recording academy
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Will Beyoncé finally win album of the year at the 2025 Grammy Awards? Queen Bey has gone 0-4 in the category (as a lead artist), which has been a source of frustration for many in the BeyHive — and also those in her inner circle. Accepting an honorary award at the 2024 ceremony, Jay-Z confronted the issue head-on. “I don’t want to embarrass this young lady, but she has more Grammys than everyone and never won album of the year, so even by your own metrics, that doesn’t work.”
Jay-Z’s remark suggests that Bey’s fate in the category will be the most-watched moment at the 67th annual Grammys, which will be presented Feb. 2 at Crypto.com Arena in Los Angeles. Nominations will be announced Nov. 8. Here are Billboard’s best bets for nods in the top four categories.
It’s likely that solo women will take seven of the eight slots here. That’s comparable to the 2024 Grammys, where solo women took six of the eight slots and an all-woman group, boygenius, took a seventh. Jon Batiste was the only male artist to be nominated at this year’s ceremony. Chris Stapleton may have the best chance of repping men next year. Nominees for album and record of the year must have been released during the eligibility period (Sept. 16, 2023-Aug. 30, 2024).
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Beyoncé, Cowboy Carter
This is Bey’s eighth solo studio album and would be her fifth to be nominated in this category following I Am…Sasha Fierce, Beyoncé, Lemonade and Renaissance. She would be the first Black artist to be nominated for a country album since Ray Charles for Modern Sounds in Country and Western Music (though none of the singles from that trailblazing 1962 album appeared on Hot Country Songs). Billboard 200 peak: No. 1 (two weeks).
Sabrina Carpenter, Short N’ Sweet
Carpenter’s sixth studio album is due Aug. 23, one week before the end of the eligibility period. The album was co-produced by Jack Antonoff and Julian Bunetta. Antonoff has received eight album of the year nods — four with Taylor Swift, two with Lana Del Rey and one each with Lorde and his own pop trio, fun. He has also won producer of the year, non-classical the last three years running.
Billie Eilish, Hit Me Hard and Soft
Eilish’s third album features 10 tracks, two songwriters (Eilish and FINNEAS), one producer (FINNEAS) and no featured artists. That may appeal to traditionalists in the Recording Academy’s voting membership who are put off by this era’s collaboration-heavy approach. Eilish won in this category five years ago for When We All Fall Asleep, Where Do We Go? and was nominated three years ago for Happier Than Ever. Billboard 200 peak: No. 2.
Ariana Grande, Eternal Sunshine
This is Grande’s seventh studio album and would be her second to be nominated in this category. She was nominated five years ago for Thank U, Next. Swedish hit-makers Max Martin and ILYA, who were nominated as producers of Thank U, Next, are also among the producers of this album. Billboard 200 peak: No. 1 (two weeks).
Chappell Roan, The Rise and Fall of a Midwest Princess
The singer’s debut album arrived Sept. 22, 2023, one week after the start of the eligibility period. This is vying to become the first debut album by a woman pop artist to receive an album of the year nod since Olivia Rodrigo’s SOUR in 2022. Daniel Nigro, who has been nominated twice in this category for work with Rodrigo, co-produced the album with Ryan Linvill and Mike Wise. Billboard 200 peak: No. 5.
Chris Stapleton, Higher
This is Stapleton’s fifth studio album and would be his second to be nominated in the category. Traveller was nominated nine years ago. Stapleton is vying to become the first male country solo artist to land two nominations in this category. “White Horse,” the lead single from Higher, won two Grammys in February. Higher won album of the year at the Academy of Country Music Awards on May 16. Billboard 200 peak: No. 3.
Taylor Swift, The Tortured Poets Department
This would be Swift’s seventh nod in the category, which would allow her to stand alone as the woman artist with the most album of the year nods. She currently shares that distinction with Barbra Streisand, with six nods each. Swift co-produced the album with Jack Antonoff, Aaron Dessner and Patrik Berger. Billboard 200 peak: No. 1 (12 weeks so far).
Tyla, Tyla
The South African singer’s “Water” won the inaugural Grammy presented for best African music performance. It was the lead single from her self-titled debut album, which was released during the current eligibility period. Tyla features guest appearances from stars such as Tems, Gunna, Becky G and Travis Scott. Tyla won two BET Awards on June 30 — best new artist and best international act. Billboard 200 peak: No. 24.
Within Reach: Zach Bryan, The Great American Bar Scene; Charli xcx, brat; Doja Cat, Scarlet; Future & Metro Boomin, We Don’t Trust You; Post Malone, F-1 Trillion (due Aug. 16); Kacey Musgraves, Deeper Well; 21 Savage, American Dream; Kali Uchis, Orquídeas; Usher, Coming Home; Lainey Wilson, Whirlwind (due Aug. 23).
From left: Sabrina Carpenter, Benson Boone, Kendrick Lamar and Hozier.
Illustration by Eleanor Shakespeare; Jo Hale/Redferns; Dennis Leupold; Timothy Norris/Getty Images; Barry McCall
Beyoncé already holds the record for most career nominations in this category. Her total of eight includes an early record with Destiny’s Child and collaborations with Jay-Z and Megan Thee Stallion. Will she extend her lead this year? And could two Black artists — Bey and Shaboozey — be nominated for country hits in the same year? Teddy Swims’ “Lose Control,” a No. 1 hit on the Billboard Hot 100, was entered last year and thus is ineligible.
Beyoncé, “Texas Hold ’Em”
Two years ago, Beyoncé pulled ahead of Frank Sinatra for the most nominations in this category. This would give her a record-extending ninth nod. The big question: Will it compete for best solo performance honors in pop or country? “Texas Hold ’Em” wouldn’t be the first poker-themed hit to land a record of the year nod. Kenny Rogers’ “The Gambler” was nominated at the awards in 1980. Hot 100 peak: No. 1 (two weeks).
