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BTS Shine At GRAMMY U SoundChecks In Chicago

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"We work around the clock, and technology has developed that allows us to collaborate with people around the world," BTS told the Recording Academy prior to their Windy City event
Lior Phillips
Membership
May 16, 2019 - 11:37 am

"When we think of painting, artists just describe how it looks. As time passed, Picasso came and started to express image and feeling. And now with social media, we can communicate through the painting. We can think of the image, talk to it and ask questions." -BTS

While the ecstatic, eager crowds gathered in hungry anticipation around Soldier Field prior to BTS' second night in Chicago, there was a serene, enchanting aura inside the pop sensations' forum with GRAMMY U Chicago students at a SoundChecks event on Sunday, May 12.

The afternoon began with the students getting a bird's eye view of BTS' soundcheck, looking down as the Korean septet performed two songs for the sea of about 2,000 members of the ARMY (as fans of the group are known). Though the fans toting hand-painted signs and wearing bedazzled cat ears at the front of the stage screamed for joy at every evocative dance move and flutter of confetti, the GRAMMY U students took in the big picture, learning how such a big show is produced.

When BTS and the students were ushered into a private room not long after, the group shared details on all of the hard work that goes into making a performance seem so effortless. "We work around the clock, and technology has developed that allows us to collaborate with people around the world," BTS told the Recording Academy prior to their Windy City event.

As GRAMMY U is designed to celebrate music's future, it seems fitting to give the students access to one of the most groundbreaking artists of today, a group that strives to redefine the way in which artists interact with their fans and bring their music to life. "Our music and performance receiving so much love from so many people around the world is proof that the language and borderlines in music are diminishing, and we hope that we can continue to remove those barriers," the band said. "We always try to communicate with the audience on stage. Although the venue has grown in scale, we will continue to pour our passion and energy as we always do."

K-pop phenomenon BTS (Beyond the Scene) formed in 2013 as Bangtan Sonyeondan, which translates roughly to "Bulletproof Boy Scouts." Together, Jin, SUGA, J-Hope, RM, Jimin, V, and Jung Kook  have quickly catapulted to a massive worldwide fandom comparable perhaps only to Beatlemania, a comparison born out by the fact that, with MAP OF THE SOUL: PERSONA, BTS charted three Billboard number one albums in less than a year, a feat the lads from Liverpool achieved in the mid-'60s. Though proud of that fact, BTS aren’t focused on the past, but always working hard to build something new for the future. "It’s such a great honor to be mentioned alongside The Beatles, but BTS is just BTS," RM said.

BTS On What They're Listening To Now & More

The fact that the day’s event was connected to GRAMMY U naturally brought to mind the critical appreciation growing to match the worldwide K-pop phenomenon. Multiple students expressed curiosity regarding the differences between international markets, asking questions about BTS' experience breaking into the American music scene. And though they've become easily the biggest group from Korea, BTS wanted to make it clear that they remain focused solely on themselves. "We aren’t the representatives for K-pop," the band said. "We can’t define or say what it is, but these days, thanks to social media and fans, we’re lucky to have the opportunity to share our words with the world."

The other major difference the group noted relates to the ways in which labels work and the very size of the industry itself. In the U.S., they explained, there are many discrete teams that interact and work together, whereas in their home country, the label might be bigger and more all-encompassing. "I think this is quite interesting: In Korea, there’s a big label that gets young talent and they help bring everything together for them," they said. "It’s like a year-round song camp."

Though all the moving pieces may be arranged under one tent, as with BTS' home Big Hit Entertainment, artists and label representatives alike need to develop strong communication skills—something the group stressed as important for anyone aspiring to join the industry. "Each artist has their own preferences and pace, and each sound engineer has their own sphere of artistry," SUGA said. "Every venue is different, so we sit down and meet with engineers and make sure we communicate. The most important thing is to be sensitive."

While they’ve been focused internally on their music, BTS have also been incredibly outward-facing socially, making an astonishing impact as philanthropists. In 2018 alone, the group’s "Love Myself" campaign raised more than $1 million for UNICEF. Beyond those charitable acts, countless ARMY fans look up to BTS for guidance or positivity. That can be a difficult task, but one the group are ready for. "It would be a lie if we said we didn’t feel pressure, but it’s always great to hear from our fans all over the world that our music changed their lives," the band said. "It makes us think more deeply about what we do and our music and puts even more responsibilities on our shoulders."

The group's rapid ascent has been dotted with exciting performances and recognition. BTS presented the award for the best R&B Album at the 61st GRAMMY Awards in February, and made their SNL debut in April. In all these experiences, the group explained, they remain focused on the fans. “While achievements are important, we hope to give our fans happiness above all else," BTS said. "In fact, [Map of the Soul: Persona]  is also made to enjoy with fans, so as long as we can enjoy and be happy, I don't think there is a better achievement."

