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The Recording Academy Releases Updated Rules & Guidelines For The 2022 GRAMMY Awards Show
The annual disclosure of the GRAMMY Awards Rules and Guidelines mirrors the Recording Academy's commitment to ensuring its actions are fair and transparent and that all details surrounding the awards process are easily accessible to the music community
The Recording Academy released today the latest GRAMMY Awards Rules and Guidelines, which reflect new changes to the process for the 2022 GRAMMY Awards show, officially known as the 64th GRAMMY Awards. Introduced in June 2020, the annual disclosure of the GRAMMY Awards Rules and Guidelines mirrors the Academy's commitment to ensuring its actions are fair and transparent and that all details surrounding the awards process are easily accessible to the music community at large.
The latest amendments are in addition to the previously announced changes in April, which included the discontinuation of nomination review committees, the reduction in the number of categories in which voters may vote, and the addition of the Best Global Music Performance and Best Música Urbana Album categories, among other updates. Nearly all of the changes go into effect immediately for the 64th GRAMMY Awards, which take place Jan. 31, 2022*.
"Our peer-driven awards process is all about engagement, and nothing is more invigorating than seeing our members take part in submitting proposals to move the Academy forward," Harvey Mason jr., Chair & Interim President/CEO of the Recording Academy, said. "We're proud to work alongside today's music creators to ensure their vision for the music industry is reflected in all that we do, and to continue our commitment to transparency by making these updates readily available to anyone that wishes to submit their art for GRAMMY recognition. These updates are a direct result of our collaborative process, and we're thankful for the music community's continued support every step of the way."
APPROVED RULE AMENDMENTS:
Album Of The Year Category: Nominee And Recipient Eligibility
Moving forward, all credited artists (including featured artists), songwriters of new material, producers, recording engineers, mixers, and mastering engineers are eligible to be GRAMMY nominees and recipients in the Album Of The Year category. Previously, the rule stated that all artists, songwriters, producers, recording engineers, mixers, and mastering engineers were required to be credited with at least 33 percent or more of playing time.
Dance Field: Renamed And Redefined Category
The category formerly known as "Best Dance Recording" has been renamed "Best Dance/Electronic Recording." This category is intended for recordings with significant electronic-based instrumentation generally based around a rhythmic dance beat. The screening criteria include established dance and electronic recording genres as well as related emerging genres, in order to accurately reflect the current trends in dance and/or electronic music.
Classical Field: Allow Singles In Five Classical Categories
To reflect trends in classical music consumption, singles that are not part of an album will now be eligible in five Classical categories including Best Orchestral Performance, Best Choral Performance, Best Chamber Music/Small Ensemble Performance, Best Classical Instrumental Solo, and Best Contemporary Classical Composition.
Music For Visual Media Field: Compilation Category Limits And Updated Rules
Clearer limits to the number of participants who can be awarded in the Best Compilation Soundtrack For Visual Media category have been set:
- For albums consisting largely of pre-existing masters, up to two album producers and up to two music supervisors can be awarded.
- For albums consisting largely of new recordings, principal artist(s) with significant contributing performance(s) (ensemble-driven casts in which performers have comparable musical and dramatic participation in the recording are not eligible); up to three producer(s) (in extraordinary circumstances an appeal for a possible fourth will be considered); and up to two music supervisors can be awarded. An engineer/mixer(s) who contributes greater than 50 percent playing time of newly recorded material can also be awarded.
Additionally, those entering albums and tracks that are released during the current eligibility period in the Music For Visual Media Field but are associated with a visual medium that will be released during the next eligibility period will now have two options:
- Enter the albums or tracks during the current year in categories that are not in the Music For Visual Media Field. They will not be eligible the following year in the Music For Visual Media Field if this option is chosen.
- Enter them the following year as long as they do not get entered in any category during the current year. Albums will only be eligible in their respective category: Compilation or Score. Songs will be eligible in Song Written For Visual Media. They will also be eligible in other song categories as long as they fulfill the "track from a previous year is eligible" rule.
