve diversity in the industry, its new membership model puts music creators in the driver’s seat. By establishing a community-driven membership model, the Academy is able to engage music makers and professionals who
RECORDING ACADEMY 10%
Did not disclose
I grew up in Kentucky with bluegrass and country influences, yet knowing the GRAMMYs significance across genres. The Recording Academy not only acknowledges icons who craft generational soundtracks but motivates future creators through education. It’s a really proud moment that I can be in even a small way a part of this organization — and hopefully one day celebrate with my own gramophone!”
Did not disclose
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Country singer/songwriter Carly Pearce’s self-titled sophomore album will be released Feb. 14.
39 and under
40 and over
*Did not disclose 19%
BIG HIT ENTERTAINMENT
NEW MEMBER CLASS
are able to recommend and review their network of peers. Membership is now directly built by the music community; the new system asks those working in music to identify other creators they think are qualified to be voting for GRAMMY nominees and winners, and what areas of music need to be better represented by the Academy. This approach exponentially increases reach into underserved genres and professions, reinforcing the Academy’s core values of inclusivity and diversity. An important Recording Academy initiative begun in 2018 also factored prominently into this membership reevaluation. For more than a year, the Recording Academy worked with an industrywide Task Force on Diversity and Inclusion led by Tina Tchen, Michelle Obama’s former chief of staff and current president/CEO of Time’s Up. The task force reviewed all areas of the Academy’s business as well as examined industrywide challenges, and made a series of recommendations in December, many of which the Academy has begun implementing.
It is an absolute honor to become part of the Recording Academy, the world’s leading society of music professionals. As artists, it was our dream to be invited to attend the industry’s most prestigious ceremony, the GRAMMY Awards, in our capacity as an official member. Now, it feels like we have taken one step closer to that dream. As members of the Recording Academy, we would like to further contribute to breaking down the linguistic and regional barriers of music to expand diversity. Through various opportunities in the future, we hope to inspire the next generation of aspiring artists.” Best-selling K-pop group BTS will release their next album, Map Of Soul: 7, on Feb. 21.
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I was drawn to become a member of the Recording Academy because it is a strong way to bring together creators and I desire to have an impact on the GRAMMY process. I want to make sure to represent people that look like me and make music in the genres that I work within. The work that the Academy does with MusiCares for mental health and addiction is something that I find crucial for the music community as the challenges that we as creatives face are unique. We need to take care of each other and share resources. I look forward to getting involved with the community to bring music to schools and places that are currently missing those opportunities that I also didn’t have growing up.” Producer Tommy Brown is currently nominated for two GRAMMYs for his work with Ariana Grande, Album Of The Year for thank u, next and Record Of The Year for “7 rings.”
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MEMBERSHIP TYPES Voting members
It’s a really big deal to be a member of the Recording Academy. Growing up I’d always hear about the Recording Academy and the GRAMMY Awards, but now to be part of an organization that does so much for artists is such a honor. I’m excited to be involved in a community that supports artists and look forward to continue working with other Recording Academy members to support talent. Hopefully, this will allow me to help to make a difference for our current music generation and the generations to come.” AIDEN CULLIN
A microcosm of the diversity issue the Task Force examined was that only 2 percent of music producers and 3 percent of engineers/mixers across popular music are women. To take direct action, the Academy and the Task Force announced the first-ever industrywide Producer and Engineering Inclusion Initiative. More than 650 prominent producers, labels, artists, agencies, and management companies pledged to help create change. Their promise was to consider at least two women as part of the selection process every time a music producer or engineer is hired. The initiative also asks working producers to agree to take issues of gender diversity within music’s technical fields into account when deciding who to mentor and hire for further development. Expanding opportunities for female producers and engineers benefits music and artists by broadening the talent pool to best match the needs of each project and bringing varied voices and perspectives into the control room. Similarly, established female engineers and producers will inspire more young women and girls to pursue technical careers in the music industry and reduce the gender gap. Since welcoming its first class of members through the new membership process, the Academy has seen a number of related benefits, including giving members direct involvement in which of their peers become voting members; bringing more focused attention to the membership process; and, over
2019 RECORDING ACADEMY NEW MEMBER CLASS
Singer/songwriter Summer Walker’s debut studio album, 2019’s Over It, topped Billboard’s R&B chart.
She memorized the lyrics. You memorized the moment. Every day is a chance to Start Something Priceless
GRAMMY®, GRAMMY Awards®, and the gramophone logo are registered trademarks of the Recording Academy® and are used under license. ©2020 The Recording Academy. Mastercard is a registered trademark, and Start Something Priceless and the circles design are trademarks, of Mastercard International Incorporated. ©2020 Mastercard. All rights reserved.
2019 RECORDING ACADEMY NEW MEMBER CLASS
time, making GRAMMY voting more reflective of the broad and diverse population of music creators. “The system for new members will help ensure a highly qualified yet diverse membership base,” says Segura Mueller. “Since the GRAMMY Award is music’s only peer-awarded honor, the integrity of our membership is paramount. Our new system will continue to uphold the GRAMMY standard of excellence for many years to come.” ○
I have found myself in the wonderful position of having had a 20-year career on the fringes of popular music and I feel this gives me an interesting vantage point from which to be involved in the [Recording Academy]. I find it wonderful that there is room for an outsider to be welcome here.” — Chris Carraba Alt-rock band Dashboard Confessional will kick off their 20-year celebration tour on Feb 4.
Want to help shape Recording Academy membership? Recommend potential new members today. New member submissions are due by March 1. Learn more at GRAMMY.com/join.
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Music Video Director
Music Video Producer
*Did not disclose 57%
Let’s make Music’s Biggest Night® even smarter. How can you get closer to your favorite artists? IBM Watson is bringing AI to the red carpet with live interview analysis and insights. Learn why IBM is the ofﬁcial AI partner of the GRAMMYs.® Smart loves problems. ibm.com/grammys
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SWEET EMOTION By Jed Gottlieb
Aerosmith channel an enduring legacy of music and giving back into MusiCaresâ€™ 2020 Person of the Year honor
Aerosmith was honored as the 2020 MusiCares Person of the Year on Jan. 24 at a special tribute performance and dinner in Los Angeles recognizing their accomplishments as artists and philanthropists. A friend and ally of the music community, MusiCaresâ€™ 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.
