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Grammy Awards
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Grammy
Previous: 67th Annual Grammy Awards
February 2, 2025 (2025-02-02)
Next: 68th Annual Grammy Awards
Awarded forOutstanding achievements in the music industry
CountryUnited States
Presented byThe Recording Academy
First awardMay 4, 1959; 66 years ago (1959-05-04)
Websitegrammy.com
Television/radio coverage
NetworkNBC (1959–1970)
ABC (1971–1972; 2027)
CBS (1973–present)

The Grammy Awards, stylized as GRAMMY, and often referred to as The Grammys, are awards presented by The Recording Academy of the United States to recognize outstanding achievements in music. They are regarded by many as the most prestigious and significant awards in the music industry worldwide and thus the show is frequently called "music's biggest night".[1] The trophy depicts a gilded gramophone, and the original idea was to call them the "Gramophone Awards".

The Grammys are the first of the Big Three networks' major music awards held annually,[note 1] and are considered one of the four major annual American entertainment awards with the Academy Awards (for films), the Emmy Awards (for television), and the Tony Awards (for theater). The first Grammy Awards ceremony was held on May 4, 1959,[2] to honor the musical accomplishments of performers for the year 1958. After the 2011 ceremony, the Recording Academy overhauled many Grammy Award categories for 2012.[3] The 67th Annual Grammy Awards, featuring a total of 94 categories, were presented on February 2, 2025.

After over fifty years being broadcast on CBS, it was announced on October 30, 2024, that the Grammys would move to ABC, Disney+ and Hulu as part of a ten-year broadcast deal between the Recording Academy and the Walt Disney Company.[4][5]

History

[edit]
Most recent Grammy Award winners
← 2022–23 2023–24 2024–25 →
 
Award Album of the Year Record of the Year
Winner Beyoncé
(Cowboy Carter)
Kendrick Lamar
("Not Like Us")
 
Award Song of the Year Best New Artist
Winner Kendrick Lamar
("Not Like Us")
Chappell Roan

Previous Album of the Year

Midnights

Album of the Year

Cowboy Carter

The Grammys had their origin in the Hollywood Walk of Fame project in the 1950s.[6][7] As recording executives on the Walk of Fame committee compiled a list of significant recording industry people who might qualify for a Walk of Fame star, they realized that many leading people in their business would not earn a star on Hollywood Boulevard. They determined to rectify this by creating awards given by their industry similar to the Oscars and the Emmys. After deciding to go forward with such awards, a question remained what to call them. One working title was the 'Eddie', to honor Thomas Edison, the inventor of the phonograph. Eventually, the name was chosen after a mail-in contest whereby approximately 300 contestants submitted the name 'Grammy', with the earliest postmark from contest winner Jay Danna of New Orleans, Louisiana, as an abbreviated reference to Emile Berliner's invention, the gramophone.[8] Grammys were first awarded for achievements in 1958.[9][10][11]

The first award ceremony was held simultaneously in two locations on May 4, 1959, the Beverly Hilton Hotel in Beverly Hills, California, and the Park Sheraton Hotel in New York City, New York,[12] with 28 Grammys awarded. The number of awards given grew, reaching over 100, and fluctuated over the years with categories added and removed.[13] The second Grammy Awards, also held in 1959, was the first ceremony to be televised.[14] Still, the ceremony was not aired live until the 13th Annual Grammy Awards in 1971.[15]

Latin Grammy Awards

[edit]

The concept of a separate Grammy Awards for Latin music recorded in Spanish or Portuguese began in 1989,[16][17] as it was deemed too large to fit on the regular Grammys ceremony.[18] The Recording Academy then established the Latin Recording Academy in 1997, and the separate Latin Grammy Awards were first held in 2000. The Latin Grammys honor works recorded in Spanish or Portuguese from anywhere around the world that has been released either in Ibero-America, the Iberian Peninsula, or the United States.[19]

COVID-19 impact (2021–2022)

[edit]

The 63rd Annual Grammy Awards were postponed from its original January 31, 2021, date to March 14, 2021, due to the music industry impact of COVID-19 pandemic.[20][21]

