23rd Annual Entertainment Law Initiative® Event & Scholarship Presentation

23rd Annual Entertainment Law Initiative® Event & Scholarship Presentation

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The 23rd Annual Entertainment Law Initiative Event & Scholarship Presentation Announces Winners Of Writing Competition

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The 2021 GRAMMY Week event will also honor the Black Entertainment And Sports Lawyers Association with Service Award
Recording Academy
Feb 23, 2021 - 8:00 am

The 23rd annual Entertainment Law Initiative Event & Scholarship Presentation has announced the winner and runners-up of its Writing Competition:

Winner
Sophia Sofferman
University of Miami
Miami, Fla.

 Paper Title
"It's My [Recapture Right], And It's Now or Never…"
Runner-Up
Evan Biegel
St. John's University 
Queens, N.Y.		 Paper Title
"Tuning the Role of Artificial Intelligence in Musical Work Infringement"
Runner-Up
Alberto Vargas
University of Chicago
Chicago, Ill.		 Paper Title
"Bare Possibility or Reasonable Opportunity? In Defense of a Defendant- Conscious View of 'Access' in a Digital Age"

The 23rd Annual Entertainment Law Initiative Event & Scholarship Presentation will take place Friday, March 12, at 11 a.m. PST during GRAMMY Week 2021 in a new virtual format and will gather  the nation's most prominent entertainment attorneys to promote discussion and debate about the most compelling legal issues facing the music industry today. The event will honor the Black Entertainment and Sports Lawyers Association — a nationally recognized leader in legal education and professional development within the United States for lawyers and professionals in the entertainment, sports and related industries—with the 2021 Entertainment Law Initiative Service Award. This honor is awarded to an attorney or organization that has demonstrated a commitment to advancing and supporting the music community through service. 

Sophia Sofferman, the winner of this year's Entertainment Law Initiative Writing Competition, along with runners-up Evan Biegel and Alberto Vargas, will be recognized during the virtual event. The annual Entertainment Law Initiative's Writing Competition invites law students to write a 3,000-word paper on a compelling legal topic facing the music industry today. The contest is open to Juris Doctor (JD) or Master of Laws (LLM) candidates currently enrolled at any U.S. law school. 

Sofferman will be awarded a $10,000 scholarship; Biegel and Vargas will each be awarded a $2,500 scholarship. All three will be recognized during the 23rd Annual Entertainment Law Initiative Event & Scholarship Presentation to provide a forum for interaction with successful attorneys in the field.

Earlier this month, the Entertainment Law Initiative hosted an Info Session for students interested in submitting for this year's Writing Competition to learn from previous student winners, in addition to gaining career advice from top entertainment lawyers. 

Other program participants at this year's Entertainment Law Initiative event include Recording Academy Chair and interim President/CEO Harvey Mason jr., Entertainment Law Initiative Executive Committee Chair Laurie Soriano, Entertainment Law Initiative Executive Committee member Ken Abdo, and Recording Academy Chief Diversity, Equity & Inclusion Officer Valeisha Butterfield-Jones, the latter of whom will lead a roundtable discussion that will explore the current state of diversity in the music industry. 

The Recording Academy would like to thank all the supporters that made this program possible, especially our Platinum Presenting partners Fox Rothschild LLP and Universal Music Group, and our Platinum level partners First Horizon/IBERIABANK, Greenberg Traurig, LLP, and Spotify.

The Entertainment Law Initiative event is the nation's preeminent gathering for entertainment attorneys and the music business community, and it provides a forum for the industry to honor its legal practitioners, hear from thought leaders, and support promising law students interested in entertainment law. This year's event is invite-only.

Read the complete Entertainment Law Initiative writing contest rules. For further questions, email eli@recordingacademy.com. 

GRAMMY Week 2020: Entertainment Law Initiative Event Celebrates Change-Makers And Discusses Today's Most Pressing Issues

Photo of Harvey Mason jr.

Harvey Mason jr.

Photo Courtesy of Harvey Mason jr.

