Grammys
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All Grammys count the same toward someone’s career Grammy total, but we all know they’re not really on an equal footing. Every media outlet on Earth will report the winners of album of the year and record of the year next Feb. 5, but good luck trying to find out who won best regional roots music album (we’ll have it, of course).
Some categories are far more competitive than others. There are more than 20 times as many entries in this year’s most populated category, song of the year (686), as in this year’s least populated category, best opera recording (30). (More than 22 times, actually, but I didn’t want to sound too nerdy.)
Since final-round voting for the 65th Grammy Awards opened Thursday, Grammy voters have been conscientiously wading through the entry lists for 85 of the 91 Grammy categories. (Or so Academy leaders fervently hope.) The nominees in the other six categories are determined by committees.
Voters may find some surprises as they study the entry lists. The number of entries in each of the Big Four categories dropped significantly compared to last year, perhaps due to the Academy’s new policy of charging a fee for entries beyond five “courtesy entries.”
There are 619 entries for record of the year, down from 1,172 last year; 518 entries for album of the year, down from 837; 686 entries for song of the year, down from 1,163; and 368 entries for best new artist, down from 463.
This is actually a positive trend. The entry lists were far too long. It’s asking too much of busy people to expect them to diligently wade through a list of 1,172 entries – and that was just for one category!
Here’s the new rule, and the rationale behind it, taken from the 65th Grammy Awards rules and guidelines booklet: “The per-entry fee structure encourages entrants to consider the value of each entry and make mindful decisions to put forward work that they truly believe is Grammy-worthy. All professional and voting members of the Recording Academy will receive five courtesy entries every year. Any member who would feel burdened by the entry fees can request the fees be waived by reaching out to the awards department.”
In other surprises, best music video has more entries (661) than all but one category (song of the year). Given how competitive it is, this should really regarded as one of the top awards, but it’s tucked away in the music/video film field, not in the general field (usually called the Big Four).
There are nearly five times as many entries for best score soundtrack for visual media (including film and television) (250) as there are for best compilation soundtrack for visual media (51).
The most populated songwriting category (outside of song of the year) is best American roots song (333). Country, though generally thought of as a songwriter-driven genre, lags behind all other genres with 128 entries.
Here are all songwriting categories, ranked from most to least number of entries this year: song of the year (686), best American roots song (333), best rock song (300), best rap song (219), best R&B song (218), best contemporary Christian music performance/song (172), best song written for visual media (154), best gospel performance/song (134) and best country song (128).
All five of the categories that were added this year had a healthy number of entries. There are 270 entries for best alternative music performance, 226 for best Americana performance, 84 for best spoken word poetry album, 71 for best score soundtrack for video games and other interactive media and 62 for songwriter of the year, non-classical.
The number of entries for songwriter of the year, non-classical is only about one-quarter of the number of entries for producer of the year, non-classical (214), probably because of the new category’s restrictive rules, which were intended to put the focus on songwriters who are not also artists or producers.
The Recording Academy keeps track of the number of entries in each category. Here’s the relevant rule from the rules and guidelines booklet: “Each category shall have at least 40 distinct artist entries. If a category receives between 25 and 39 entries, only three recordings will receive nominations in that year.” That’s the case for both best opera recording, which as noted above, had 30 entries this year, and best choral performance, which had 35.
The rules further state: “Should there be fewer than 25 entries in a category, that category will immediately go on hiatus for the current year – no award given – and entries will be screened into the next most logical category. If a category received fewer than 25 entries for three consecutive years, the category will be discontinued, and submissions will be entered in the next most appropriate category.” (That doesn’t apply to any categories this year.)
If you’re curious, the six categories where the nominations are determined by committees, rather than by voters at large, are all four categories in the package, notes and historical field (best recording package, best boxed/special/limited edition, best album notes, best historical album) and two categories in the production field (best remixed recording, best immersive audio album).
First-round voting continues through Oct. 23. Nominees will be announced on Nov. 15. Final-round voting runs from Dec. 14 to Jan. 4, 2023. The winners will be revealed at the 65th annual Grammy Awards on Feb. 5, 2023.
Here are the categories with most and least entries.
Categories with the most entries
(in descending order)
Song of the year, 686
Best music video, 661
Record of the year, 619
Album of the year, 518
Best new artist, 368
Best rock performance, 350
Best American roots song, 333
Best instrumental composition, 321
Best arrangement, instruments and vocals, 318
Best pop solo performance, 309
Best rock song, 300
Best improvised jazz solo, 284
Best American roots performance, 283
Best engineered album, non-classical, 282
Best global music performance, 280
Categories with the fewest entries
(in ascending order)
Best opera recording, 30
Best choral performance, 35
Best regional roots music album, 40
Best música urbana album, 41
Best large jazz ensemble album, 41
Best musical theater album, 42
Best country duo/group performance, 44
Best roots gospel album, 47
Best bluegrass album, 48
Best compilation soundtrack for visual media, 51
Best gospel album, 54
Best Latin rock or alternative album, 56
Best Latin jazz album, 56
Best tropical Latin album, 58
Best classical solo vocal album, 60
Nicki Minaj has called out The Recording Academy for switching her hit “Super Freaky Girl” out of the Grammy Awards’ rap category, and into pop, a decision she reckons is a contradiction, and part of a broader agenda to celebrate rising rap artists over veterans.