which has raised millions to support girls who have suffered the trauma of abuse and neglect. Of course they have an even longer and more impressive musical history. Celebrating half a century of rock and roll, the band has thrilled stadiums, radio, MTV, GRAMMY viewers, and multiple generations of fans with smashes stretching from the 1973 GRAMMY Hall Of Fame-inducted single “Dream On” to the 1986 pioneering rock/rap crossover “Walk This Way” with Run-D.M.C. (inducted into the Hall Of Fame in 2014) to the 1998 worldwide-phenomenon “I Don’t Want To Miss A Thing.” The Beatles had the Cavern Club; Aerosmith had the Nipmuc Regional High School auditorium in Upton, Massachusetts. On Nov. 6, 1970, five kids, who couldn’t yet scrape together a full set of original material, blazed through songs by their heroes (the Stones, Yardbirds, Fleetwood Mac) while teenagers danced around them. The band would play a string of similar gigs — hops, student unions, New Hampshire country clubs — building momentum until they scored a slot at a New York City showcase in 1972, where labels took notice. Along the way, Tyler began Aerosmith won the Best Rock Performance By A Duo Or working on electric Group With Vocal GRAMMY for originals, little pieces “Crazy” at the 37th GRAMMY of lightning such as Awards in 1995 “Mama Kin” and “Make It.” Slowly, first with the sleazy and stompin’ “Movin’ Out,” later with a hundred others, Perry and Tyler developed a magic chemistry to rival any songwriting duo. “We’re just miners down there looking for songs. Sometimes we hit the vein and sometimes we don’t,” Tyler told me in 2012. “We’ve dug a lot of mines in our career, a lot,” Perry quickly added with a laugh. The band’s offstage arguments became infamous, with breakups and reconciliations a constant. But that tension — just as it had done for Lennon and McCartney or Jagger and Richards — led to an embarrassment of rock riches. “We fight with [longtime producer] Jack [Douglas] and with
“What brought you to Aerosmith? ‘Dream
On?’ ‘Toys In The Attic?’ Was it ‘Cryin?’ or ‘I Don’t Want To Miss A Thing’? We mean so many different things to so many
people. And we need to please them all.”
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he organizers of the Boston Strong benefit concert had booked an exceptional slate of acts. The 2013 fundraiser for victims of that year’s Boston Marathon bombing would feature James Taylor, Carole King, Jimmy Buffett, Jason Aldean, Extreme, J. Geils Band, Dropkick Murphys, and New Kids On The Block. The A-list lineup would have no problem filling the TD Garden. But local boys Aerosmith weren’t about to miss the opportunity to help heal their city, even if they had to traverse half the globe to get home. “It means everything to get back and play this show,” singer Steven Tyler told me over the phone from Singapore a few days before Boston Strong. “We’re thinking about how we are going to get back; we may have to cancel some shows, but we’ll be back. It’s schmaltzy s***, but when you’re listening to songs, it builds hope and strength. We want to warm the cockles of people’s hearts.” “We will be feeling the gravity of the moment, but our job is to get up onstage and make people feel good,” Aerosmith bassist Tom Hamilton added in an interview right before the charity concert. The quintet of Tyler, Hamilton, drummer Joey Kramer, and guitarists Joe Perry and Brad Whitford have a long and impressive history of philanthropy. As a band, they have headlined dozens of charity events and donated music to benefit albums (their bumping, thumping reimagining of “Give Peace A Chance” on the LP Instant Karma: The Amnesty International Campaign To Save Darfur remains an underrated jewel in the Aerosmith catalog). Individually, members have carved out the time to champion causes close to their hearts. A sampling of their efforts includes Perry’s work helping the Starkey Hearing Foundation provide patients with hearing devices, Hamilton auctioning off bass lessons to support youth music programs, and Tyler’s Janie’s Fund,
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each other,” Perry said. “But if we didn’t the album would sound like s***. We were trying to prove something. We were fighting over songs, but that’s how you make a great album.” The singer and guitarist spent the ‘70s cranking out stone-cold classics: “Same Old Song And Dance,” “Toys In The Attic,” “Walk This Way,” “Draw The Line,” “Back In The Saddle,” and
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Steven Tyler and Joe Perry onstage
a score more. But unlike so many of Aerosmith’s peers, everybody in the ensemble could write riffs and hooks: Without Hamilton’s iconic bassline there would be no “Sweet Emotion,” Whitford’s blues-on-steroids powered “Last Child” and, as a group, the five worked together on half a dozen fan-favorite deep cuts. These jams became the soundtrack to the ‘70s.
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Everybody in the ensemble could write riffs and hooks: Without Hamilton’s iconic bassline there would be no “Sweet Emotion,” Whitford’s blues-onsteroids powered “Last Child” and, as a group, the five worked together on half a dozen fan-favorite deep cuts. These jams became the soundtrack to the ‘70s. Aerosmith never set out to innovate but to perfect. It was as if they looked at the Stones and Yardbirds and said: We can make this formula better just by doubling the volume and tripling intensity. And yet, by teaming with Run-D.M.C. to reinvent the legendary groove “Walk This Way,” Aerosmith helped usher in a new era of pop music. The hip-hop/ rock one-two combination opened a nation’s ears to a new genre and set the band on a path to dominate MTV, the FM dial, Billboard charts, and a huge slice of pop culture. “By tapping into the classic rock canon and surrendering the chorus to Tyler’s distinctive
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Left: Steven Tyler (center) performs with New Kids On The Block members Donnie Wahlberg and Jordan Knight and comedian Dane Cook at the Boston Strong benefit concert in 2013
howl, the song basically served as hip-hop’s Trojan horse, the music camouflaged enough to give timid programmers permission to play [hiphop],” Geoff Edgers wrote in his book Walk This Way: Run-DMC, Aerosmith, And The Song That Changed American Music Forever. As other acts floundered or called it quits in the ‘80s, Aerosmith reemerged bigger than ever. With a little help from ace songwriter Desmond Child, Tyler and Perry crafted a fresh set of classics, including “Angel,” “Dude (Looks Like A Lady),” and “What It Takes.” But success and sobriety also sparked the band to pen massive hits all on their own: See “Love In An Elevator” and “Janie’s Got A Gun.” “When we write with other people, we really, truly write with them,”
Below: Aerosmith performs with Run-D.M.C. in 2002
YOON S. BYUN/ BOSTON GLOBE/GETTY IMAGES
Right: Joe Perry and his wife, Billie Paulette Montgomery (center), volunteer at a Starkey Hearing Foundation event in Rio de Janeiro in 2015
Hamilton told me in 2013. “In the ‘80s, we had to restart our creative process and then build it back up again. Collaborating with people helped do that. But we needed to do the heavy work ourselves, we needed to find our own voice.” The jolt of energy resulted in the band competing on the charts and in the wider culture with younger artists, many of whom hadn’t been born when the boys rocked that Nipmuc High School dance. Through the rise of grunge, pop-punk, hip-hop, and boy band mania, Aerosmith attracted a second generation of young fans. Wayne and Garth fell to their knees and proclaimed, “We’re not worthy! We’re not worthy!” on “Saturday Night Live” when they met the band. “The Simpson’s” recruited the band to
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VIVIAN FERNANDEZ/GETTY IMAGES/STARKEY HEARING FOUNDATION KEVIN MAZUR/WIREIMAGE.COM
“In the ‘80s, we had to restart our creative process and then build it back up again. Collaborating with people helped do that. But we needed to do the heavy work ourselves, we needed to find our own voice.”