Benson Boone, “Beautiful Things”
This song is constructed like Billie Eilish’s “Happier Than Ever,” which was nominated for record and song of the year three years ago. It starts out soft and builds in intensity to a rock-inflected finish. This was Boone’s third Hot 100 entry, but his first to climb above No. 82. Hot 100 peak: No. 2.
Sabrina Carpenter, “Espresso”
Carpenter’s camp has to decide which hit to enter — “Espresso,” which topped Billboard’s staff list of The 50 Best Songs of 2024 (So Far), or “Please Please Please,” which was Carpenter’s first No. 1 on the Hot 100. The former is one of the catchiest singles of recent years; the latter, an offbeat, country-shaded follow-up. They’ll probably go with “Espresso,” but either would be a strong nominee. Hot 100 peak: No. 3.
Billie Eilish, “Lunch”
This would be Eilish’s fifth nod in this category. She won for “bad guy” and “Everything I Wanted” and was nominated for “Happier Than Ever” and “What Was I Made For?” Eilish’s brother, FINNEAS, produced all of these records. Nominations will be announced five weeks before Eilish turns 23. No one else has ever amassed five nods in this category at such a young age. Hot 100 peak: No. 5.
Ariana Grande, “We Can’t Be Friends (Wait for Your Love)”
This record could give Grande a second nod in this category. She was nominated five years ago for the Rodgers & Hammerstein-interpolating “7 Rings.” Grande produced this track with Swedish pop masterminds Max Martin and ILYA, who were among the producers of “7 Rings.” Hot 100 peak: No. 1 (one week).
Hozier, “Too Sweet”
Hozier got some Grammy love nine years ago when his breakthrough smash, “Take Me to Church,” was nominated for song of the year. He came roaring back this year with this impeccably produced record. Hozier is vying to become the fourth Irish artist to be nominated for record of the year, following Gilbert O’Sullivan, U2 and Sinéad O’Connor. Hot 100 peak: No. 1 (one week).
Kendrick Lamar, “Not Like Us”
This scathing dis track is from Lamar’s bitter and highly public feud with Drake. This would be Lamar’s fourth nod in this category following “HUMBLE.” (2018); “All the Stars,” a collaboration with SZA (2019); and “The Heart Part 5” (2023). If this is nominated, Lamar will tie Jay-Z for the most record of the year nods by a rapper. Hot 100 peak: No. 1 (two weeks).
Chappell Roan, “Good Luck, Babe!”
This song, Roan’s first Hot 100 hit, was produced by Daniel Nigro, who has been nominated in this category for his work on two Olivia Rodrigo hits. Nigro has received eight Grammy nods, all for work with Rodrigo. He won best pop vocal album as the producer of her debut album, SOUR. Hot 100 peak: No. 10.
Within Reach: Doja Cat, “Agora Hills”; Jack Harlow, “Lovin on Me”; Future, Metro Boomin & Kendrick Lamar, “Like That”; Muni Long, “Made for Me”; Post Malone featuring Morgan Wallen, “I Had Some Help”; Tommy Richman, “Million Dollar Baby”; Shaboozey, “A Bar Song (Tipsy)”; Taylor Swift featuring Post Malone, “Fortnight”; 21 Savage, “Redrum”; SZA, “Saturn.”
From left: FINNEAS, Amy Allen, Jack Antonoff, ILYA and Dan Nigro.
Illustration by Eleanor Shakespeare; Robin L. Marshall/Getty Images; David O’Donohue; Jason Koerner/Getty Images; Anna Sky; Alberto E. Rodriguez/WireImage
Last year, five of the eight nominees for record of the year were also nominated for song of the year. The year before that, six of the 10 nominees for record of the year also received song of the year nods. This year, seven of the eight record of the year nominees could double up. Taylor Swift has amassed seven nominations in this category, more than any other songwriter, but she has yet to win. Will this finally be her year?
“Beautiful Things”Songwriters: Benson Boone, Jack LaFrantz, Evan Blair
This song touches on themes that have long been attractive to Grammy voters — gratitude for life’s blessings and awareness of how quickly in life fortunes can change. Other philosophical songs that have been nominated here in recent years include “Live Like You Were Dying,” “Bless the Broken Road,” “7 Years” and “God’s Plan.” In addition to co-writing “Beautiful Things,” Blair produced Boone’s single.
“Espresso”Songwriters: Sabrina Carpenter, Amy Allen, Julian Bunetta, Steph Jones
This confection may seem a little light for a song of the year nod, but the irresistible tune has been inescapable in recent months. Even Adele was caught up in the hooky line “I’m working late/’Cause I’m a singer,” praising the song during her Las Vegas residency. (And being light didn’t prevent Bruno Mars’ “That’s What I Like” from winning in 2019.) Allen was nominated for the inaugural songwriter of the year, non-classical award two years ago.
“Fortnight”Songwriters: Taylor Swift, Post Malone, Jack Antonoff
All three writers are past nominees in this category: Swift has been nominated a record seven times, Antonoff four times and Post Malone once. Alternatively, Swift could enter “Is It Over Now? (Taylor’s Version),” which she also co-wrote with Antonoff. Both songs topped the Hot 100, for two and one weeks, respectively.
“Good Luck, Babe!”Songwriters: Chappell Roan, Justin Tranter, Daniel Nigro
Tranter and Nigro are past nominees in this category — Tranter for co-writing Julia Michaels’ “Issues,” Nigro for co-writing Olivia Rodrigo’s “drivers license” and “Vampire.” “Good Luck, Babe!” is about a woman parting ways with a woman who is denying her true sexual orientation. The next song on the list is about a woman accepting and embracing her own.
“Lunch”Songwriters: Billie Eilish, FINNEAS
The siblings have been nominated four times in this category, winning twice. If they win again, they’ll become the first three-time winners in the history of the category. They won most recently this year with “What Was I Made For?” They have another very pretty ballad (“Birds of a Feather”) that they could enter here instead, but “Lunch” feels like the more likely option.