The 64th Annual Grammy Awards were also postponed from its original January 31, 2022, date to April 3, 2022, due to health and safety concerns related to the COVID-19 Delta cron hybrid variant.[22] The ceremony was also moved from the Crypto.com Arena in Los Angeles to the MGM Grand Garden Arena in Las Vegas due to the former having scheduling conflicts with sports games and concerts nearly every night through mid-April.[23]

Gramophone trophy

[edit]
Ted Jensen's 2002 Grammy Award

The gold-plated trophies, each depicting a gilded gramophone, are made and assembled by hand by Billings Artworks in Ridgway, Colorado. In 1990, the original Grammy design was reworked, changing the traditional soft lead for a stronger alloy less prone to damage, making the trophy bigger and grander.[24] Billings developed Grammium, a zinc alloy which they trademarked.[25] Trophies engraved with each recipient's name are not available until after the award announcements, so "stunt" trophies are re-used each year for the ceremony broadcast.[26][27]

By February 2009, some 7,578 Grammy trophies had been awarded.[28]

Ceremonies and venues

[edit]
The Crypto.com Arena in Los Angeles has typically served as the venue for the Grammy Awards since 2000.

Since 2000, the Grammy Awards have been held annually at the Crypto.com Arena in Los Angeles, with a few exceptions. Before 1971, Grammy Award ceremonies were held in different locations on the same day. Originally New York City and Los Angeles were the host cities. Chicago joined as a host city in 1962 and Nashville became a fourth location in 1965.

The 1971 ceremony at the Hollywood Palladium in Los Angeles was the first to take place in one location as it was the first live telecast of the event. In 1972, the ceremony was held at Madison Square Garden's Felt Forum in New York City. In 1973, it took place at Nashville's Tennessee Theatre. From 1974 to 2003, the Grammys were held in various venues in Los Angeles and New York City, including Los Angeles' Shrine Auditorium, Crypto.com Arena and Hollywood Palladium; and New York's Madison Square Garden and Radio City Music Hall.

In 2000, the Crypto.com Arena (known as the Staples Center from 1999 to 2021) became the permanent home of the award ceremonies. The Grammy Museum was built across the street from the Crypto.com Arena in LA Live to preserve the history of the Grammy Awards. Embedded on the sidewalks on the museum streets are bronze disks, similar to the Hollywood Walk of Fame, to honor each year's top winners, Record of the Year, Best New Artist, Album of the Year, and Song of the Year. Since 2000, the Grammy Awards have taken place outside of Los Angeles only three times. New York City's Madison Square Garden hosted the awards in 2003 and in 2018, while the MGM Grand Garden Arena in Las Vegas hosted in 2022.[29]

The annual awards ceremony at the Crypto.com Arena requires the local sports teams such as the Los Angeles Kings, Los Angeles Lakers and Los Angeles Sparks to play an extended length of road games.

Categories

[edit]

The "General Field" are four awards which are not restricted by music genre.

  • The Album of the Year award is presented to the performer, featured artists, songwriter(s), and/or production team of a full album if other than the performer.
  • The Record of the Year award is presented to the performer or production team of a single song if other than the performer.
  • The Song of the Year award is presented to the songwriter(s) of a single song.
  • The Best New Artist award is presented to a promising breakthrough performer (or performers) who in the eligibility year releases the first recording that establishes their public identity (which is not necessarily their first proper release).

To date, three artists have won all four awards, two won all four at once: Christopher Cross (1981) and Billie Eilish (2020). Adele won the Best New Artist award in 2009 and her other three awards in 2012 and 2017. At age 18, Eilish is the youngest artist to have won all four awards.

As of 2024, an additional two awards were added to the "General Field".

  • The Producer of the Year, Non-Classical award is presented to a producer for a body of work released during the eligibility period. It was first presented in 1974 and was not previously part of any specific field.
  • The Songwriter of the Year, Non-Classical award is presented to an individual who works primarily as a songwriter for a body of work released during the eligibility period. It was first presented in 2023 and was not previously part of any specific field.

Other awards are given for performance and production in specific genres and for other contributions such as artwork and video. Special awards are also given for longer-lasting contributions to the music industry.