take the stage at Moe’s Tavern. Disney World built a roller coaster in their honor, and “Guitar Hero: Aerosmith” dominated video game consoles. Booking agents came calling with headlining spots at Woodstock ‘94, the 2001 Super Bowl, and Fenway Park in 2010. And tweens, teens and adults keep falling in love with the Bad Boys — in 2018, the band closed out the MTV Music Awards with megastar Post Malone and 21 Savage, and in 2019, they kicked off a Las Vegas residency that continues to this day. In an era when rock and roll struggles to find inroads with kids looking for the next big thing, Aerosmith remains a true global brand. Over the past few years, the band has played on four continents, including monster shows in Brazil, Israel, Russia, Colombia, Poland, Singapore and, of course, Boston. “What brought you to Aerosmith? ‘Dream On?’ ‘Toys In The Attic?’ Was it ‘Cryin?’ or ‘I Don’t Want To Miss A Thing’? We mean so many different things to so many people,” Tyler told me in 2013. “And we need to please them all.” Then he added with his charismatic rock-star cackle: “And we still do.” Tyler, Perry, Hamilton, Whitford, and Kramer will continue to evolve and argue, joke around and wow crowds across the globe. And in Boston and beyond, they will continue to lend a hand. Just as Tyler noted, it’s schmaltzy, but music raises spirits even in the darkest times. ○
Jed Gottlieb spent a decade as the music and theater critic at the Boston Herald and has written about arts, politics and Back To The Future for Newsweek, The Atlantic and many more publications.
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GRAMMY Awards® And the Gramophone logo are registered trademarks of the Recording Academy® and used under license ©2020 the Recording Academy
n 1957, a visionary group of music professionals recognized the need to create an organization that would award the artistic achievements of talented musicians, singers and songwriters, and important behind-the-scenes contributors such as producers and engineers, as well as support music creators through programs and services. Conceived as a way to create a true recording industry community, the Recording Academy was born.
Today, the Academy represents thousands of music creators in 12 regional Chapters across the country, fights for creators’ rights on Capitol Hill, supports music education and preservation initiatives, helps music people in times of need, and celebrates musical excellence through the GRAMMYs — the industry’s only peer-recognized award. As the world’s leading society of music professionals, the Academy is dedicated to working year-round to foster a more inspiring world for music and its creators.
© THE RECORDING ACADEMY 2018/CAROL FLORES
The Recording Academy’s headquarters in Santa Monica, California.
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CONGRATULATIONS TO ALL THE NOMINEES AND WINNERS OF THE 62nd GRAMMY AWARDS®
The Artists Project & Tap Studios “Building a stronger foundation of creativity and talent for the Arts.” Celebrating our 6th year of providing headshots and mentoring to struggling artists, 100% free of any charges. As members of the entertainment press, we have enjoyed privileged careers from artists who have succeeded. These established and successful artists allow us to do what we love every day. TAP is our way of saying thank-you by extending that opportunity to those who need it most. –Founder Michael Bezjian
Recording Academy members gather on the Capitol steps on GRAMMYs On The Hill Advocacy Day
Advocacy & Public Policy
District Advocate On District Advocate Day, the largest nationwide grassroots lobbying campaign for music, Academy members visit the district offices of their congressional members to let them know about the issues that matter to music makers. GRAMMYs On The Hill Each spring, GRAMMY winners and nominees descend on the nation’s capital to advocate for creators’ rights, while thousands of members across the country join the efforts online. GRAMMY Fund For Music Creators This political action committee gives members the opportunity to help protect the rights of music makers by supporting the Academy’s congressional champions.
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I do appreciate the fact that the Recording Academy is the only organization that fights and has made great strides for all creators' rights.” — Alicia Keys STAY INFORMED Need policy updates and an action tool that allows you to connect directly with legislators? Visit GRAMMY.com/ Advocacy
he Academy’s year-round Advocacy work makes it easy for music creators and fans to stay informed, engaged and active in supporting music and its makers.
THE AWARD WINNERS & NOMINEES OF THIS YEAR’S GRAMMY AWARDS®
PEOPLE ® IS PROUD TO BE THE EXCLUSIVE MAGAZINE PARTNER OF THE GRAMMYS® AND THE RECORDING ACADEMY®
©2020 Meredith Corp. GRAMMY GRAMMY Awards and the gramophone logo are registered trademarks of The Recording Academy and are used under license. ©2020 The Recording Academy ®
Membership & Industry Relations
ecording Academy members are activists who serve the music community, advocate for creators’ rights and recognize excellence in music. Voting Members The creators, performers, songwriters, producers, engineers, and other creative professionals who vote in the GRAMMY Awards process. Professional Members Managers, publicists, entertainment lawyers, and
business executives who work directly with music creators. Producers & Engineers Wing A network of producers, engineers, remixers, manufacturers, technologists, and other related music-recording professionals. The Wing addresses critical issues impacting the art and craft of music.
NEW YORK PHILADELPHIA WASHINGTON, D.C.
LOS ANGELES FLORIDA SAN FRANCISCO TEXAS
GRAMMY U Connecting college students with the music industry’s brightest and most talented minds, GRAMMY U provides aspiring professionals and creators with the tools necessary to start a career in music.
Dolly Parton at the 2019 MusiCares Person of the Year gala in her honor
ATLANTA MEMPHIS NASHVILLE
Academy membership is community-driven and peer-reviewed on an annual cycle. If you would like to recommend someone for membership or get involved, visit GRAMMY.com/join.
four-star charity, MusiCares was founded by the Recording Academy to safeguard the health and well-being of music people. MusiCares’ safety net of services provided more than $5.6 million to nearly 7,500 music professionals in the last fiscal year alone.
HOW TO HELP MusiCares raises funds to help music people through a variety of means. • Online Auctions • Person of the Year Gala • Charitable Donations • Concert For Recovery • House Concerts Learn more at musicares.org
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Addiction Recovery Free recovery groups and assistance for inpatient and outpatient treatment ensure that no one goes through the recovery process alone. Our Safe Harbor Room offers a safe place for those in recovery who participate in major music events, including the GRAMMY Awards. Preventive Care Prevention is our most powerful ally to keep people from falling into crisis. MusiCares hosts a variety of Healthy Essentials maintenance and preventive services year-round, including dental and medical screenings, hearing clinics, and personal health workshops.