 
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The Recording Academy Appoints Harvey Mason Jr. As President/CEO

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Following his transformational work as Interim President/CEO since 2020, the appointment removes the interim title and will enable Harvey Mason Jr. to continue the Recording Academy's drive for meaningful change across the organization
Recording Academy
May 13, 2021 - 1:49 pm

The Recording Academy's Board of Trustees has appointed Harvey Mason jr., as the Academy's President/CEO, effective June 1. Mason has been in the position on an unpaid, interim basis since January 2020, prior to which he was Chair of the Academy's Board, a position he will now relinquish. His appointment as President/CEO recognizes his achievements in transforming the Academy in mission-critical ways.

In a joint statement, search committee co-chairs John Burk and Leslie Ann Jones said: "We are delighted that Harvey will remain at the helm and continue to steer the organization through this pivotal time. As we journeyed deeper into our extensive search, it became clear that the best person for the job was Harvey. We are immensely impressed by the remarkable work he has done during his interim tenure and look forward to the continued evolution of the Academy under his effective, results-driven leadership."

"I want to commend the search committee and our partners at Heidrick and Struggles for orchestrating a robust and exhaustive search for our next President and CEO," said Tammy Hurt, Vice Chair of the Recording Academy. "I am not surprised that they faced a significant challenge in finding candidates that would meet the standard that has been set by Harvey during these past 16 months. He has led the Academy through one of the most difficult periods in our history. As a music creator himself, he has provided hope, inspiration and a vision for the future that we are well on our way to achieving. We are all thrilled that he has agreed to become our permanent CEO and will continue to lead us into the future."

During Mason's tenure, the Academy has improved the transparency of the GRAMMY Awards process, made important changes to voting procedures, and has made strides towards ensuring a more diverse and inclusive membership body. Additionally, the Academy launched a new Songwriters & Composers Wing and the Black Music Collective.

Shortly after Mason was appointed as Interim President/CEO, the Academy confronted the unexpected challenge of COVID-19 and the disruption it caused to the livelihoods of so many Academy members and the music community. Under his leadership, MusiCares raised and distributed over $24 million to help struggling music creators through the crisis, and the Academy advocated effectively in Washington for relief. Despite that ongoing challenge, Mason continued the Academy's internal transformation, as it implemented the final recommendations of its Diversity and Inclusion Task Force, hired its first-ever Chief Diversity, Equity and Inclusion Officer and conducted an organizational restructure.

Although a search committee of the Academy's Board worked with a leading search firm and considered numerous candidates for the position, the committee and the Board as a whole concluded that no candidate matched Mason's combination of skills and experience: a GRAMMY-nominated creator, an entrepreneur, and a transformational leader. Mason will not retain his role as Board Chair, and will take appropriate steps to prevent any conflict of interest with his business, Harvey Mason Media.

"There is nothing more rewarding than having the trust and respect of your colleagues and peers," Mason said.  "I am honored to have been appointed to continue to lead the Recording Academy on our transformative journey. While I had not initially expected to be in this position, I remain deeply invested in the success of the organization and am motivated to help us achieve our greatest ambitions. I will serve humbly with a steadfast commitment to building a more inclusive, responsive and relevant Academy."

The Recording Academy Announces Major Changes For The 2022 GRAMMY Awards Show

Photo of GRAMMY trophies at the 59th GRAMMY Awards in 2017

GRAMMY trophies at the 59th GRAMMY Awards in 2017

Photo: ROBYN BECK/AFP via Getty Images

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The Recording Academy Announces Major Changes For The 2022 GRAMMY Awards Show

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Process amendments include the elimination of nominations review committees and the addition of two new GRAMMY Award categories, including Best Global Music Performance and Best Música Urbana Album
GRAMMYs
Apr 30, 2021 - 2:27 pm

The Recording Academy announced today that it has made significant changes to its Awards process that reflect its ongoing commitment to evolve with the musical landscape and to ensure that the GRAMMY Awards rules and guidelines are transparent and equitable. Among the changes are the elimination of Nominations Review Committees, a reduction in the number of categories in which voters may vote, two GRAMMY Award category additions, and more. These updates are a result of extensive discussions and collaboration over the course of the last year among a special subcommittee of Recording Academy members and elected leaders, and were voted on by the Academy's Board of Trustees. These changes go into effect immediately for the 2022 GRAMMY Awards show, officially known as the 64th GRAMMY Awards, taking place Jan. 31, 2022. The eligibility period for the 64th GRAMMY Awards is Sept. 1, 2020, through Sept. 30, 2021.