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Earlier this week, Billboard’s sister title The Hollywood Reporter disclosed the Grammys change-up, despite “Super Freaky Girl” logging its eighth week on top of Billboard’s Hot Rap Songs chart.
Minaj’s team submitted the track to the rap categories at the Grammys, but the decision was overturned by the Recording Academy’s rap committee, a source told THR.
The Trinidadian star addressed the situation in a series of tweets, and went deeper still in a 17-minute rant posted on social media.
“’Super Freaky Girl’ was removed from the rap category, we found out today in the Grammy submission. ‘Super Freaky Girl,’ where I only rapped on the song, was removed out of the rap categories at the Grammys, right. And put it in pop,” she explains.
It should be noted that MC Hammer also sampled Rick James’ “Super Freak” for “U Can’t Touch This,” which won the best rap solo performance Grammy back in 1991.
Drake’s “Hotline Bling,” however, in 2017, took out best rap song and best rap/sung collaboration, she points out, though even Drake himself admitted it was a pop number.
On the flip side, Minaj wants the same rules applied to Latto’s pop leaning “Big Energy”.
“Now, let’s say that ‘Super Freaky Girl’ is a pop song. Let’s just say that, right. What is ‘Big Energy?’ If ‘Super Freaky Girl’ is a pop song, what song is ‘Big Energy.’ What genre is ‘Big Energy?’
Suggesting she’s been hard done by, Minaj continued, “If you know something is unfair as an artist, speak on that shit. Drake could’ve just let that shit slide and added it to his collection, but he spoke up.”
If you move “Super Freaky Girl” out of rap and “put it in pop,” she adds, “do the same for ‘Big Energy’. Same producers on both songs, by the way. So let’s keep shit fair.”
Minaj’s “Super Freaky Girl” was a mainstream hit, blasting to No. 1 on the Billboard Hot 100 in August. Its shift into the pop frame, or “moving the goal post,” she says, is part of a process to “uplift the people who they want to shine, the people who these corporate giants can make the money off of the people, control things behind the scenes, they have to elevate someone that they profit off.”
Minaj also issued a warning, claiming unnamed power players had an agenda that would eventually upend diversity in hip-hop.
“If you can’t tell by now that there is a concerted effort to give newer artists things that they really don’t deserve, over people who have been deserving for many years, then you’re not paying attention. And soon female rap will really not have any black women. If you pay attention, you’ll see, you’ll understand.”
The Recording Academy doesn’t reveal reasons when its screening committees relocate tracks into categories other than those that eligible recordings were submitted in, THR notes. The general ballot, which can include thousands of submissions in a single category, isn’t released to the public.
Despite it all, Minaj insists she’s still the queen of rap.
“I know one thing,” she says, “even when I’m rapping on a pop track, I still out-rap.”
The list of 62 songwriters or songwriting teams that are vying for the newly created Grammy Award for songwriter of the year, non-classical includes such major names as Desmond Child, James Fauntleroy, Natalie Hemby, Hillary Lindsey, Shane McAnally, Julia Michaels and Justin Tranter.
It also includes some surprises. The-Dream, who had a pair of top five albums on the Billboard 200 in 2009-10, and Michael Wilson Hardy, who records as HARDY, are both eligible. This award was specifically designed to celebrate songwriters who primarily write for other artists, rather than songwriters who are also artists or producers.
So how did they make the list? The-Dream’s entered work this year focused on his work as a songwriter for Beyoncé, Brent Fayiaz and Pusha T. Hardy’s entries include songs for such artists as Blake Shelton and Brantley Gilbert featuring Jason Aldean. HARDY is featured as an artist on only one of his entries (Cole Swindell’s “Down to the Bar”).
One songwriting team is entered – Denisia “Blue June” Andrews and Brittany “Chi” Coney, who comprise the record production and songwriting duo Nova Wav. They submitted songs that they wrote for Mary J. Blige and Beyoncé.
The eligibility list includes nine Grammy winners – The-Dream (five awards), Fauntleroy (four), Jason Ingram (three), Lindsey (three), McAnally (three), Hemby (two), David Leonard (two), Jonathan Smith (two), and Edgar Barrera (one).