MICHAEL KOVAC/ GETTY IMAGES
Financial Assistance MusiCares provides funds for rent, insurance payments, medical and dental bills, and other expenses.
Carlos & Lisa of Beond.TV salute Chicago “The Soundtrack of our Lives.” Congratulations on your Recording Academy® Lifetime Achievement Award. It’s “Only The Beginning”
The Latin Recording Academy
Halsey speaks at the GRAMMY Museum’s Clive Davis Theater
he GRAMMY Museum is a philanthropic arts organization dedicated to celebrating and preserving music through exhibitions, music education and public programs. Celebrate Since opening its doors in 2008, the Museum’s permanent and special exhibition galleries have celebrated the iconic artists and music professionals who’ve made a significant mark on our culture. Engage Year-round public programs at the GRAMMY Museum range from intimate interviews with up-and-coming artists and panels to live performances, lectures, and film screenings.
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VISIT A GRAMMY MUSEUM NEAR YOU • GRAMMY Museum L.A. Live • GRAMMY Museum Mississippi • GRAMMY Museum Experience Prudential Center • GRAMMY Museum Gallery at Musicians Hall of Fame Discover the latest exhibits and programs at grammymuseum.org
Educate The Museum offers a variety of multidisciplinary programs designed to bring music to students, schools, and communities in need. Programs such as GRAMMY Camp build students’ knowledge of the world through the arts, while the Museum’s Music Educator Award, in conjunction with the Recording Academy, and Jane Ortner Educator Award recognize teachers who use music in the classroom to inspire the next generation of creators.
Membership Latin Academy membership is comprised of Spanish- and Portuguese-speaking musicians, songwriters, producers, and other creative and technical music professionals specializing in Latin genres. Today, there are more than 3,500 Latin Academy members representing 36 countries. Celebration The Latin Recording Academy recognizes musical excellence through the Latin GRAMMY Awards, celebrates a notable Latin recording artist through its Person of the Year gala (the 2019 honoree was Juanes), and acknowledges the careers of legendary Latin music creators with a Special Awards ceremony honoring Lifetime Achievement and Trustees Award recipients. Latin GRAMMY Cultural Foundation The Foundation promotes the appreciation and awareness of the significant contributions of Latin music and its creators. To date, more than $5 million — in the form of grants, university scholarships, and musical instrument donations — have been awarded by the Latin GRAMMY Cultural Foundation to advance Latin music around the world.
Alex, Vicente and Alejandro Fernández perform at the 20th Latin GRAMMY Awards
KEVIN WINTER/GETTY IMAGES
ow celebrating 20 years, The Latin Recording Academy is dedicated to honoring and improving the quality of life and cultural condition for the international Latin music community.
GRAMMY Awards Process
GRAMMY honors the highest degree of musical excellence. The Recording Academy ensures the GRAMMY Awards process is impartial and reflects the evolving world of music. GRAMMY winners are revealed for the first time during the GRAMMY Awards Premiere Ceremony and the telecast.
84 Rules are reviewed and updated
Entries are submitted across 84 categories
Album Notes Historical Packages Remixed Recording Immersive Audio
Craft Committees determine final nominees
Composing/Arranging Engineering Producer Of The Year
Screening Committees organize entries into appropriate fields
General Field American Roots Childrenâ€™s Classical Contemporary Instrumental Country Dance/Electronic Gospel/CCM
Jazz Latin Music Video/Film New Age R&B Rap Rock World Music
Members vote on first-round ballot
Members vote on first-round ballot
Craft Committees determine final nominees
Nominations Review Committees determine final nominees
Members vote on final ballot
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Alternative Comedy Musical Theater Pop Reggae Spoken Word Traditional Pop Visual Media
Members vote on first-round ballot
RECORDING ACADEMY E X E C U T I V E S TA F F
Joel Katz General Counsel
Chief Financial Officer
Chief Digital Officer
Lourdes Lopez Patton
Vice President, Communications Chuck Ortner National Legal Counsel
Branden Chapman Executive In Charge of Production & Chief Business Development Officer
Chief Awards Officer
Senior Vice President, Partnerships & Business Development
Chief Information Officer
Deputy General Counsel
Daryl P. Friedman Rick Engdahl
Chief Industry, Government & Member Relations Officer
Deputy National Legal Counsel
Laura Segura Mueller Vice President, Membership & Industry Relations
Gary Smith Lead Client Service Partner, Deloitte & Touche
Vice President, Creative Services
Rosie Procopio Audit & Assurance Managing Director, Deloitte & Touche
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2020GRAMMYALBUM.COM A PORTION OF THE PROCEEDS BENEFIT THE MUSICARES FOUNDATION ® AND THE GRAMMY MUSEUM FOUNDATION ® G R AM M Y, G R AM M Y AWARDS AN D TH E G R AMOP HON E LOGO ARE REG ISTE RE D TR AD E MARKS OF TH E RECORD I NG ACAD E MY TM AN D ARE US E D U N D E R LICE NS E . PC 2020 TH E RECORD I NG ACAD E MY.
NATIONAL TRUSTEE OFFICERS AND TRUSTEES TRUSTEE OFFICERS
Harvey Mason Jr.