“Not Like Us”Songwriter: Kendrick Lamar
As with record of the year, this would be Lamar’s fourth nod in this category following “Alright” (2016), “All the Stars” (2019) and “The Heart Part 5” (2023). And, as with record of the year, if this is nominated, Lamar will tie Jay-Z for the most song of the year nods for a rapper.
“Texas Hold ’Em”Songwriters: Beyoncé, Brian Bates, Nathan Ferraro, Raphael Saadiq, Elizabeth Lowell Boland, Megan Bülow
This would be Beyoncé’s sixth nomination in the category. That would put her in a tie with Paul McCartney and Lionel Richie for second place on the list of all-time nominees in this category. Swift leads with seven nods. Saadiq has been nominated for best R&B song five times, winning twice, but this would be his first song of the year nod.
“We Can’t Be Friends (Wait for Your Love)”Songwriters: Ariana Grande, Max Martin, ILYA
This would be the first nomination in this category for Grande and ILYA and the fifth for Martin, following nods for Backstreet Boys’ “I Want It That Way,” Katy Perry’s “Roar” and Taylor Swift’s “Shake It Off” and “Blank Space.” Martin, a Swede, and U2, from Ireland, are the only songwriters who hail from somewhere other than America or England to amass four or more nods in this category.
Within Reach: “Agora Hills” (artist: Doja Cat); “A Bar Song (Tipsy)” (Shaboozey); “Deeper Well” (Kacey Musgraves); “I Had Some Help” (Post Malone featuring Morgan Wallen); “Made for Me” (Muni Long); “Obsessed” (Olivia Rodrigo); “Pink Skies” (Zach Bryan); “Redrum” (21 Savage); “Saturn” (SZA); “Too Sweet” (Hozier).
Clockwise from top: Chappell Roan, Shaboozey, Sexyy Red, Teddy Swims and Megan Moroney.
Illustration by Eleanor Shakespeare; Ryan Clemens; Daniel Prakopcyk; Chris Allmeid; CeCe Dawson; Aaron Marsh
According to the rules, “This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness.” Artists with previous Grammy nominations are generally not allowed, nor are artists who have previously been entered in the category three times (whether or not they were nominated). That latter rule disqualifies Tate McRae. The last seven winners in this category have been solo women, which tied the record established in 1997-2003. If another solo woman wins next year, a new record will be set.
Benson Boone
Boone, 22, is the youngest of this year’s likely best new artist nominees. He is vying to become the first male artist to win in this category since Chance the Rapper in 2017. Boone could also become the second winner in this category with that surname. Debby Boone won in 1978.
Sabrina Carpenter
Short N’ Sweet is Carpenter’s sixth studio album, so how can she be considered new? Prior to this eligibility year, she had never climbed higher than No. 48 on the Hot 100. The Grammys aren’t charts-based, but they do think in terms of “public consciousness” and achieving “prominence.” Carpenter, 25, is vying to become the second winner in this category with that surname. Karen and Richard Carpenter won in 1971.
Megan Moroney
Moroney, 26, was passed over for a best new artist nod two years ago, when “Tennessee Orange” became a top 30 hit on the Hot 100. But she has continued to build. Moroney was nominated for the Country Music Association’s new artist of the year prize last year and won the Academy of Country Music’s new female artist of the year honor (on her second try) in May. Her second album, Am I Okay?, arrived July 12.
Chappell Roan
Atlantic Records dropped Roan, born Kayleigh Rose Amstutz, following the release of a 2017 EP, School Nights. Her smash debut album was released through Island Records last September. Roan, 26, supported Olivia Rodrigo (who won in this category in 2022) on two major tours. She also opened for Vance Joy and Ben Platt, among others, and performed at Coachella in April.
Sexyy Red
The rapper, 26, reached the top 20 on the Billboard 200 with her third mixtape, In Sexyy We Trust. The tape spawned the top 20 Hot 100 hit “Get It Sexyy.” Sexyy Red was nominated in five categories, including best new artist, at the 2024 BET Awards, but was shut out.
Shaboozey
Shaboozey, 29, is at the forefront of bringing more diversity to the world of country music. His third album, Where I’ve Been, Isn’t Where I’m Going, reached No. 5 on the Billboard 200. Its smash single, “A Bar Song (Tipsy),” has made it to No. 1 on the Hot 100. Shaboozey is also featured on two tracks on Beyoncé’s Cowboy Carter.
Teddy Swims
Swims’ debut studio album, I’ve Tried Everything but Therapy (Part 1), reached the top 20 on the Billboard 200. “Lose Control,” the smash single from the album, topped the Hot 100. Before becoming a headliner, Swims opened for Zac Brown Band, which won in this category in 2010, and Greta Van Fleet, which was nominated in 2019. Swims, 31, is the oldest of this year’s likely best new artist nominees.
Within Reach: The Beaches; Dasha; Djo; 4Batz; Knox; October London; Tommy Richman; Nate Smith; Brittney Spencer; Tigirlily Gold
This story will appear in the July 20, 2024, issue of Billboard.
The Recording Academy has extended membership invitations to more than 3,900 music professionals spanning diverse backgrounds, genres and disciplines, underscoring the academy’s commitment to inclusivity and representation. This year’s 2024 class of invitees is 45% women, 57% people of color and 47% under the age of 40.
“There’s no better way to kick off Grammy season than by inviting thousands of diverse and talented music creators and professionals to join our Recording Academy family,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “Our members are the heart of the Academy, driving our mission to make lasting, positive impacts on the music community and shape music history. We are hopeful that all 3,900+ invitees join us in serving, celebrating and championing the voices of music creators year-round.”
Among this year’s invitees are Teddy Swims, whose first Hot 100 single, “Lose Control,” reached No. 1 in March; Tanner Adell, who is featured on Beyoncé’s Billboard 200-topping Cowboy Carter; as well as Ashnikko, Grupo Frontera, 310babii, Flavour, Flyana Boss, GAWD, girl in red, Jay Wheeler, Kaash Paige, Raja Kumari, Charm La’Donna, Al Sherrod, Xavier Omär, Sech, Leon Thomas and two group members: Ronnie Winter of The Red Jumpsuit Apparatus and Frank Iero of L.S. Dunes and My Chemical Romance. (Here’s a link to a page of quotes, supplied by the Recording Academy, from these invitees.)