Additional rule amendment proposals will be discussed and voted on at an upcoming Recording Academy meeting and the full rulebook for the 64th GRAMMY Awards will be released in May.

"It's been a year of unprecedented, transformational change for the Recording Academy, and I'm immensely proud to be able to continue our journey of growth with these latest updates to our Awards process," Harvey Mason jr., Chair & Interim President/CEO of the Recording Academy, said. "This is a new Academy, one that is driven to action and that has doubled down on the commitment to meeting the needs of the music community. While change and progress are key drivers of our actions, one thing will always remain — the GRAMMY Award is the only peer-driven and peer-voted recognition in music. We are honored to work alongside the music community year-round to further refine and protect the integrity of the Awards process."

APPROVED RULE AMENDMENTS INCLUDE:

Voting Process Changes

  • Elimination Of Nominations Review Committees In General And Genre Fields
    • Nominations in all of the GRAMMY Award general and genre fields will now be determined by a majority, peer-to-peer vote of voting members of the Recording Academy. Previously, many of the categories within these fields utilized 15-30 highly skilled music peers who represented and voted within their genre communities for the final selection of nominees. With this change, the results of GRAMMY nominations and winners are placed back in the hands of the entire voting membership body, giving further validation to the peer-recognized process. To further support this amendment, the Academy has confirmed that more than 90 percent of its members will have gone through the requalification process by the end of this year, ensuring that the voting body is actively engaged in music creation. Craft committees remain in place (see below for craft category realignment.)
  • Reduction In Number Of Categories Voter May Vote
    • To ensure music creators are voting in the categories in which they are most knowledgeable and qualified, the number of specific genre field categories in which GRAMMY Award Voters may vote has been reduced from 15 to 10. Additionally, those 10 categories must be within no more than three fields. All voters are permitted to vote in the four General Field categories (Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist). Proposed by a special voting Task Force who brought forth the recommendation, this change serves as an additional safeguard against bloc voting and helps to uphold the GRAMMY Award as a celebration of excellence in music, with specific genre field categories being voted on by the most qualified peers.
  • Craft Category Realignment
    • To better reflect the overlapping peer groups within the voter membership body, six existing craft fields will be consolidated into two fields: Presentation Field and Production Field. In either newly consolidated field, voters would have the ability to choose how many categories they feel qualified to vote in, respecting category vote limits, without being excessively limited by the three-field restriction. This benefits the integrity of these Awards by embracing and utilizing the specializations of the voters, without restricting their choice or contributions due to the field limits imposed by the recent reduction of the number of categories voters may vote in. Field updates are as follows:
      • Package Field, Notes Field and Historical Field renamed and consolidated to Package, Notes & Historical Field
      • Production, Non-Classical Field; Production, Immersive Audio Field; and Production, Classical Field renamed and consolidated to Production Field

New Categories Added

Two new categories have been added, bringing the total number of GRAMMY Award categories to 86:

  • Best Global Music Performance (Global Music Field)
  • Best Música Urbana Album (Latin Music Field)

"The latest changes to the GRAMMY Awards process are prime examples of the Recording Academy's commitment to authentically represent all music creators and ensure our practices are in lock-step with the ever-changing musical environment," Ruby Marchand, Chief Industry Officer at the Recording Academy, said. "As we continue to build a more active and vibrant membership community, we are confident in the expertise of our voting members to recognize excellence in music each year."

"As an Academy, we have reaffirmed our commitment to continue to meet the needs of music creators everywhere, and this year's changes are a timely and positive step forward in the evolution of our voting process," Bill Freimuth, Chief Awards Officer at the Recording Academy, said. "We rely on the music community to help us to continue to evolve, and we're grateful for their collaboration and leadership."

The Recording Academy accepts proposals from members of the music community throughout the year. The Awards & Nominations Committee, comprised of Academy Voting Members of diverse genres and backgrounds, meets annually to review proposals to update Award categories, procedures and eligibility guidelines. The above rule amendments were voted on and passed at a Recording Academy Board of Trustees meeting held on April 30, 2021. For information on the Awards process, visit www.grammy101.com.