Terri Lyne Carrington
George J. Flanigen IV
Chair Of The Board
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NATIONAL TRUSTEE OFFICERS AND TRUSTEES TRUSTEES
John Driskell Hopkins
Leslie Ann Jones
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CONGRATULATIONS GRAMMY® WINNERS
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MAKER OF THE GRAMMY® FOR FORTY ONE YEARS
NATIONAL STAFF T H A N K Y O U T O T H E D E D I C AT E D S TA F F O F T H E R E C O R D I N G A C A D E M Y
Tracey Adlai Mazen Alawar Christee Albino Tera Allegri Jessica Allen Michael Almanza Stacy Anderson Lyn Aurelius Grace Baca Matthew Bango Gaige Barahona Kristen Baum Erin Baxter Asia Benson Kate Blair Elisabeth Boyd Bradford Bridgers Rachel Brodsky Ceora Brown Len Brown Nicole Brown Kiana Butler Jabangwe Ryan Butler Rory Burbeck Jim Cannella Michele Caplinger Jose Cardenas Jr. Jamieson Chandler Anthony Chanes Branden Chapman Christopher Chhoeun Joanna Chu Marta Clark Brian Clasby Uziel Colon Qiana Conley Kenny Cordova Andie Cox Laura Crawford Neil Crilly Nick Cucci Kelly Darr Yasmin de Soiza Ivan Diaz Jenny Dihn Maureen Droney Chrissy Dudash Todd Dupler Rick Engdahl Patricia Eredia
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Ashley Ernst Virginia Faddy Lisa Farris Rachel Fentz Juan Frausto Bill Freimuth Daryl P. Friedman Marlon Fuentes Jamie Garcia Lindsay Gingerich Jason Gino Lisa Goich-Andreadis Shonda Grant Brian Haack Shumetris Halford Ryan Hanson Tera Healy Anthony Helguera Shannon Herber Erica Hernandez Nate Hertweck Jon Hornyak Casey Immoor Sharon Ingram Frances Inomata Jeriel Johnson Justin Joseph Maurice Kalous Jane Kim Kristin Klimas Brian Klinsport David Konjoyan Leah LaRocco Katrina Lee Michael Lewan Claudine Little Jenna Lizerbram Lourdes Lopez Patton Lauren Loverde Brandon Lukoff Nora Luna Ricky Lyon Paul Madeira Shelly Maree Alan Matkovic Christen McFarland Ann Meckelborg Yeri Medina Joseph Melendez Hillary Melin
Daniel Mendoza Charles Lee Mills IV Christian Mitchell Miranda Eggleston Moore Alexis Mouer Laura Segura Mueller Sarah Mudler Jalyn Nelson Kiyumi Nishida John Ochoa Ralph J. Olivarez Todd Parker Arielly PeĂąalo Scott Petersen Jessica Pickett Brittany Presley Kelley Purcell Esperanza Ramirez Moises Ramirez Jamesina Rammelkamp Aubrie Reimerink Sean Riley Lewis Robertson Ashley Robinson Tricia Robinson Adriana Rodriguez Laura Rodriguez Yaritza Romero Adam Roth Rachel Ryding Stephen Salazar Luke Savage Mark Schulz Ashley Sheehan Lani Simmons Julie Smith Susan Stewart Kennelia Stradwick Rex Supa Ashley Thomas Jonathan Tol Jessica Toon Clay Upton Kevin Veiga Jennifer Velez Tanushree Verma Alina Vission Alicia Warwick Kali Weissman Tim Whalen
Courtney White Reid Wick Charlotte Williams Ashton Wilson Linda Wilvang Iman Woodley Candice Yang Ana Yglesias Betty Zabezhinsky Wayne Zahner
Electrolytes Nutrients Coconut Goodness.
M USI CARE S
MUSICARES BOARD OF DIRECTORS
Honorary Chair John Branca Chair Steve Boom Vice Chair Ambrosia Healy
Vice President, Health & Human Services
Vice President, Events & Fundraising
LATIN RECORDING ACADEMY BOARD OF TRUSTEES EXECUTIVE COMMITTEE Davina Aryeh
Chief Marketing Officer
Secretary/Treasurer Jeffrey Harleston
Treasurer Javier Aguirre
Chief Awards, Membership & Preservation Officer
Vice President, Communications
Vice President, Finance
LATIN R ECOR DING ACADEMY
Angela Bilkic Danielle Bowker Brett Bryngelson Stefanie Curtiss Ryan Donahue Shireen Janti Erica Krusen Hannah Kulis Jennifer Leff Harold Owens Anita Ramsarup Ana Serrato Roger Tang Wynnie Wynn
Senior Vice President, Awards
Gabriel Abaroa Jr. President/CEO
Chief Operating Officer
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Chair Emerita Laura Tesoriero Trustees Christine Albert Carlos Alvarez Luis Alvarez-Fiol Luis Balaguer Eduardo Bergallo Paty Cantú Carla Estrada Alexandra Lioutikoff Harvey Mason Jr. Rafa Sardina Manuel Tejada Eduardo Weise Legal Counsel Jorge Hernandez-Toraño Joel Katz Bobby Rosenbloum
Vice Chair Eva Cebrián Secretary Aloysio Reis
Chair Emeritus Michael McDonald Christine Albert Jody Gerson Ali Harnell James Higa Tamara Hrivnak Jeff Jones Mike Knobloch Rob Light Carianne Marshall Harvey Mason Jr. Kirdis Postelle Andie Simon
Chair Eduardo Hütt
Diana Alvarado Alejandria Artiles Karine Bello Livys Cerna Berenice Diaz Melanie Galarce Adriano Haubenthal Andrés López Caitlin Marino Eddaliz Martínez Andres Mendez Ixamar Patiño Laura Pieretti Grace Santa-Ana Claudia Santos Justin Tejada Angelica Veliz Victoria Villegas
LATIN GRAMMY CULTURAL FOUNDATION EXECUTIVE STAFF
Gabriel Abaroa Jr. President
Senior Vice President
Becky Villaescusa Vice President, Strategic Planning & Corporate Development
Chief Operating Officer
STAFF Kevin Forte Coralys Julian Nannette Vélez
Chief Financial Officer
LATIN GRAMMY CULTURAL FOUNDATION BOARD OF DIRECTORS Chair Luis Cobos Secretary/Treasurer Raúl Vázquez Director Gabriel Abaroa Jr. Director Mireya Cisneros
GRAMMY M U SE UM EXECUTIVE STAFF
Michael Sticka President
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Ben Moore Hillary Morimoto John Morrison Wendy Murphy Julie Mutnansky Kaitlyn Nader Schyler O’Neal Maria Pacheco Vivek Paul Karla Perez Michael Rohrbacher Melissa Ruiz Pablo Saldana Rosalie Sanchez Adriana Saragosa Bryan Schiller David Sears Lynne Sheridan Derek Spencer Stacie Takaoka Christian Tejero Melissa Tincopa Nick Vega Victor Villalobos Kevin Yang
Mattie McFadden-Lawson Carolyn Powers Brian Sheth
GRAMMY MUSEUM FOUNDATION BOARD OF DIRECTORS
GRAMMY MUSEUM MISSISSIPPI BOARD OF DIRECTORS
Vice Chair Dan Beckerman
President Becky Nowell
Treasurer Michal Katz
Vice President Sen. Willie Simmons
Secretary Charles Ortner
Treasurer Jim Tims
Assistant Secretary Ted Fikre
Assistant Treasurer Eddie Guillot
G RA MM Y MUS EU M MI S S I S S I PPI EXECUTIVE STAFF
STAFF Chace Holland Brittany McClendon Jack McWilliams
Founding Executive Director
STAFF Alejandra Aceves Kelsey Balch Jerome Buszek Shaun Carter Jonathan Castellanos Kevin Choto Ali Courtemanche Ana Estrada Hilary Fahlsing Loren Fishbein Eric Forcen Erlin Frausto Sergio Galvez Pablo Garces Kelsey Goelz Scott Goldman Cynthia Gomez Ivan Gomez Benjamin Guzman Kristen Jennings Kimber Kristy LeeAnn Leon Daniel Lopez Jasmine Lywen-Dill LaShon Malone
Pamela Alexander John Branca Tim Bucher John Burk Branden Chapman Ken Ehrlich Giselle Fernandez Todd Goldstein Brian Hoesterey Jimmy Jam Joel Katz Andra Liemandt Terry Lickona Jay Marciano Harvey Mason Jr.