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Invitations must be formally accepted by July 31 for recipients to become Recording Academy members and participate in the online entry process for the upcoming Grammy Awards.
The academy has invited thousands of new voting members in recent years in a bid to diversify its membership. Last year, it invited 2,800 new voting members. In 2022, it invited more than 2,000 new voting members – as well as more than 600 professional, non-voting members.
The academy announced its invitations for the new member class one day after the Academy of Motion Picture Arts & Sciences announced its own invited class of 487 individuals. That means the Recording Academy invited slightly more than eight times as many people to join its ranks as the film academy did.
A comprehensive report on the Recording Academy’s 2024 new member class, along with a detailed breakdown of the overall membership demographics and crafts, will be released later this year following the deadline for 2024 invitees to join the academy.
Last year’s breakdown of the 2023 new member class was released on Nov. 30, 2023. A record-breaking 2,400-plus diverse music creators were part of last year’s class, with the academy reporting that 50% of the new class were people of color, 46% were under the age of 40 and 37% were women.
The Recording Academy’s membership model is community-driven and peer-reviewed to create a more diverse and engaged membership base.
The academy also revealed on Nov. 30 that, since implementing the new member model in 2019, membership among people of color has jumped significantly, from 24% to 38%, and that the percentage of women members has also increased, albeit at a slower rate, from 26% to 30%. The academy further noted that it was 98% of the way to reaching its goal of adding 2,500 women voting members by 2025 and is set to achieve that milestone a year ahead of schedule, in 2024.
The Recording Academy offers three types of membership: voting membership for music creators, professional membership for music business professionals and GRAMMY U for those aspiring to a career in the music industry. (GRAMMY U follows a distinct application process.)
Each year, interested musicians and professionals must apply for membership by March 1. Their submissions are reviewed in the spring by a peer review panel comprised of existing Recording Academy members active in the music industry. If approved, candidates are invited to join the Recording Academy.
Recording Academy voting members — artists, songwriters, producers, engineers and others active in the music industry — are eligible to vote for the annual Grammy Awards. In addition, members can submit product for Grammy Awards consideration, propose amendments to Grammy Awards rules, run for a Recording Academy board position or committee, vote in chapter elections, support fellow musicians through advocacy efforts and MusiCares, and engage with the academy’s Producers & Engineers Wing, Songwriters & Composers Wing, Black Music Collective and more.
The first-round voting period for the 67th Grammy Awards opens on Oct. 4 and closes on Oct. 15. The telecast is set for Feb. 2, 2025, at Crypto.com Arena in Los Angeles.
For the first time in four years, the Recording Academy didn’t add to its list of categories for the 67th annual Grammy Awards, set for Feb. 2, 2005. There will be 94 categories for the second year in a row. There were 84 categories as recently as the Grammy telecast in 2021, but the number jumped to 86 in 2022, 91 in 2023 and 94 in 2024.
There were 28 categories in 1959, the first year of the awards. There were 47 (exactly one-half of the current total) in 1975. The number reached its all-time high (to date, anyway) of 110 categories in 2008 and 2009.
The academy also announced amendments that were passed at the semiannual board of trustees meeting. The meetings were held from May 22-24 in Laguna Niguel, Calif. All updates go into effect immediately.
The Recording Academy’s awards and nominations committee, comprised of academy voting members, meets annually to review proposals to update awards categories, procedures and eligibility guidelines. Their recommendations are ratified by the academy’s trustees.
The 67th annual Grammy Awards are set to take place Sunday, Feb. 2, 2025 at Crypto.com Arena in Los Angeles. Crypto, formerly known as Staples Center, has hosted all but four Grammy telecasts since 2000.
First-round voting, to determine the nominations, will be conducted from Oct. 4 to Oct. 15. Nominations will be announced on Friday, Nov. 8. Final-round voting to determine the winners will be conducted from Dec. 12 through Jan. 3, 2025. As is the academy’s usual practice, voting will conclude nearly a full month before the results are announced on the show.
The 67th annual Grammy Awards will broadcast live on CBS, the Grammys’ home network since 1973, and stream live and on demand on Paramount+.
Here are this year’s amendments to its 75-page Rules and Guidelines handbook. The first two rules are general; the remainder apply to specific categories.
General
The Recording Academy is extending its efforts to support music creators on a global scale. The Academy has agreements with Ministries of Culture and key stakeholders across the Middle East and Africa to collaborate on a framework to bolster the Academy’s presence and services in these rapidly growing music regions, the organization announced Tuesday (June 11).
“This is exciting because music is one of humanity’s greatest natural resources,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “It is critical that the people who dedicate themselves to creating music have support, resources and opportunities, no matter where they are from.”
This global expansion marks a significant shift from the Recording Academy’s original charter. The organization was founded in 1957 as the National Academy of Recording Arts & Sciences.
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The Academy is working with the Ministries of Culture in Kenya, Kingdom of Saudi Arabia (KSA) and Nigeria, the Department of Culture and Tourism in Abu Dhabi for the United Arab Emirates (UAE), the Rwanda Development Board (RDB), and the Ministry of Sports, Arts and Culture in South Africa. Additionally, MOUs (memoranda of understanding) have been signed with Ghana and the Ivory Coast.
For the past two years, Academy leaders have traveled throughout these regions, participating in listening sessions, receiving high-level briefings, tours and demonstrations, and obtaining insight directly from both governmental ministries and music creators.
The Academy intends to publish a series of reports highlighting its research and insights into these music markets.
“The Recording Academy is dedicated to supporting music creators around the world,” Panos A. Panay, Recording Academy president, said in a statement. “Our expansion efforts into these fast-growing regions reflect our commitment to fostering a truly global music community, where creators at every stage of their careers and from every corner of the world have the resources and support they need to thrive.”