Most of the eligible songwriters submitted credits reflecting work with multiple artists, to show their range. But three of the writers show credits with just one artist — Steve Cooper (The Group Fire), Ed Miranti (Vischious Fishious), and Adam Garzilli (Adam King).
Four of Ryan Hurd’s submitted credits are for songs he wrote for his wife, Maren Morris, but he also has a credit for Jordan Davis. Most of Jozzy’s credits are for work with Latto, though the writer also has a credit for Beyoncé.
Lauren Christy is entered with songs she wrote for such artists as Korn and Jenn Bostic. Christy was nominated for producer of the year (non-classical) in 2003 as part of The Matrix (along with Graham Edwards and Scott Spock).
This new category is analogous to producer of the year, non-classical, which was introduced in 1974. Thom Bell, one of the architects of the Philadelphia soul sound, was the first winner in that category. The Recording Academy should be so lucky to have as esteemed a first winner in this category.
First-round voting in this and all Grammy categories began on Thursday (Oct. 13) and continues through Oct. 23. Nominees will be announced on Nov. 15. Final-round voting runs from Dec. 14 to Jan. 4, 2023. The winners will be revealed at the 65th annual Grammy Awards on Feb. 5, 2023.
Here are the 62 songwriters who are in the running for songwriter of the year. They are listed in alphabetical order.
Sarah Aarons
Andy Albert
Amy Allen
Denisia “Blu June” Andrews and Brittany “Chi” Coney (of Nova Wav)
Edgar Barrera
Evan Kidd Bogart
Nija Charles
Desmond Child
Lauren Christy
Steve Cooper
Kat Dahlia
Sean Douglas
Tom Douglas
Ed Miranti
James Fauntleroy
Omer Fedi
Douglas Ford
James Aaron Foster
Edgar Galeano
Adam Garzilli
Natalie Nicole Gilbert
Andrew Goldstein
Ashley Gorley
Michael Wilson Hardy
Joyce V Harrison
Scott Harris
Natalie Hemby
Cory Henry
Jacob “Jkash” Hindlin
Sarah Hudson
Ethan Hulse
Ryan Hurd
Jason Ingram
Ink
Tobias Jesso Jr.
Steph Jones
Jozzy
David Leonard
Hillary Lindsey
Natalie Litza
Marcus Lomax
Madison Love
Shane McAnally
Chase McGill
Julia Michaels
Kayla Morrison
Michael Pollack
Elena Rose
Tia Scola
Shekinah Grace Moyes
Jonathan Smith
Skyler Stonestreet
Ali Tamposi
The-Dream
Theron Thomas
Jake Torrey
Justin Tranter
Laura Veltz
Billy Walsh
Besy Walter
Emily Warren
Victoria “Ryann” Zaro
Nicki Minaj’s “Super Freaky Girl” is spending its eighth week on top of Billboard’s Hot Rap Songs chart, but at the Grammys, the song will compete in the pop category.
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Minaj originally submitted the track — which debuted at No. 1 on the Billboard Hot 100 in August — to the rap categories at the Grammys, but the decision was overturned by the Recording Academy’s rap committee, according to a source. That group determined that Minaj’s playful and pop-sounding song sampling Rick James’ 1981 classic “Super Freak” should compete for best pop solo performance instead of rap awards.
Representatives for Minaj and The Recording Academy did not immediately reply to The Hollywood Reporter‘s emails seeking comment. Nominees for the 2023 Grammys will be announced on Nov. 15, and the live telecast will air on Feb. 5, 2023, on CBS. Voting for the first round of nominees begins Thursday and ends on Oct. 23.
Minaj has released a number of pop and hip-hop hits throughout the years that feature her rapping or singing — sometimes both on the same track. Her debut solo single, 2010’s “Your Love,” was pop-adjacent with its sample of Annie Lennox’s 1995 cover version of “No More I Love You’s,” and Minaj has released other pop-heavy songs like “Super Bass” and “Starships,” which Hot 97 radio host Peter Rosenberg famously dubbed “not real hip-hop” and caused Minaj to pull out of the station’s annual Summer Jam concert.
But of Minaj’s 10 Grammy nominations, she’s only competed in pop once — for best pop duo/group performance with “Bang Bang” alongside Ariana Grande and Jessie J. The majority of her Grammy nominations have been in rap, including best rap album for Pink Friday and The Pinkprint, best rap song for “Anaconda,” and best rap performance for “Moment 4 Life” and “Truffle Butter.”
“Super Freaky Girl” is in similar company to Lizzo’s “Truth Hurts”: The singer-rapper’s breakthrough track topped Hot Rap Songs for 13 weeks and eventually led the all-genre Hot 100 chart for seven weeks but it didn’t compete in the rap categories at the Grammys. Instead, it was nominated — and won — best pop solo performance at the 2020 show.
Other songs that feature rap elements that have competed for best pop solo performance include Doja Cat’s “Say So,” which includes her singing and rapping, and Post Malone’s “Better Now,” which meshes hip-hop, alternative and pop sounds.