Secretary Wilma Wilbanks Victor Byas Will Hooker Craig Ray Nan Sanders Bill Simmons Myrtis Tabb Jim Trotter Tricia Walker Amy Whitten Bennie Wright
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savethechildren.org/change | #changealife CHANGING A LIFE LASTS A LIFETIME
Photo: Carlo Gabuco
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CHAPTER BOARDS AND STAFF E AST RE GIO N
Senior Director Tera Healy
Senior Project & Production Manager Ashley Sheehan
Administrative Assistant Arielly A. Peñalo
Administrative Assistant, East Region/New York Chapter Kristen Baum
Linda Lorence Critelli
Brian Deck Jonathan McReynolds Justin Roberts
President J. Ivy
Vice President Dani Deahl
Secretary Jeffrey Becker
Ryan Argast Andrew Barber Alex E. Chávez Alison Chesley Shemekia Copeland Mark Hubbard Daryl Jones Lisa Kaplan Cedric LeMoyne Clara Lyon Elaine Martone Tomeka Reid David Roberts Rob Sevier Stephen Shirk David Skidmore Twista Susan Voelz Anita Wilson Jamila Woods
Greg Cahill Matt Troja
CHAPTER STAFF Senior Executive Director Sarah Jansen
Senior Membership Manager Maurice Kalous
Project Manager Kristin Klimas 170 - 62nd Annual GRAMMY Awards
Terri Lyne Carrington Samantha Cox Emily Lazar Jeff Levenson Riggs Morales Richard Stumpf
Linda Lorence Critelli
Vice President John Doelp
Secretary Erika Elliott
Ivan Barias Terry Jones
Carlos Chirinos Mary Megan Peer
Kristal “Tytewriter” Oliver
Yasmin de Soiza
Ben Allison Administrative Nabil Ayers Operations Nikisha Bailey Stacy M. Anderson Richard Barone Jennifer Blakeman Torae Carr Joe D’Ambrosio Jamie Dominguez Jerry “Wonda” Duplessis Tom Elmhirst Sean Patrick Flahaven David Frost David “Swagg R’ Celious” Harris Ingrid Jensen Tracey Jordan Angélique Kidjo Juan Losada Ann Mincieli Martha Mooke Mireya Ramos Kim Rosen Jenna Rubenstein Catherine Russell Ayelet Schiffman Falguni “Falu” Shah Kathy Sommer Ebonie Smith Sharon Tapper Judy Tint Miguel Zenon
Marcus Baylor Mitch Beer Jason Berger Kaisha Blackstone Randy Bowland Matt Cappy Andrea Clearfield Donn T Paul “Starkey” Geissinger Lori Landew Chill Moody Ryan Moys Carol Riddick Deidre Robinson Ashley Scott Dana Sorey Laurin Talese Dan “Dilemma” Thomas Dyana Williams
Brian Atkins Aalyah Duncan
CHAPTER STAFF Senior Executive Director Mark Schulz
Senior Membership & Project Manager Ashley Thomas
Tracy Hamlin Kokayi Von Vargas Elise Perry
Secretary Priscilla Clarke
9th Wonder Diane Blagman Wayne Bruce Ferddy Calderon Alexandria Davila DJ Thommy Davis Brandon Felder Dom Flemons Angie Gates JJ Hairston Tracey Lee Dan Merceruio Pete Reiniger Vincent Richardson Aramide Sarumoh Michelle Shellers Wayna Tamara Wellons Maimouna “Mumu Fresh” Youssef
Anshia Crooms Dr. Kate Moran
CHAPTER STAFF Executive Director Jeriel A. Johnson
Membership & Project Manager Sharon Ingram
Congratulations To All The GRAMMYÂ® Award Nominees and Winners!
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CHAPTER BOARDS AND STAFF SO UTH RE GION
Senior Director Susan Stewart
Senior Project & Production Manager Lyn Aurelius
Manager, Administrative Operations Ashley Ernst
Administrative Assistant, South Region/Nashville Chapter Chris Phengsisomboun
John Driskell Hopkins Matt Still
Lee Levin Rico Love Jorge Mejia
Secretary Ian Schumacher
Martina Albano David Barbe Michael Burton Brandon Bush Chantae Cann Bryan-Michael Cox Kennard Garrett Traci Hale Henny Tha Bizness Thom “TK” Kidd Shay M. Lawson Kevin Leahy Melissa Love Crystal Nicole Jason Reddick Mike Rizzi Greggory Smith Ben Tanner Simone Torres Shar White
Veronica “Milcho” Milchorena
Secretary Marianne Mijares
Scott Billington Ken Shepherd
Vice President Vicki Loveland
Secretary Pat Mitchell Worley
Carlos Alvarez Maria Elisa Ayerbe Julio Bagué Chad Bernstein Rodrigo Cardenas Beth Cohen Nicole Henry Jon FX Monica Jordan Joey Mercado Teedra Moses Ms. Meka Nism George Noriega Natalia Ramirez Lauren “Lolo” Reskin Ana Rosa Santiago Jon Secada Walshy Fire Betty Wright
Sean Ardoin Erin Bode Chris Finney Erin Frankenheimer Burns Catrina Guttery Tim Kappel John Paul Keith Kirby Yvette Landry Shannon McNally Oona Mitchell-Bean PJ Morton Carl Nappa Halley Phillips Jeff Powell Matt Ross-Spang Terrance Simien Tyke T Gebre Waddell Kirk Whalum
DJ Buddha Manu Manzo
Cannon Kent-Grant David Lowery
Senior Executive Director
Michele Rhea Caplinger
Senior Membership & Project Manager Erin Baxter
CHAPTER STAFF Kenny Cordova
Senior Membership Manager Marta Clark