K-Pop Phenoms BTS Keep Breaking Records: Here's Why

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A Message From The Chairman, Interim CEO Of The Recording Academy

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The Recording Academy’s ongoing commitment to Diversity & Inclusion
Membership
Jan 26, 2020 - 10:41 am

Six months ago, when I put my hat in the ring to be your Chair, I did so because I believed that the Academy could do better – could be better. The music we create has always reflected the best of ourselves and our world. But what was true of music has historically not been true of the music business as a whole. Too often, our industry and Academy have alienated some of our own artists – in particular, through a lack of diversity that, in many cases, results in a culture that leans towards exclusion rather than inclusion.
 
The Academy is recognized for our excellence. We are a leader. And being a leader means taking responsibility even when it feels like the problems at hand are bigger than us.
 
This is hard. Some might feel that responsibility is unfair, while others might feel it’s not going far enough. But in the end, we must take on this work. Because it’s the right thing to do.
 
I ran for this position because, as a music creator, I wanted to help bring this organization in line with the values I know this community shares. I asked for your trust – and your help – as we continue to push the Academy towards a place where everyone is valued, respected, and included. That’s the Academy that we – artists and fans alike – deserve.
 
In entering this role six months ago, I was fortunate to be building on courageous and inspiring work. Artists – especially women and artists of color – had long begun demanding transparency and taking on our traditional power structure. They have found allies across the industry who believe that we can do better and have joined the fight for change.
 
In February 2018, we empowered a Diversity Task Force, led by Tina Tchen and made up of distinguished individuals from outside the Academy, to take a hard, independent look at our organization specifically and the music industry as a whole. They detailed the ways in which we were falling short, and laid out 18 recommendations for change.
 
Since I took office, we as an organization have agreed to 17 of those 18 recommendations. I know some will feel that we’re not doing enough fast enough. I understand the urgency. For me personally, and for this organization, these immediate steps are a continuation of our ongoing work.
 
But it’s not enough to pledge ourselves to change. We must take action. There is no excuse for waiting, especially when so many of our members have been tirelessly advocating for a bold new direction for so long.
 
That’s why I’m proud to announce these new initiatives, initiatives developed in partnership with the Diversity Task Force and other champions of change. They include the following:
 
The Academy will hire a dedicated Diversity & Inclusion Officer. This person will be hired within the next 90 days.
We will establish a fellowship, funded by the Academy, that will be responsible for independent review and reporting of the progress of the Academy's Diversity & Inclusion efforts. This will be in place within 120 days.

We will create a fund to be distributed annually to different “women in music” organizations that will be managed by the D&I Officer. This will go into effect immediately.

The Academy will recommit to meeting all 18 of the Task Force Recommendations as outlined in the full report and in a manner that will endure, with the caveat that we will have a deeper exploration, along with the Task Force into voting processes for the GRAMMYS.

We are committing to meet with the Task Force to review our progress on these as well as the rest of their eighteen initiatives. This first meeting will happen in 45 days. There will be subsequent follow ups to review progress.

It’s been a challenging week for our Academy family. I’ve heard from many of you who feel betrayed and hurt by the untruths being spread about our motives and actions, the integrity of our process and the artists who've rightfully earned their GRAMMY Nominations, and the reminders of the hard truths we do have to face as a community. We can all be proud that we are recommitting ourselves to transparency, to independent investigations, and to following the facts wherever they lead. And I want to thank the incredible Academy team that, through it all, work day and night, from staff, artist support services, member relations, chapter leaders, MusiCares, The GRAMMY Museum Foundation, and to those putting on a spectacular show and the week’s events.
 
The movement to ensure that the Academy – and the music business – is truly representative of artists and their audiences has been going on for a long time. And that struggle will continue, not just for women and people of color, but for members of the LGBTQ+ community, for artists struggling to make ends meet, for those suffering from addiction or mental health challenges, for people of all shapes and sizes and backgrounds, and for groups we may not even recognize today. As a leading voice in the industry, we have an obligation to be on the frontlines of that change. To build a system that continuously evolves with our changing society – a system where every artist, no matter who they are, feels welcomed and supported. That’s what it will take to not just survive but thrive in an industry that’s transforming as quickly as ours.
 
This won’t be easy. But here’s the thing: I know we can do this together. Because that’s what we have always done. We are collaborators. After all, as a peer-based community, the

Academy truly represents music at its best. It has always reflected the very artists who grapple with the issues that shape our times, and push society to live up to our ideals. That’s what it means to be a part of this extraordinary community of artists – people with integrity, people with passion, and people who, above all, are committed to music and its possibilities.
 