The Recording Academy And CBS Announce Date For The 2022 GRAMMY Awards Show

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Yolanda Adams

Yolanda Adams

Photo courtesy of CBS

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Here's What Went Down At "A GRAMMY Salute To The Sounds Of Change"

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Featuring performances by stars from Patti LaBelle to Andra Day to Gladys Knight, "A GRAMMY Salute To The Sounds Of Change" was a decades-spanning celebration of the songs that both reflect and alter the course of social justice history
Morgan Enos
GRAMMYs
Mar 18, 2021 - 10:01 am

When Woody Guthrie wrote "This Land is Your Land," he certainly understood he was expressing something important to the world. Ditto John Lennon with "Imagine" and Marvin Gaye with "What's Going On." But could any of them have known we'd still be singing them in 2021? That amid the racial nightmares of George Floyd's killing and the anti-Asian violence that just battered Georgia, we'd return to the well of songs from 50 or more years ago for healing? 

Welcome to "A GRAMMY Salute To The Sounds Of Change," a special that solemnly, respectfully paid homage to the songs that altered the course of social-justice history. But the event, which the hip-hop heavyweight Common hosted, didn't just focus on the great tracks of the 20th century; it filtered them through the musical luminaries of the 21st.

A mix of archival performances and COVID-safe new ones, the special succeeded in showing that our modern horrors aren't so new at all—and that throughout history, brave men and women have risen to address the changing tides of history in song. Thus, the young guard (LeAnn Rimes, Chris Stapleton and Andra Day) rubbed shoulders with the old (Gladys Knight, Patti LaBelle), showing these well-worn standards still emanate transformative power.

It's no accident that Common was at the helm of "A GRAMMY Salute To The Sounds Of Change"; check out his socially conscious 1999 classic Like Water For Chocolate if you're curious about how he fits into this puzzle. (Not to mention his poignant performance of "Glory," the theme song to the 2014 film Selma, with John Legend at that year's GRAMMY Awards show.)

After the MC's dignified introduction, the night kicked off with a nocturnal version of John Lennon's "Imagine" by the pearl-covered singer Cynthia Erivo. She ended the rendition with a hair-raising vamp, surrounded by projected imagery of placards reading things like "Close The Camps" and "Unjustified War Is Criminal."

Country titan Chris Stapleton then performed Louis Armstrong's "What a Wonderful World," showing how the old chestnut easily transmutes into a variety of American idioms. (To this point: check out Jon Batiste's melancholic version from 2018's Hollywood Africans.) 

In a tonal 180, LeAnn Rimes then performs Loretta Lynn's saucy (and at the time, unspeakably scandalous) 1975 ode to birth control, "The Pill." Her masked, punked-up backing band showed us how the tune essentially invented Bikini Kill. The womens' liberation theme continued with R&B great Patti LaBelle laying into Lesley Gore's "You Don't Own Me." 

That performance segued into even heavier territory with a version of the "Strange Fruit" by Andra Day—who recently won a Golden Globe for her performance in 2021's The U.S. vs. Billie Holiday. She crooned the anti-lynching classic in a crepuscular, green-screened forest. Showing that times tragically haven't changed in certain respects, "Strange Fruit" segued into Leon Bridges' "Sweeter," a response to George Floyd, featuring Terrace Martin on blazing saxophone.

These issues represent mere facets of human disharmony. But Marvin Gaye's intellect and imagination were keen enough to not only grasp that vastness but channel it into a song for everyone. Enter seven-time GRAMMY winner Gladys Knight, who stepped on stage to perform the immortal "What's Going On" with Sheila E. on percussion, Israel Houghton on guitar, D Smoke on keys and musical director Adam Blackstone on bass.

"Hi, Marvin!" Knight crowed at the outset. "I miss you so much. I love your music—the way you write, the way you sing, the whole thing. You touch my spirit every time you sing a song."

The specter of war was addressed with, well, "War," the Norman Whitfield tune we know from Edwin Starr's version. And after his piano-and-gospel version of his 2021 anti-Trump song "Weeping in the Promised Land"—crescendoing with a collective wail of "I can't breathe!"—John Fogerty rocked things up with Creedence Clearwater Revival's thrilling, outraged, oft-misunderstood classic "Fortunate Son."

Cutting to the essence of the other-ness that feeds racial division, CBS's Gayle King sat down with singer-actor Billy Porter to discuss the struggles of growing up gay and Black—and how music with a social conscience is returning to the forefront in 2021. 