Senior Project Manager Jessica Allen
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Alicia Cotabish Doug Williams
CHAPTER STAFF Senior Executive Director Jon Hornyak
Senior Membership & Project Manager Reid Wick
Trey Fanjoy George J. Flanigen IV Fletcher Foster Tracy Gershon Shannon Sanders
Vice President Phil Thornton
Secretary Tree Paine
Chuck Ainlay Ruby Amanfu Jeff Balding Alison Brown Nathan Chapman Brandy Clark Barry Dean Leslie DiPiero Garth Fundis Shani Gandhi Ben Glover Jordan Hamlin Dave Haywood Daniel Hill Beverly Keel Chandra LaPlume Frank Liddell Matt Maher Darin Murphy Jason Owen Vance Powell Leslie Richter Leslie Roberts Liz Rose Steve Schnur Jon Randall Stewart Jimi Westbrook Kristin Wilkinson
Kevin Kadish Michael Martin
Project Manager Courtney White
Administrative Assistant Mike Kepler
Congratulations for ! Ventura, CA VisitVenturaCA.com
CHAPTER BOARDS AND STAFF WE ST RE GIO N
Senior Director Neil Crilly
Project Manager Jessica Pickett
Administrative Coordinator Luke Savage
Administrative Assistant, West Region/Los Angeles Chapter Patricia Eredia
Claudia Brant Darrell Brown John Burk Lalah Hathaway Om’Mas Keith Mike Knobloch Julia Michels
Vice President Cheryl Pawelski
Secretary Jeff Greenberg
Cheche Alara Peter Asher Edie Lehmann Boddicker Deana Carter Larrance “Rance” Dopson Lynne Earls Maria Egan Lynn Grossman Sarah Hudson Ledisi John Legend MarcLo Manny Marroquin Carianne Marshall Maureen “Mozella” McDonald Loretta Muñoz Linda Perry Julie Pilat Nicole Plantin Lindsay Rothschild Dana Sano Rafa Sardina Ryan Shore Rachel Stilwell Christopher Tin Beka Tischker Justin Tranter Jonathan Yip
Bernie Cahill Moya Nkruma
CHAPTER STAFF Executive Director
Senior Manager, Chapter Administrative Operations Nicole Brown
Membership Manager Brittany Presley
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Sue Ennis SassyBlack
Leslie Ann Jones Piper Payne Michael Romanowski
Dave Gross Eric Lilavois
David Messier Tim Palmer Paul Wall Yolanda Adams
Kenya Autie Nahuel Bronzini Tony Brooke Juan-Manuel Caipo Ariane Cap Cory Cullinan Michael Denten Anna Frick McKay Garner Iamsu! Michelle Jacques Jumbo Justin Lieberman Lyz Luke Cava Menzies Anton Patzner Freya Seeburger Mads Tolling Judy Tsang Christopher Verdugo
Jen Czeisler André Anjos Jody Brotman Madeline Dowling Amy Dragon Elena Dubinets Astra Elane Adam Gonsalves Ryan Hadlock Andrew Joslyn D’Vonne Lewis Dmitriy Lipay Sharlese Metcalf Kimié Miner Whitney Mongé Jovino Santos Neto Christopher Porter Andy Stokes Andy Stoller Amber Sweeney Michael Wansley Sylvia Massy Darek Mazzone
CHAPTER STAFF Executive Director Jessica Toon
Sarah Jones Michael Prommer
Senior Project Manager
Chip Adams Rodney Alejandro Carlos Alvarez Dwight Baker Chris Bell Bun B Ernest Gonzales Taylor Hanson Jack Ingram Erin Ivey Danny Jones Caren Kelleher Lisa Morales Tre Nagella Edwardo Perez Heather Wagner Reed Chris Shaw Tami Thomsen Kelly Willis Brian Courtney Wilson Bruce Kalmick Randy Rogers
Executive Director Christee Albino
Project Manager Rory Burbeck
James B. Conkling
Acting National Chairman 1957–1961
Robert L. Yorke
John Scott Trotter
F.M. Scott III
Mort L. Nasatir
Wesley H. Rose
Jay L. Cooper
J. William Denny
Jay S. Lowy
Joel A. Katz
Leslie Ann Jones
Chairman/President 1981–1983, Chairman 1989-1991
Jimmy Jam Chair 2007–2009
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George J. Flanigen IV Chair 2009–2013
DROP THE MIC
THE WINNERS CHOICE
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IN MEMORIAM Ed Ackerson
Gerald “Jerry” Blum
Werner Andreas Albert
Mary Ellen Cataneo
Dave “Bookie” Bookman
Leo de Castro
Mary Lyerly Alexander
Shirley Foley Boone
Philippe “Zdar” Cerboneschi
Eva de la O
Jack de Mello
Freedum Allah aka Popa Wu
Padú del Caribe
Jo-An Anderson Fox
José Mário Branco
James Barney “J.R.” Cobb Jr.
Baby Jane Dexter
Morris I. Diamond
Ermias Asghedom aka Nipsey Hussle
Jobina “JB” Brown
Earl Thomas Conley
William F. Brown
Ubirajara Penacho dos Reis aka Bira
Mike Belkin Sr.
Sérgio Augusto “Serguei” Bustamante
Jeff Austin Paul Badura-Skoda Ginger Baker Kaye Ballard Scott Ballew Charles Barksdale Katreese Barnes Paul Barrere Vanessa Gail Barryer Dave Bartholomew Arthur Baysting
Roger Covell Ed Cray
Pamela Dowsett Tom Draper Norman Druce José Pablo Dueñas Herrera Todd Duke Gary Duncan Malcolm “Molly” Duncan Jim Dunlop Sr. Eddie Duran
Chauncey “Chick” Crumpacker
Fabior “Fabio XB” Carrara
Jim Cullum Jr.