(Panay was born Panayiotis Andreas Panayiotou in Cyprus, which may be a further sign of the Academy’s increasing global reach. Before joining the Academy, Panay was senior vp of global strategy & innovation at Berklee College of Music.)
The Academy characterizes this exploration into the Middle East and Africa as only the first phase of plans to support music creators abroad. It comes in the same year that the Academy celebrates the 25th anniversary of the Latin Grammy Awards, and seven months after the Latin Grammys were held outside of the United States (in Seville, Spain) for the first time. Last year, the Recording Academy also partnered with the U.S. State Department on an initiative to promote peace through music.
Through these newly-announced collaborations, the Academy looks to explore several key initiatives, including:
Championing music creators at all levels, providing them with a platform and advocacy.
Empowering creators through enhanced training. Through its online learning platform, GRAMMY GO, the Academy will look to provide educational programs and resources specifically tailored to the needs of music creators in these regions.
Producing original content that celebrates the rich musical heritage and dynamic emerging scenes of Africa and the Middle East.
Enhancing support for existing and future members. The Academy argues that cross-cultural learning will benefit all music creators.
Advocating for strong Intellectual Property (IP) legislation and protections for music creators.
Fueling the music economy by collaborating with partners to develop and strengthen the creative economy in Africa and the Middle East.
The Recording Academy supplied quotes from four of its members:
John Legend, a 12-time Grammy winner and a former trustee of the Recording Academy, said: “I’m excited to see the Recording Academy taking these meaningful steps to globalize our mission and reach. Music knows no borders. It’s global and transcends cultural, political and language barriers. I’m so glad that the Recording Academy, the leading organization serving music creators, is evolving to be a more global organization.”
Angélique Kidjo, a five-time Grammy winner and a current trustee of the Recording Academy, said: “The Recording Academy is accelerating its efforts to serve music people everywhere, and Africa is ready with open arms. We are a continent of music and young, passionate music makers. I’m proud to see the Academy forming partnerships with Nigeria, Kenya, Rwanda, South Africa, and no doubt, more to come!”
Davido, a three-time Grammy nominee, said: “As an African musician, I’m excited about the Recording Academy’s expansion into Africa and the Middle East. It acknowledges our vibrant talent and the global influence of African music. This initiative offers a platform for creators, elevating our cultural expressions and uniting us through music.”
Kat Graham, actress/singer (The Vampire Diaries, the upcoming Michael Jackson biopic Michael) and a former trustee of the Recording Academy, said: “As a Goodwill Ambassador for the UN Refugee Agency, I’ve seen firsthand how interconnected our world is. I applaud the Recording Academy for expanding its activities to Africa and the Middle East, two of the fastest-growing regions. This visionary move will amplify the role music can play as a force for good in the world while showcasing diverse voices and fostering cultural unity on a global scale.”
Nineteen people have been elected or re-elected to the Recording Academy’s 42-member board of trustees, including Taylor Hanson, a member of the brother trio Hanson, which topped the Billboard Hot 100 in 1997 with “MMMBop”; Sara Gazarek, who won her first Grammy on Feb. 4 for helping to arrange a new version of the classic “In the Wee Small Hours of the Morning”; and publishing veteran Mike Knobloch, president of music and publishing at NBCUniversal. Their terms took effect on Saturday (June 1).
“I’m honored to welcome this amazing group of creatives to our board of trustees,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “Our board’s expertise and dedication to helping music people everywhere has been essential to all we have achieved at the Academy. However, the work never stops, and I look forward to working alongside our new and current trustees on ways we can continue to provide guidance for our music community.”
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Of the 42 trustees that serve on the national board, 30 are elected by the chapter board of governors (15 each year) and eight are elected directly by voting and professional members of the Academy (four each year). The remaining four seats are comprised of the national trustee officers, who are elected by the board of trustees once every two years. The current national trustee officers, who are all currently midterm, are Tammy Hurt (chair), Dr. Chelsey Green (vice chair), Gebre Waddell (secretary/treasurer) and Christine Albert (chair emeritus).
“Welcoming our newly elected trustees is always such an exciting time at the Academy,” Hurt said in a statement. “With new ideas to contribute to our board and the eagerness to helping change music, I have no doubt that together this year’s board of trustees will continue our commitment to fostering a diverse and representative music industry.”
The 2024-25 board includes six Grammy winners, including two who just won prizes at the 66th annual Grammy Awards on Feb. 4. Those newly-minted winners are J. Ivy, who won best spoken word poetry album for the second year in a row for The Light Inside, and Gazarek, who won best arrangement, instruments and vocals for the aforementioned new version of “In the Wee Small Hours of the Morning” by säje featuring Jacob Collier.
The four other Grammy winners on the current board are Angélique Kidjo, who won her fifth Grammy two years ago, for best global music album for Mother Nature; songwriter Jonathan Yip, who won two Grammys six years ago for co-writing the Bruno Mars smash “That’s What I Like”; Ledisi, who won best traditional R&B performance three years ago for “Anything for You”; and Cheche Alara, who won best Latin pop album five years ago for Sincera.
Three members of the current board of trustees served on the Recording Academy’s all-important television committee for the 66th Grammy Awards: Alara, Hurt and Knobloch.
All positions on the board of trustees are subject to two, two-year term limits.
These newly elected or re-elected trustees joined the Academy’s midterm trustees to uphold the Academy’s mission, which the Academy says is “to serve and represent the music community at-large through its commitment to promote diversity, equity and inclusion, fight for creators’ rights, protect music people in need, preserve music’s history, and invest in its future.”
You can find the full list of the Academy’s board of trustees, chapter officers and bylaws here.
The full list of the Academy’s board of trustees is shown below. An asterisk signifies that they were elected or re-elected this year.