Tonight, many of our colleagues will take the stage on Music’s Biggest Night, be honored by their community of peers and thank the Academy. On behalf of the Academy, I’d like to thank them. Thank you for the authenticity you bring to your craft, the dignity with which you carry yourselves, and the love you show to each other and our world.
 
I look forward to working side by side with you to continue building an Academy that reflects the best in us, and honors the incredible artists who lift us up every day.
 
Respectfully Yours,
Harvey Mason Jr

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Lana Del Rey Offers Music Industry Advice With GRAMMY U Students In Nashville

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The GRAMMY-nominated pop luminary spoke to GRAMMY U students about connecting with Jack Antonoff for her latest studio album, 'Norman F*****g Rockwell!' and the importance of having a mentor in the music industry
Sam Newton
Membership
Dec 11, 2019 - 11:55 am

Just hours after finding out she received two GRAMMY nominations, Lana Del Rey joined the Nashville GRAMMY U Chapter for an intimate performance and discussion. Fresh off a show the night before at Nashville's Municipal Auditorium, Del Rey played stripped-down versions of "Norman F*****g Rockwell" and "Bartender," both off her GRAMMY-nominated sixth studio album, and invited Nashville native and friend, Nikki Lane, to perform Lane's "Look Away" with her.   

Touching on topics ranging from the #MeToo movement to genre-crossing, Del Rey spent much of the conversation chatting about her recent album, Norman F*****g Rockwell! (up for Album Of The Year), which actually got its start at the Clive Davis Pre GRAMMY Gala. Del Rey shared with the students that she first ran into Jack Antonoff (who produced much of the album) at the party and began working with him right after. When asked what songs on the album stand out for her, she said "Norman F*****g Rockwell," nominated for Song Of The Year, was melodically one of her favorites and had enough humor to balance out the album. She also cited the very personal album closer "hope is a dangerous thing for a woman like me to have – but I have it."

As the discussion moved towards the business side of the industry, Del Rey shared that she read "All You Need To Know About the Music Business" by Donald S. Passman when she was starting out and found tips – such as not combining your publishing with your record deal – very helpful. (She put this tip into practice when signing her first record deal.)  

When asked what advice she would give a room full of students entering the music business, Del Rey noted how important it is to find mentors wherever you can. In her case, some of her best mentors have been people outside the music industry who genuinely wanted to offer her advice without a dog in the race. 

As the conversation ended, Del Rey took the time to speak with students individually about their current classes and music industry goals. It was clear from the students' reactions that Del Rey provided them with invaluable guidance about the industry. The Nashville GRAMMY U Chapter could not have been more excited to share such a special day with her.

Jonas Brothers Bring Happiness To GRAMMY U SoundChecks In New York

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Hero The Band perform at the Recording Academy Atlanta Chapter Annual Membership Celebration
Photo: Marcus Ingram/WireImage

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Report: Music & Culture Infrastructure Can Create Better "Future Cities"

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How sound planning for a creative future in our urban areas makes all the difference for artists and musicians
Nate Hertweck
GRAMMYs
Oct 23, 2019 - 2:27 pm

The future, as they say, is now. And for music makers around the world, building a future for themselves often starts at home, in their local creative community and in the city where they live. While technology has expanded communication and made the world smaller, cities continue to grow, making planning for the future a critical cultural mission of the present.

To that end, a new report by global organization Sound Diplomacy titled "This Must Be The Place" examines, "The role of music and cultural infrastructure in creating better future cities for all of us." The 37-page deep dive into community planning and development highlights the importance of creative culture in what it calls "Future Cities."

"The government defines ‘Future Cities’ as 'a term used to imagine what cities themselves will be like," the report states, "how they will operate, what systems will orchestrate them and how they will relate to their stakeholders (citizens, governments, businesses, investors, and others),'"

According to the report, only three global cities or states currently have cultural infrastructure plans: London, Amsterdam and New South Wales. This fact may be surprising considering how city planning and sustainability have become part of the discussion on development of urban areas, where the UN estimates 68 percent of people will live by 2050.

"Our future places must look at music and culture ecologically. Much like the way a building is an ecosystem, so is a community of creators, makers, consumers and disseminators," the report says. "The manner in which we understand how to maintain a building is not translated to protecting, preserving and promoting music and culture in communities."

The comparison and interaction between the intangibility of culture and the presence of physical space is an ongoing theme throughout the report. For instance, one section of the report outlines how buildings can and should be designed to fit the cultural needs of the neighborhoods they populate, as too often, use of a commercial space is considered during the leasing process, not the construction process, leading to costly renovations.

"All future cities are creative cities. All future cities are music cities."