Ronen Dahan aka DJ Perplex
LaShawn “Big Shiz” Daniels
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Roger O. Hirson
Ameer Golston aka Hellabandz
Rowland “Boon” Gould
Ange Didier Huon aka DJ Arafat
Richard “Slyde” Hyde
Dalibor Andonov Gru
George “G.G.” Guidotti
Choi Jin-ri aka Sulli
Blaine Johnson aka Cadet
Eric “Vicious” Johnson
Derrick Harris aka Sleezy D
Kent “Boogaloo” Harris
Kylie Rae Harris
Leigh “L’il Queenie” Harris
Nancy Carol Lewis Jones
“Keystone Freddie” Herrera
Amar Herron aka DJ Amar
Jarad Anthony Higgins aka Juice WRLD
Bibi Ferreira Alvin Fielder Antwon Fields aka Lil Mister Stephen Fitzpatrick Joe Flannery Keith Flint Joseph Flummerfelt Eric Fly Peter Fonda Jerry Foran Willie Ford Hugh Fordin Fred Foster Walter Franco Bob Frank Jay Frank Robert Frank Clyde Franklin Kelly Fraser Stuart “Chet” Fraser Manuel Frattini Marie Fredriksson Janice Freeman Robert Freeman Kevin Fret Donnie Fritts Leyna Gabriele Sarah Gaines Phran Galante Bobby Gale Nature Ganganbaigal Joana Sainz Garcia Russ Gibb Ian Gibbons Julie Gibson Michael Gielen João Gilberto Andy Gill Richard Gillis Marcello Giordani Henry “Gip” Gipson Ira Gitler Chuck Glaser Jim Glaser
John Goodson Kadri Gopalnath Fitzroy Gordon Arnold Gosewich Karel Gott
Lew Klein Jan Erik Kongshaug Phillip Kovac Kiyoshi Koyama Terry Allen Kramer Paul Krassner Alan Krueger Rosemary Kuhlmann Harry Kupfer Marta Kurtag Danny Kustow Chuck La Vallee Audun Laading Sleepy LaBeef Marie Laforêt Ida Laila Dick Laird Eddie Lambert Tim Landers Dominique Lawalrée Maury Laws Calvin Lawson Jerry Lawson Friedemann Layer Shelley Lazar Roberto Leal Lawrence Leathers Mike Ledbetter M. Owen Lee Legarda Michel Legrand Gary LeMel Raymond Leppard Milcho Leviev Ricardo Lewis aka Cutty Cartel
62nd Annual GRAMMY Awards - 179
IN MEMORIAM Yao Li
Troy Leen “Renfro” Proffitt
Carrigan Chet Shields
Gregory Shorter aka Ras G
Jo Sullivan Loesser
Oliver “Tuku” Mtukudzi Todd “Todd-1” Muhammad
Malcolm Rebennack Jr. aka Dr. John
Pastor López Damas “Fanfan” Louis
Adam Neat aka DJ Adam Sky
Ivan “Ivica” Maksimović
J.H. Kwabena Nketia
Robert “Bob” James Mather
Truett Foster McKeehan
Shawn Perry aka DJ Kaos
Akeem Mickens aka Tech 9
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Les Reed Jack Renner Billy Ray Reynolds Noel Rice Emil Richards Simon Rick Frederic Riesterer Dave Riley Anthony Ríos Steve Ripley Jim Rissmiller María Rivas Elliot Roberts Alan Rogan Sara Romweber Aaron Rosand Jay Rosenthal Christopher Rouse Raeanne Rubenstein Peter Rüchel
Jeff Silberman Lonnie Simmons Tara Simmons Bill Sims Jr. Laurent Sinclair Paul “Lil Buck” Sinegal Robert L. Siner John Singleton Joseph Sirola Andy Skopes Alan Smith Andrew “Greedy” Smith Joe Smith Russell Smith Shawn Smith Dick Sommers Giannis Spanos Jimmy Spicer Francis Sprangler Libi Staiger
Jamarr Antonio Stamps aka Bad Azz
Jahquar Stewart aka Bvlly
Eric LaJuan Summers
Edward Montre Seay aka Tre Da Kid
Nolton Semien Sergio Serrano Navarro Camilo Sesto Whitey Shafer
Stephen Swid Sanford Sylvan Roslaw Szaybo Erzsébet Szőnyi Norma Tanega
Larry “The Mole” Taylor
Saburo “Sab” Watanabe
Eddie Taylor Jr.
Marcos A. Urbay
Beverly “Guitar” Watkins
Armando Vega Gil
Rita Vidaurri aka La Calandria
Ezra Weah aka Bankroll Gambino
Jacob Tyler Thureson aka Hella Sketchy
Roland Von Kurnatowski
Charity “Sunshine” Tillemann-Dick
Leslie André Wakefield Jr. aka DJ Official
Gerald “Buddie” Tiller
Mina Mazy Topley-Bird
Mary Ann Topper
Juan Vicente Torrealba
Maggie Lewis Warwick
John Witherspoon Nicky Wonder Jimmy Work Wowaka Sol Yaged
Kyle Yorlets Izzy Young
Irv Williams John Gary Williams Roger Williams
Hans Zender (List through Jan. 7, 2020)
TU BLOOM www.tubloom.com
“Congratulations Ken, on 40 years of GRAMMY® excellence.” – Music Mix Mobile, LLC
“Thank you, Ken, for all the wonderful GRAMMY® moments and your commitment to the music and the artists.” – William Hadley and the TPT Team, The Production Truck
“Thanks for the wild ride, Ken! We’ve enjoyed every minute!” – ATK Audiotek
“Congratulations on your many years of success. You are an inspiration to all of us.” – Jon Aroesty, Playback Innovations
“Congratulations on 40 Years of producing excellence and innovation.” – Kish Rigging
“Congratulations on your Trustee Award! Thank you for all of the Great GRAMMY® Memories!” – DENALI NEP
“It has been an honor and pleasure to work with you on the GRAMMYs® for the past several years. Thanks for taking us along for the ride and giving us the opportunity to work on some truly memorable shows.” – Cue Tech Teleprompting
“Ken, Thank you for all the years that we had the pleasure of being around a great man and for producing some of the worlds music highlights” – Felix Torres, TMSCORPRO
“Thank you for all the years and memories of working together. Your trust in our services was a flagship to the live television community and will forever be appreciated.” – Russell & Candace Saunders, Saunders Electric
“Thank you Kenny, Kenn for creating so many unforgettable opportunities for us over the last 40 years!” – Tom Holmes
“Thank you Ken for 40 years of Great Television and Music!” – Garry Hood
“The countdown is just one of a thousand favorite memories. Thank you for your generosity and gift of music and production to the world.” – Ron Drews, Sweetwater
“You have always been about the music. I can’t imagine a GRAMMY Awards® show without you.” – Ken Rose, AFMLA
Your Very Own
Congratulations GRAMMY Awards Executive Producer
Ken Ehrlich on 40 years of guiding Music’s Biggest Night
184 - 62nd Annual GRAMMY Awards
Ken Ehrlich, who pioneered the GRAMMY Moment — unique musical performances not seen on any other stage, which began when he brought Neil Diamond and Barbra Streisand together for an unforgettable GRAMMY duet in 1980 — celebrates four decades with the GRAMMYs this year. And the Academy is honoring Ken with a Trustees Award, which recognizes significant contributions to the music community. Congratulations Ken, and thank you for 40 years of amazing GRAMMY telecasts and numerous specials that have set the standard for live event television.
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62nd Annual GRAMMY Awards - 185
“ I c a n ’ t u n de r sta n d w h y p eop l e ar e f r i g hte n e d o f n e w i de a s . I ’ m f r i g hte n e d o f the old on es . ” - Jo h n Ca g e
Congratulations to all the Grammy ®-nominated creators who continue to push music forward. From your friends at
C O N G R AT U L AT I O NS TO A L L O F OUR NOMINEES