Cheche Alara*
Christine Albert
Marcella Araica
Julio Bagué
Nikisha Bailey*
Larry Batiste
Marcus Baylor
Jennifer Blakeman*
Evan Bogart
Torae Carr*
Dani Deahl*
Maria Egan*
Fletcher Foster*
Anna Frick
EJ Gaines*
Kennard Garrett
Sara Gazarek*
Tracy Gershon
Dr. Chelsey Green
Dave Gross*
Jennifer Hanson
Taylor Hanson*
Justin “Henny” Henderson*
Tammy Hurt
J. Ivy
Terry Jones*
Angelique Kidjo
Mike Knobloch*
Ledisi
Eric Lilavois
Susan Marshall
Riggs Morales
Donn Thompson Morelli “Donn T”
Ms. Meka Nism*
Ashley Shabankareh*
Ken Shepherd*
Jessica Thompson*
Gebre Waddell
Paul Wall
Wayna
Tamara Wellons*
Jonathan Yip
When the Recording Academy put the Grammy Hall of Fame on hiatus for one year, they said they were rethinking the entire process. They weren’t kidding. The first fruits of the retooling will be seen on Tuesday (May 21) when the inaugural Grammy Hall of Fame Induction Gala is held at the Novo Theater at L.A. Live in Los Angeles.
Michael Sticka, president/CEO of the Grammy Museum, says his hope for the induction event is to “build it to ultimately be the Museum’s version of MusiCares’ Person of the Year, to raise money for our programming.”
There are also plans to “build a permanent interactive exhibit to celebrate the Hall of Fame and educate our visitors. That will open early next year.”
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The first five inductions into the Grammy Hall of Fame were announced on the Grammy telecast in March 1974, and the Grammy Museum opened in December 2008, but this is the first time the Museum has partnered with the Recording Academy in a major way to celebrate the Hall of Fame.
“The Hall of Fame and the Museum pretty much go hand-in-hand,” Sticka says. “When we first started talking about what this thing really could be, we talked about how the Hall of Fame should live in the Museum. It makes perfect sense.”
These changes are the result of Sticka’s meeting with Recording Academy CEO Harvey Mason Jr. and Ruby Marchand, the Academy’s chief awards and industry officer, to brainstorm ways to build the Grammy Hall of Fame into a higher-profile entity. “The whole idea was ‘let’s get away from simply doing a press release,’” Sticka says of the upcoming gala.
They also made several major changes in the way the Grammy HOF operates. In recent decades, 25 or more inductees have been inducted each year. Starting this year, there will be just 10. “We wanted to whittle it down to a manageable number. If we had 25-30 recordings, it’s really hard to properly recognize each of them during an event.”
This year’s 10 new inductees bring the total number of recordings in the Grammy Hall of Fame to 1,162.
There will be live performances to honor six of this year’s honorees at Tuesday’s event, and interstitial video presentations for the other four. R&B singer William Bell will perform his own inducted recording, “You Don’t Miss Your Water.” Andra Day will perform a song from Lauryn Hill’s The Miseducation of Lauryn Hill, The War and Treaty will sing Charley Pride’s “Kiss an Angel Good Morning,” Elle King will perform Wanda Jackson’s “Let’s Have a Party” and Hanson will take on the Doobie Brothers’ “What a Fool Believes.”
“We really focused on the tribute performance [format], but William wanted to do [his own song] and we weren’t going to say no to that opportunity,” Sticka says.
This year’s Induction Gala will be produced by Ken Ehrlich, who has amassed nine Primetime Emmy nominations across four decades, along with Chantel Sausedo and Ron Basile. Greg Phillinganes will serve as musical director.
This year’s gala will be filmed but not televised. The plan is to cut together this first induction gala and send it to the Academy’s partners, CBS, which has aired the Grammy telecast every year since 1973, and PBS, which aired the Academy’s Special Merit Awards under the title Grammy Salute to Music Legends for about five years under its Great Performances banner.
“It’s tough to pull off a first-time event,” Sticka says. “There’s no proof-of-concept. [We’re] filming it so we can show what it’s going to look like and show what’s possible and hopefully somebody picks it up in the future to televise.”
Clips from the show will be housed on COLLECTION:live, the Grammy Museum’s streaming site.
A second change in the Grammy Hall of Fame process is that the Academy no longer sets aside a certain number of spots for pre-1950 recordings. The one pre-1950 recording being inducted this year, Kid Ory’s Creole Orchestra’s “Ory’s Creole Trombone” (1922) impressively made the cut without a spot being set aside for very old recordings. Now, the only requirement is that all recordings must be at least 25 years old.
The choices were made by a special member committee of about 20 people who had several Zoom meetings. Sticka says he sat in with the committee but didn’t vote. “There was a lot of conversation around a lot of the recordings,” he reports.
A third change is that the Grammy Hall of Fame will honor a record company each year. Atlantic Records, which was celebrating its 75th anniversary when these discussions got underway, is the first label to be honored. (The label was founded in October 1947 and released its first recordings in January 1948.) Even though the 75th anniversary has passed, it will be honored. 76th anniversary just doesn’t have same ring.
Atlantic doesn’t have any recordings being inducted this year, but it has 38 past Hall of Fame inductions.
As part of the salute to Atlantic, two current Atlantic artists are performing Grammy Hall of Fame classics by legendary Atlantic artists. Shinedown is performing Led Zeppelin’s “Stairway to Heaven.” Ravyn Lenae is singing Roberta Flack’s “Killing Me Softly With His Song.” Atlantic had a great deal of input into their segment. “They know themselves best, so we left it up to them,” Sticka says. “We had a lot of conversations with them.”
Starting this year, all artist(s), producer(s), songwriter(s) and engineer(s) who work on a Grammy Hall of Fame inductee will receive a certificate, provided they worked on 51% or more of the recording and had primary participation in those capacities. No statuettes, though. You have to win a Grammy in competition to get one of those.
A woman who filed a lawsuit accusing former Recording Academy boss Neil Portnow of rape is now moving to drop her case, citing concerns that her name will be revealed and a dispute with her own lawyers.