"I'm feeling once again the energy surrounding the power of protest music," Porter said. When asked about his choice to cover Patti LaBelle's "You Are My Friend" for the show, "I just wanted to choose something that was about chosen family," he added. "We talk often in this world about family values, but what happens when your family—your biological family—don't have the tools to understand how to love you?" 

As Porter sang the empathetic ballad on a flower-festooned stage, images of people of all colors, identities and persuasions embracing—often draped in rainbow flags—flashed on the screen. "I want to talk to you a little bit about where I've been in the world!" he crowed midsong.

"A GRAMMY Salute To The Sounds Of Change" also honored and elevated Latin voices. After a brief preamble from Common about the meaning and import of the neologism "Latinx," Gloria and Emilio Estefan discussed how Latin music is woven into the fabric of American social change. Their daughter Emily Estefan then performed "This Is What," a tribute to Sonia Sotomayor, the first Hispanic and Latina member of the Supreme Court.

Sotomayor was nominated in 2009 by then-President Barack Obama, and Brad Paisley touches on the legacies of our first Black president and first lady. From the floor of the Woolworth on 5th restaurant in Nashville, the country star performed his ascendant "Welcome to the Future," which he wrote in response to Obama's election. Paisley then strolled to the counter, explaining that the restaurant was a historic spot where John Lewis and his friends took a stand for racial justice in 1960.

The special then homed in on "We Shall Overcome," a cornerstone of the civil rights movement. Yolanda Adams laid down a reverent monologue about the tune to the haunting strains of a gospel choir. But then, something unexpected happened. The lights flared up, and Adams upshifted several gears, launching into a raucous take on the soul-strengthening classic. 

It was a joyful capper for a heartening night, conceived and broadcast for all the right reasons. But most importantly, almost every minute of "A GRAMMY Salute To The Sounds Of Change" was stuffed with music, which is usually the loam from where real change springs.

"A GRAMMY Salute To The Sounds Of Change" is available on-demand on Paramount+.

From Aretha Franklin To Public Enemy, Here's How Artists Have Amplified Social Justice Movements Through Music

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Sounds of Change 2021

Sounds of Change 2021

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Here's What To Expect At "A GRAMMY Salute To The Sounds Of Change" 2021 Special

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Hosted by three-time GRAMMY winner Common, "A GRAMMY Salute To The Sounds Of Change" will feature Gladys Knight, LeAnn Rimes, Patti LaBelle, Terrace Martin, Leon Bridges, Brad Paisley and more
Morgan Enos
Recording Academy
Mar 16, 2021 - 5:24 pm

With the 2021 GRAMMY Awards show in the rearview and GRAMMY season winding down for the year, The Recording Academy and CBS will present "A GRAMMY Salute To The Sounds Of Change." The show will broadcast Wednesday, March 17, at 9–11p.m. ET/PT and will also be available via livestream and on-demand on Paramount+, ViacomCBS' newest global streaming service. The show will illuminate unforgettable songs that catalyzed social change, both reflecting and shaping their times.

Here's what to expect at "A GRAMMY Salute To The Sounds Of Change."

What To Expect At "Sounds Of Change"

Common Will Host The Event

The three-time GRAMMY-nominated rapper Common will be the master of ceremonies.

John Lennon Will Loom Large

Cynthia Erivo will perform a piano-led version of a solo Beatle classic.

John Prine Will Get His Due

As part of a section focused on environmentalism, the late John Prine will get the spotlight. (So will Marvin Gaye and Woody Guthrie.)

Two Generations Of Country Greats Will Meet

Chris Stapleton will perform a Willie Nelson classic.

Women's Empowerment Will Get The Spotlight

Expect classic GRAMMY performances from Shania Twain and Kesha.

Revisit A Classic Anti-Racist Anthem

Andra Day will sing a song Billie Holiday made immortal.

A Superstar Ensemble Will Sing A Prescient Classic

Gladys Knight, Sheila E. and more will join forces to perform a totemic Marvin Gaye tune.

The Recording Academy And CBS Announce "A GRAMMY Salute To The Sounds Of Change" Special: Gladys Knight, LeAnn Rimes, Cynthia Erivo, Brad Paisley, Chris Stapleton And More Confirmed

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