On the residential side, as cities grow denser, the need increases for thoughtful acoustic design and sufficient sound isolation. Future cities can and should be places where people congregate

"If we don’t design and build our future cities to facilitate and welcome music and experience, we lose what makes them worth living in."

For musicians and artists of all mediums, the answer to making—and keeping—their cities worth living in boils down to considering their needs, impact and value more carefully and sooner in the planning process.

"The report argues that property is no longer an asset business, but one built on facilitating platforms for congregation, community and cohesion," it says. "By using music and culture at the beginning of the development process and incorporating it across the value chain from bid to design, meanwhile to construction, activation to commercialisation, this thinking and practice will result in better places."

The report offers examples of how planners and leaders are handling this from around the world. For instance, the Mayor Of London Night Czar, who helps ensure safety and nighttime infrastructure for venues toward the Mayor's Vision for London as a 24-hour city. Stateside, Pittsburgh, Penn., also has a Night Mayor in place to support and inform the growth of its creative class.

Diversity, inclusion, health and well-being also factor into the reports comprehensive look at how music and culture are every bit as important as conventional business, ergonomic and environmental considerations in Future Cites. Using the Queensland Chamber of Arts and Culture as a reference, it declared, "A Chamber of Culture is as important as a Chamber of Commerce."

In the end, the report serves as a beacon of light for governments, organizations, businesses and individuals involved in planning and developing future cities. Its core principals lay out guideposts for building friendly places to music and culture and are backed with case studies and recommendations. But perhaps the key to this progress is in changing how we approach the use of space itself, as the answer to supporting music may be found in how we look at the spaces we inhabit.

"To develop better cities, towns and places, we must alter the way we think about development, and place music and culture alongside design, viability, construction and customer experience," it says. "Buildings must be treated as platforms, not assets. We must explore mixed‑use within mixed‑use, so a floor of a building, or a lesser‑value ground floor unit can have multiple solutions for multiple communities."

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GRAMMY U at Lollapalooza

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Photo Gallery: GRAMMY U Fall Semester 2019

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Check out what GRAMMY U students have been up to this semester
THE GRAMMYs
Membership
Sep 27, 2019 - 10:54 am

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GRAMMY U students from the Nashville Chapter with Big K.R.I.T. during SoundChecks With Big K.R.I.T. at Marathon Music Works. The students were able to have an in-depth conversation with Big K.R.I.T. about his career. In addition, students watched Big K.R.I.T.'s soundcheck before the show. 

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Students from the Nashville Chapter of GRAMMY U at SoundChecks With Conan Gray at Mercy Lounge. During this event, the students were able to interact with Conan Gray on a personal level and have an intimate Q&A about his creative process and life on the road after watching his soundcheck. 

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Photo: Saloni Jaisingh

Irish singer Hozier welcomed GU Chicago students into his SoundCheck followed by a Q&A during his stop in Chicago on his Wasteland, Baby! tour.

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GRAMMY U_Masterclass Soundscape_111219

Photos: Saloni Jaisingh

In this immersive experience at Soundscape Studios, GU Chicago students were able to mix and record their original music with audio engineer, Michael Kolar!

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Photo: Kristin Klimas

GRAMMY U Chicago were invited to watch the internationally acclaimed group, Of Monsters and Men, SoundCheck at the Aragon Ballroom!

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Photo: Maria Tangarova

Texas Chapter GU members gathered together to take a photo inside the iconic ACL Fest frame after their Industry Insights program with festival staff.

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Photo: Maria Tangarova

Texas Chapter GU members gathered backstage at Austin City Limits to learn from some of the masterminds behind the festival that "Keeps Austin Weird." 

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Photo: Daniel Zuchnik/Getty Images

On August 29, New York GRAMMY U members were able to attend SoundChecks with Jonas Brothers at Madison Square Garden followed by a special Q&A. All students were invited to stand on stage at the world's most famous arena after seeing the brothers perform their latest hits.

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GRAMMY U Lollapalooza 2019

Photos: Saloni Jaisingh

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GRAMMY U Chicago students had the exclusive opportunity to tour the Lollapalooza grounds before the festival began. On this Behind the Scenes tour with C3 Presents, students learned about hospitality, booking, and production straight from the team that puts the festival together.

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Photo credit: Getty Images

GRAMMY U SF students took a venue and production tour with ZEDD and his team at his favorite place to perform, the Bill Graham Civic Auditorium in San Francisco.

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Photo credit: Recording Academy Staff

GRAMMY U Nashville Chapter students pose with Maggie Rogers at the Ryman Auditorium. The students were able to attend her Soundcheck and participate in a Q&A regarding the music industry. 

Photo Gallery: GRAMMY U Spring Semester 2019

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