In a letter filed Sunday without the help of her attorneys, the Jane Doe accuser told a Manhattan federal judge she was “unable to proceed with the case” because of “fear of potential grave harm” if her name is disclosed in court documents, as Portnow’s attorneys have formally requested.
“The circumstances surrounding this case have created a genuine concern for my safety, and emotional well-being,” the woman wrote in the letter, obtained by Billboard. “Dismissing the case would alleviate this fear and allow me to move forward without unnecessary risks.”
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A day after the unusual letter, the woman’s lawyer moved to withdraw from the case immediately, saying the relationship with his client had “deteriorated beyond repair.”
“Unbeknownst to counsel, plaintiff filed a letter on this court’s docket requesting voluntary dismissal of her case,” Doe’s attorney Jeffrey Anderson wrote. “Plaintiff’s action in filing it demonstrates the irreconcilable differences that provide a basis for withdrawal.”
The news of Sunday’s letter was first reported Wednesday by the New York Times.
The unnamed woman sued Portnow in November, claiming that he had drugged and sexually assaulted her in 2018. She also named the Recording Academy as a defendant, saying that the group’s negligence had enabled Portnow’s conduct. The case was part of a wave of sexual abuse lawsuits filed against powerful men in the music industry in late 2023.
But on Sunday, she sent a letter directly to the judge without the aid of her attorneys, announcing that she wanted to drop the case. The Jane Doe said that it was “impossible for me to proceed with the case in all aspects” and that dismissing the case would be in “the best interest of all parties.”
The sudden reversal appears to have been sparked by efforts from Portnow’s attorneys to force her to reveal her name. In an April filing, his lawyers claimed that she wanted to “use anonymity as a shield” while embarking on a “public relations campaign to destroy Mr. Portnow’s reputation.”
A previous ruling, when the case had originally been filed in state court, had allowed the Jane Doe to proceed under the pseudonym. But Portnow’s lawyers said that ruling had no binding effect on the case after it had been moved to federal court in January.
In a response last week, Doe’s lawyers argued that disclosure motion should be denied. Citing his client’s “fears of stigma and emotional distress,” Anderson warned that “public identification puts plaintiff at risk of retaliatory harm” and could deter other abuse victims from coming forward.
But in her letter to the judge on Sunday, Doe said that her lawyers had privately disclosed to her on April 26 that they believed Portnow’s demand to reveal her would be granted. She quoted from emails in which another attorney told her: “Our view is that they will prevail on that motion and your name will be made public which will cause harm to you and your reputation.” Anderson allegedly wrote that the move to federal court meant that “your name can no longer be protected” and she faced “grave further harm.”
Doe also claimed that Anderson had informed her that he would no longer be representing her in the case, telling her in a May 1 letter that “the best route would be for you to find a new attorney.” She warned the judge that he had “ignored” her requests for more information, and that his public opposition filing to Portnow’s disclosure demands “did not accurately reflect my position.”
“This misrepresentation has significant implications for the case,” Doe wrote in her direct letter to the judge on Sunday. “I am deeply concerned about its impact.”
Anderson did not return a request for comment from Billboard on Wednesday.
In court filings on Tuesday, attorneys for both Portnow and the Recording Academy asked the judge for more time to consider how to proceed after Doe’s request for voluntary dismissal. Neither immediately responded to requests for comment.
The dispute in the Portnow case comes two months after a different federal judge ruled that one of Sean “Diddy” Combs’ accusers would have to reveal her name to proceed in her case. In a February ruling, the judge acknowledged that disclosure “could have a significant impact,” but that allowing cases to proceed under a pseudonym in the U.S. court system was “the exception and not the rule” and that “generalized, uncorroborated” concerns about privacy were not enough.
Andra Day, The War and Treaty, Shinedown and Ravyn Lenae are the first performers announced for the inaugural Grammy Hall of Fame Gala. The gala, co-presented by the Recording Academy and the Grammy Museum, will take place on May 21 at the Novo Theater in downtown Los Angeles. Veteran CBS broadcast journalist Anthony Mason will serve as host.
Day won a Grammy two years ago for best compilation soundtrack for visual media for The United States vs. Billie Holiday. The War and Treaty received two Grammy nods late last year, including best new artist.
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The annual gala will celebrate the 10 recordings being added that year to the Grammy Hall of Fame. This year’s inductees, announced on March 20, are De La Soul’s 3 Feet High and Rising, Guns N’ Roses’ Appetite for Destruction, Buena Vista Social Club’s Buena Vista Social Club and Lauryn Hill’s The Miseducation Of Lauryn Hill, as well as singles by Donna Summer, the Doobie Brothers, Charley Pride, Wanda Jackson, William Bell and Kid Ory’s Creole Orchestra.
The annual gala will also honor a label, with the first being Atlantic Records, which is celebrating its 75th anniversary.
“We’re honored that the Recording Academy and Grammy Museum have chosen Atlantic to be the first label celebrated at what promises to be an exciting annual event,” said Atlantic Music Group chairman & CEO Julie Greenwald and Atlantic Records chairman & CEO Craig Kallman. “The Grammy Hall of Fame includes many of the most groundbreaking recordings in our company’s 75-year history, and it will be great to hear some of our outstanding current artists bring their unique voices to these timeless songs.”
The event will include a red carpet and VIP reception on the Ray Charles Terrace at the Grammy Museum followed by a concert at the Novo.
This year’s show will be produced by Ken Ehrlich, along with Chantel Sausedo and Ron Basile. Greg Phillinganes will serve as musical director.
Ehrlich served as producer or executive producer of the Grammy Awards telecast for 40 years. He received a trustees award from the Recording Academy in 2020, his last year as executive producer, honoring his service. Phillinganes has won two Primetime Emmys as musical director on previous Ehrlich productions – Stevie Wonder: Songs in the Key of Life – An All-Star Grammy Salute and Library of Congress Gershwin Prize for Popular Song: Joni Mitchell.