Music Film Field: Eligibility Clarification
Music-related documentaries must contain a minimum of 51 percent of performance-based material or individual music videos that together create a visual album (if videos are packaged and entered together as one cohesive film). While dramatic feature films and biopics are not eligible, films with fictional elements are eligible.
Technical GRAMMY Award Addition
A second Technical GRAMMY Award has been added, specifically reserved for a company, organization or institution. This award would be optional, and at the yearly discretion of the Technical GRAMMY Committee. The Technical GRAMMY is awarded to those individuals who have dramatically pushed boundaries and made groundbreaking, important, outstanding, and influential contributions of technical excellence and innovation to the recording field throughout their lifetime.
Vote Trading And Manipulation
Academy members or their designated publicists are now restricted to FYC emails, social media posts and physical mailings that promote only their own recordings, prohibiting lobbying on behalf of other members.
To be eligible for GRAMMY Award consideration, an album must contain greater than 75 percent playing time of newly recorded (within five years of the release date), previously unreleased recordings*. The current eligibility rule is 50 percent. (Note: Best Compilation Soundtrack, Best Historical Album, Best Immersive Audio Album, Best Recording Package, Best Special Package, and Best Album Notes accept albums of recordings that are not newly recorded.)
*Note: The updated album eligibility rule goes into effect for the 65th GRAMMY Awards taking place in 2023.
The full list of rule amendments for the 64th GRAMMY Awards, including the newly announced changes voted on and passed at the Recording Academy's most recent semiannual Board of Trustees meeting held in May 2021, can be found in the GRAMMY Awards Rules and Guidelines. For information on the awards process and key dates surrounding the eligibility period for the 64th GRAMMY Awards, visit here.
Pre-Order The 2013 GRAMMY Nominees Album Now
Latest edition of best-selling series available Jan. 22, 2013; fans can pre-order the album and enter to win a trip for two to the 55th Annual GRAMMY Awards
The Recording Academy's GRAMMY Recordings and Capitol Records have teamed to release the 2013 GRAMMY Nominees album, which will be available Jan. 22, 2013, in stores and via digital retailers. The 19th installment of the best-selling series will feature a bevy of this year's GRAMMY-nominated artists and hit songs across multiple genres. A portion of the proceeds from sales of the album will help support the year-round efforts of the GRAMMY Foundation and MusiCares Foundation — two charitable organizations of The Recording Academy.
Following the success of last year's contest, music fans can log on to www.grammy.com/2013grammyalbum to pre-order the 2013 GRAMMY Nominees album and enter to win a trip for two to the 55th Annual GRAMMY Awards.
"It's an honor to join forces with Capitol Records to deliver a truly diverse collection encompassing a variety of genres and highlighting today's most talented musicians," said Neil Portnow, President/CEO of The Recording Academy. "After the success of last year's pre-order enter-and-win sweepstakes, we're once again thrilled to give music fans the opportunity to experience Music's Biggest Night firsthand. And, it's gratifying to be able to continue our support of the crucial work that MusiCares and the GRAMMY Foundation carry out year-round."
Dan McCarroll, president of Capitol Records, added, "Capitol is honored to collaborate with The Recording Academy on this prestigious series. This year has been a remarkably strong year in music, and encompassing the highlights of 2012 on a single release supporting these charities is immensely gratifying."
The road to Music's Biggest Night begins with "The GRAMMY Nominations Concert Live!!" and culminates with the 55th Annual GRAMMY Awards, live from Staples Center in Los Angeles on Sunday, Feb. 10, 2013, and broadcast on CBS at 8 p.m. ET/PT.
For updates and breaking news, please visit The Recording Academy's social networks on Twitter and Facebook.
Fear Of Flying
Lost or damaged musical instruments inspire musicians to seek a national policy for instruments carried onboard airplanes
If you thought the worst part about being a traveling musician was jet lag and bad food, then you've never tried to carry an instrument onboard a commercial airplane.