Collaborative songs that topped Billboard’s rap chart but competed for best pop duo/group performance at the Grammys include Iggy Azalea and Charli XCX’s “Fancy,” Wiz Khalifa and Charlie Puth’s “See You Again,” and Lil Nas X and Billy Ray Cyrus’ “Old Town Road,” which won the honor in 2020.
Macklemore & Ryan Lewis were originally kicked out of the rap Grammys when the duo had a breakthrough with the hits “Thrift Shop” and “Can’t Hold Us” at the 2014 show. But that decision was later overturned — and heavily criticized — when the group swept the rap Grammys, besting Kendrick Lamar and others — a decision even Macklemore denounced. As a result, Macklemore & Ryan Lewis didn’t submit their sophomore album for Grammy contention at the 2017 show.
This article was originally published by The Hollywood Reporter.
Anitta, Zach Bryan, Dove Cameron, Becky G, Gayle, Latto, Måneskin, Muni Long, Lauren Spencer Smith and Lainey Wilson are among 368 artists who are vying for best new artist nominations at the 65th annual Grammy Awards. While the aforementioned artists appear to be front-runners to fill the 10 available slots, Grammy voters have a way of surprising us. And there are 358 other artists, some highly credible, who are also hoping to make the final list.
As expected, several newish artists who had previously received Grammy nominations were ruled ineligible, including Steve Lacy, Jack Harlow, Tems, Walker Hayes, Brent Faiyaz and Fivio Foreign. A previous nomination is an automatic disqualifier in this category (assuming the artist had released enough tracks to be eligible in a previous year).
But for the most part, the Academy tries to err on the side of inclusiveness in this category. In the past, Whitney Houston, Richard Marx, Lady Gaga and many more potential best new artist nominees and even winners were ruled ineligible based on what were sometimes nitpicky technicalities. The Academy now looks for ways to include artists, not rule them out. Indeed, several of the artists who were ruled eligible this year have been around awhile. Becky G won best new artist at the Latin Grammys four years ago. Other best new artist contenders who aren’t exactly new include Conan Gray, Joji, Moneybagg Yo, Orville Peck and Yungblud.
Here are more noteworthy artists, not already named, who are fighting for one of the 10 nomination slots: Amyl and the Sniffers, Omar Apollo, Tenille Arts, Beabadoobee, Em Beihold, Blxst, BRELAND, EST Gee, Fireboy DML, FLETCHER, Ali Gatie, GloRilla, Cody Johnson, Hayley Kiyoko, Coi Leray, Lil Tjay, The Linda Lindas, Parker McCollum, Tate McRae, Mitski, Flo Milli, PinkPantheress, Rex Orange County, Rina Sawayama, SEVENTEEN, Soccer Mommy, Stray Kids, Don Toliver, Tomorrow X Together, Twice, Tai Verdes, Wet Leg, Yahritza Y Su Esencia, Yeat, and Bailey Zimmerman.
Several of these artists have already won new artist prizes at other award shows. Lainey Wilson and Parker McCollum won new female and male artist of the year, respectively, at the ACM Awards in March. Latto won best new artist at the BET Awards in June. Cameron won best new artist at the MTV Video Music Awards in August. GloRilla won best breakthrough hip-hop artist at the BET Hip Hop Awards in October.
Wilson is the leading nominee for the Country Music Awards, which will be presented on Nov. 9. She is nominated for new artist of the year at that show, along with Cody Johnson and Parker McCollum, who are also on the Grammy entry list, and HARDY and Walker Hayes, who are not.
The number of best new artist nominees at the Grammys jumped from five to eight four years ago, and from eight to 10 last year. The winners in the past four years, since the number of number of nominees expanded, were Dua Lipa (2018), Billie Eilish (2019), Megan Thee Stallion (2020) and Olivia Rodrigo (2021). As you can see, Grammy voters tend to favor female artists in this category. The 2017 winner (the last year there were just five nominees), was also a woman (Alessia Cara).
Last year’s nine other nominees — besides Rodrigo — were Arroj Aftab, Jimmie Allen, Baby Keem, FINNEAS, Glass Animals, Japanese Breakfast, The Kid LAROI, Arlo Parks and Saweetie.
The number of artists vying for nominations in this category (368) is down from last year, when there were 463. But it’s up from the three years before that. The number of contenders in this category peaked in 2013 at 670.
First-round voting for the 65th annual Grammy Awards opened on Thursday (Oct. 13) and closes Oct. 23. Nominees will be announced on Nov. 15. The final-round voting window extends from Dec. 14 through Jan. 4, 2023. Winners will be announced on Sunday, Feb. 5, 2023, at Crypto.com Arena (formerly known as Staples Center) in Los Angeles.