The Grammy Hall of Fame was established in 1973, with the first five selections announced on the Grammy telecast in March 1974. The original intent was to honor recordings released before the inception of the Grammys in 1958, but it long ago shifted to any recordings that are at least 25 years old. The inducted recordings are selected annually by a special member committee, with final ratification by the academy’s national board of trustees. Counting the 10 new titles, the Hall currently has 1,152 inducted recordings. Recipients will receive a certificate from the Recording Academy and Grammy Museum, but not a Grammy trophy. Here’s the full list of past inducted recordings.
Tickets go on sale to the general public on Saturday, April 27 at 12 p.m. PT at this link.
Sheryl Crow and Sens. John Cornyn (R-TX) and Amy Klobuchar (D-MN) will be honored on April 30 when the Recording Academy hosts its annual Grammys on the Hill Awards. Hosted by singer/actress Candiace Dillard Bassett, the awards dinner will be held at the Hamilton Live in Washington, D.C., and feature live performances and special guests.
The event brings together congressional leaders and music makers to recognize those who have led the fight for creators’ rights.
“Protecting the rights of creators lies at the core of the Recording Academy’s mission,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “Grammys on the Hill is an opportunity to celebrate the artists and our nation’s leaders who champion this cause, and to acknowledge music’s unifying power.”
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“Receiving this award from Recording Academy is a tremendous honor for me, because protecting the rights of creators is more important now than ever before,” said Crow. “In this age where technology is changing the world faster than we can adapt, we need clear eyes to see both the opportunities and the challenges ahead, so that artists are not disadvantaged any more than they already are. Music nourishes our humanity, and I am proud to be recognized as an advocate for the protection of the people who make it.”
Crow has dedicated much of her life to activism. In 2000, she co-founded the Recording Artists’ Coalition with previous Grammys on the Hill honoree Don Henley to protect creators’ rights and change unfair industry practices. In 2009, the Recording Artists’ Coalition formed an alliance with the Recording Academy to continue its mission as a program within the Academy’s Advocacy office.
Recently, Crow has been vocal about the threat that AI presents to music creators, including on her new song “Evolution,” which grapples with the future impact of artificial intelligence on humanity and the planet.
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As a philanthropist, Crow is known for her support of multiple charities, including MusiCares, The Breast Cancer Research Foundation, The World Food Program, Feeding America, Adopt a Classroom, the Elton John AIDS Foundation, Pelotonia and the Delta Children’s Home. A nine-time Grammy winner, Crow was inducted into the Rock and Roll Hall of Fame in 2023.
Sens. Cornyn and Klobuchar are being recognized for their support of creators and their collaborative efforts championing policies in support of the music community. During the COVID-19 pandemic, the senators provided a lifeline for music through the Save Our Stages Act, which provided $16 billion in federal assistance to shuttered venues. That represents the largest federal investment in the arts in U.S. history.
In this Congress, they are working to reform live event ticketing through the Fans First Act. Introduced in December 2023, the legislation would address flaws in the ticketing marketplace.
The following day, May 1, the Recording Academy will host the annual Grammys on the Hill Advocacy Day, which brings current and past Grammy winners and nominees, along with industry leaders, to meet with lawmakers to discuss issues facing today’s music creators. This year, music creators will convene with members of Congress to advance key issues that the Academy and its members continue to advocate for, including:
• Protecting the image, likeness and voice of individual creators from AI fakes through legislative measures such as the No AI FRAUD Act and the No FAKES Act discussion draft.
• Reforming the live event ticketing marketplace to better protect artists and fans through legislation including the Fans First Act and the TICKET Act.
For the first time, Grammys on the Hill is expanding beyond its long-time status as a two-day event. On May 3, the Grammys on the Hill Future Forum will be held in partnership with the Human Artistry Campaign and will explore the impact of artificial intelligence on the music community.
Pharrell Williams was the honoree at the 2023 Grammys on The Hill Awards. Last year’s event also honored U.S. Senate Majority Leader Chuck Schumer (D-N.Y.) and Sen. Bill Cassidy (R-La.).
Grammy Go, a new online initiative from the Recording Academy, is the result of a partnership with Coursera, a leading online learning platform, to offer classes tailored for music creators and industry professionals. Grammy Go on Coursera includes courses taught by Recording Academy members and featuring Grammy nominees and/or winners.
Starting today, enrollment is open for Grammy Go’s first Coursera specialization, “Building Your Audience for Music Professionals,” taught by Joey Harris, international music/marketing executive and CEO of Joey Harris Inc., and featuring Jimmy Jam, Janelle Monáe and Victoria Monét. This specialization will help participants gain the skills, knowledge and confidence to build a strong brand presence and cultivate a devoted audience within the ever-changing music industry.
The partnership’s second course, launching later this summer, is “Music Production: Crafting an Award-Worthy Song.” That course, which aims to strengthen the technological and audio skills of a music producer, will be taught by Carolyn Malachi, Howard University professor and a Grammy nominee in 2011 for best urban/alternative performance for her track “Orion.” This specialization will include appearances by Cirkut, Hit-Boy, classical producer Judith Sherman, artist and vocal coach Stevie Mackey and Recording Academy CEO Harvey Mason jr.
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“Whether it be through a Grammy Museum program, Grammy Camp or Grammy U, the Grammy organization is committed to helping the next generation of creators flourish, and the Recording Academy is proud to introduce our newest higher learning opportunity with Grammy Go in partnership with Coursera,” Panos A. Panay, president of the Recording Academy, said in a statement. “A creator’s music education is ongoing, and these courses have been crafted to provide participants with the essential tools to grow in their professional and creative journeys.”
“We are honored to welcome Grammy Go, our first entertainment partner, to the Coursera community,” said Marni Baker Stein, chief content officer at Coursera. “With these self-paced online specializations, aspiring music professionals all over the world have an incredible opportunity to learn directly from iconic artists and industry experts.”
Grammy Go is billed as the first creator-to-creator learning platform from the Recording Academy. Visit go.grammy.com to learn more. For more information and enrollment about the first specialization, visit the landing page for Building Your Audience for Music Professionals.