From lost or damaged instruments to hassles with flight attendants and gate agents, musicians of all stripes complain that inconsistent airline policies make traveling with their instruments nearly impossible.
"Try traveling with a $5,000 guitar that they won't let you carry onboard," says Los Angeles-based guitarist Michael Andrews, who tours as a solo artist and as part of the Greyboy Allstars. "It's just a nightmare."
"Every airline is so different with their rules, we don't ever know till we get there if we'll be allowed to carry our instruments on the plane or not," says country artist Terri Clark. "Sometimes it depends on the agent. And sometimes you can have the exact same airline and have two different agents telling you two different things."
The issue has ruffled enough feathers that The Recording Academy and the American Federation of Musicians have taken it to Congress. The Senate version of the FAA Air Transportation Modernization and Safety Improvement Act, S. 223, includes language that sets a national policy for musical instruments carried onboard airplanes. A House version of the bill does not address musicians' needs.
S. 223 was an issue lobbied on at April's GRAMMYs on the Hill Advocacy Day, the music industry's only annual music lobby day. The goal is to ensure the Senate bill's musician-friendly language survives conference committee and makes it into the final legislation.
"We need a consistent policy, not airline by airline [or] gate by gate," says Daryl Friedman, The Recording Academy's Chief Advocacy & Industry Relations Officer. "Right now musicians are faced with the choice of checking their instruments or buying a ticket for them — and even that is airline by airline."
Cellist Matt Walker learned that the hard way when his chamber ensemble traveled from Nashville to St. Paul, Minn., last November. Despite purchasing a ticket for his cello, and repeated assurances by the airline that a ticketed instrument posed no problem, a flight attendant still demanded Walker's cello be placed in the cargo hold.
Walker had no choice but to relinquish his cello and hope for the best. But airline employees failed to properly tag the instrument, and upon arriving in St. Paul it was left on the tarmac in 30-degree temperatures for more than half an hour.
"These things are not put together with screws and bolts, it's just wood and glue," Walker says of his cello. "You don't want to be looking at your cello sitting out on the tarmac in 30-degree weather."
Bluegrass musician Del McCoury found himself in a similar predicament last year when his prized 1957 Martin guitar was broken in airline transit, despite its fiberglass case.
"The thing is, the airline doesn't [care] about your instrument, they just don't," says Clark. "I've watched them through the window throwing guitars onto the belt. Not long ago they left ours out in freezing rain, just sitting on the tarmac. We had to watch while the guitars were getting rained on. You know, these are like $4,000–$5,000 instruments."
Los Angeles-based composer/musician Brian Tyler "cuts out the middleman" and ships his instruments ahead when traveling.
"I cut out the airline as much as possible," says Tyler. "I find the shipping companies are pretty careful with stuff. Their whole company relies on the fact that stuff has to get delivered safely."
Unfortunately, even employing due diligence offers no guarantees.
"You get a good flight case, you do all the right things, you hope for the best, but you can never absolutely count on it being there when you fly," says veteran artist manager Monty Hitchcock Jr.
Given these potential pitfalls, many musicians avoid flying completely. If a show is less than a 15-hour drive away, Clark takes a tour bus. Likewise, Walker will drive or, as on a recent trip to the Cortona Sessions in Cortona, Italy, use a rented instrument when he arrives. Playing an unfamiliar instrument is not ideal, "but it was the compromise I had to make, because I wasn't about to put myself through that ordeal again," he says.
Singer/songwriter Dylan LeBlanc, who is one of Hitchcock's clients, recently had his guitar destroyed en route to London for a European tour because a flight attendant wouldn't allow the instrument to be treated as a carry-on. The guitar arrived crushed, and LeBlanc had to tour with a replacement provided by Gibson. While he was grateful, the new instrument just wasn't the same.
"He said it was like wearing someone else's underwear," Hitchock recalls.
That's why The Recording Academy and AFM are working for a more permanent, legislative solution. Clark says a consistent airline policy would be a huge help.
"It would alleviate the stress," says Clark. "I just hope it doesn't take 10 years to get passed."
(Lisa Zhito is a Nashville-based writer covering country and contemporary Christian music.)
Photo: Getty Images
GRAMMY Museum To Host GRAMMY Cultural Exchange Program Celebration
Weeklong program for Chinese music students to culminate with a performance at the Museum on July 20
On July 20 The Recording Academy, GRAMMY Foundation, Gucci Timepieces & Jewelry, and China Soong Ching Ling Foundation, together with Gucci retail partner, Chong Hing Jewelers, will host an exclusive musical performance at the GRAMMY Museum in Los Angeles to celebrate the students of the GRAMMY Cultural Exchange Program. A finale performance by the CSCLF Gucci Timepieces & Jewelry Music Fund Quintet will conclude a weeklong program, recently established in partnership with The Recording Academy and GRAMMY Foundation, that's dedicated to nurturing talented young musicians across Greater China.
In January 2012 Gucci Timepieces & Jewelry, in collaboration with CSCLF, announced the launch of the Gucci Timepieces & Jewelry Music Fund, an initiative that provides scholarships to talented students from prestigious Chinese music establishments such as the Central Conservatory of Music in Beijing, the Xi'an Conservatory of Music and the Chinese University of Hong Kong. The most exceptional students from the CSCLF Gucci Timepieces & Jewelry Music Fund Quintet were invited to participate in the GRAMMY Cultural Exchange Program taking place July 16–21 in Los Angeles.
As part of the GRAMMY Cultural Exchange Program, today the students participated in the GRAMMY Foundation's GRAMMY Camp Guest Professionals Day, which featured artists and music industry professionals conducting question-and-answer sessions, workshops and master classes with participants of GRAMMY Camp's interactive 10-day residential summer music experience at the University of Southern California. Additionally, the exchange students will participate in several community music clinics and performances with alumni from the GRAMMY Camp — Jazz Session program. On July 18 the two groups will perform for students from three Southern California youth music programs, including the Fernando Pullum Community Arts Center, Inner City Youth Orchestra of Los Angeles and Los Angeles Unified School District's Beyond the Bell Branch at the Barack Obama Global Preparation Academy. On July 19 students will perform at the Expo Center for students from the Los Angeles Youth Orchestra.
Additionally, a special behind-the-scenes video documenting the exchange students' unique journey will be shot and produced by students participating in the GRAMMY Camp's Music Journalism track, and will be available to view beginning July 20.
A limited number of tickets to the GRAMMY Cultural Exchange Program finale performance on July 20 at the GRAMMY Museum are available exclusively at Chong Hing Jewelers' three Southern California locations in San Gabriel, Los Angeles' Chinatown and Rowland Heights. For addresses and store hours, visit www.chonghing.com.
Vicente Fernandez performs at the 2002 Latin GRAMMY Awards
Photo: M. Caulfield/WireImage
Vicente Fernández Posthumously Wins GRAMMY For Best Regional Mexican Music Album | 2022 GRAMMYs
The late Mexican legend, who died in December at 81, won the GRAMMY for Best Regional Mexican Music Album (Including Tejano) for his 2020 album, 'A Mis 80's'
Nearly four months after his death, Vicente Fernández 's legacy lives on.
The Mexican icon’s album, A Mis 80's, won Best Regional Mexican Music Album (Including Tejano). The posthumous win marks Fernández 's fourth career GRAMMY.
Aida Cuevas' Antología De La Musica Ranchera, Vol. 2, Mon Laferte's Seis, Natalia Lafourcade's Un Canto Por México, Vol. II and Christian Nodal's *Ayayay! (Súper Deluxe)* were the other albums nominated in the category.
Check out the complete list of winners and nominees at the 2022 GRAMMYs.