Because of the large number of award categories (94 as of 2024), and a desire to feature several performances by various artists, only awards with the most popular interest – typically about 10 to 12, including the four general field categories and one or two categories in the most popular music genres (i.e., pop, rock, country, and rap) – are presented directly at the televised award ceremony. Most other Grammy trophies are presented in a pre-telecast "Premiere Ceremony" in the afternoon before the Grammy Awards telecast.

2012 category restructuring

[edit]

On April 6, 2011, the Recording Academy announced a significant overhaul of many Grammy Award categories for 2012.[30] The number of categories was cut from 109 to 78. The most substantial change was eliminating the distinction between male and female soloists and between collaborations and duo/groups in various genre fields (pop, rock, rhythm and blues [R&B], country, and rap). Additionally, several instrumental soloist categories were discontinued; recordings in these categories now fall under general categories for best solo performances.

In the rock field, the hard rock and metal album categories were combined. The Best Rock Instrumental Performance category was also eliminated.[31]

In R&B, the distinction between best contemporary R&B album and other R&B albums has been eliminated, consolidated into one Best R&B Album category.[32]

In rap, the categories for best rap soloist and best rap duo or group have been merged into the new Best Rap Performance category.

The roots category had the most eliminations. Up through 2011, there were separate categories for regional American music forms, such as Hawaiian, Native American, and Zydeco/Cajun music. A consistently low number of entries in these categories led the Recording Academy to combine these music variations into a new Best Regional Roots Music Album, including polka, which had lost its category in 2009.[33][34]

In same-genre fields, the traditional and contemporary blues categories and the traditional and contemporary folk categories each were consolidated into one per genre due to the number of entries and the challenges in distinguishing between contemporary and traditional blues and folk songs. In the world music field, the traditional and contemporary categories also were merged.[citation needed]

In the classical field, several categories, including its main category Best Classical Album, were trimmed down from eleven to seven distinct categories plus two classically focused production prizes. Classical recordings since then became eligible for the main Album of the Year category.[35]

A few minor name changes were also made to better reflect the nature of the separate categories. The Recording Academy determined that the word "gospel" in the gospel genre field tends to connote images and sounds of traditional soul gospel to the exclusion of Contemporary Christian Music (CCM). Therefore, the field and some categories were renamed as Gospel/Contemporary Christian Music.[36]

Since 2012

[edit]

Since 2012, small adjustments have been made to lists of categories and genre fields. The number of categories has risen from 78 in 2012 to 84 since 2017.[37] In 2020, amid the George Floyd protests, several urban, rap, and Latin music categories were renamed.[38] In 2022, the number of awards was increased from 86 to 91.[39] Performance categories were added for the Americana and alternative music genres alongside new categories for video game score and spoken word poetry albums. A songwriter category (non-classical) and a song for social change category were also added and several categories were adjusted slightly.[40][41]

In 2023, several key changes were announced for the 66th Annual Grammy Awards, set to take place in 2024. Three new categories were announced, bringing the total number to 94, the highest since the peak of 109 in 2010. In addition, both Producer of the Year, Non-Classical and Songwriter of the Year, Non-Classical, were moved to the General Field, the first time new categories had been added to this field since the concept of the Big Four was established.[42] The total number of fields was consolidated from 26 to 11 to ensure that all voting members would be able to exercise their allocated ten genre votes, as some members were prevented from doing so previously due to some fields only containing one category.[43]

The National Academy of Recording Arts and Sciences has announced the date for the 68th Grammy Awards. The organizers also introduced two new categories: Best Traditional Country Album and Best Album Cover.

Entry process and selection of nominees

[edit]

Members of the National Academy of Recording Arts and Sciences (NARAS), both media companies and individuals, may nominate recordings for consideration. Entries are made and submitted online. When a work is entered, review sessions are held that involve over 150 recording industry experts, to determine that the work has been entered in the correct category.

The resulting lists of eligible entries are then circulated to voting members, each of whom may vote to nominate in the general fields (Record of the Year, Album of the Year, Song of the Year, and Best New Artist) and in up to nine out of 30 other fields on their ballots. The five recordings that earn the most votes in each category become the nominees, while in some categories (craft and specialized categories) review committees determine the final five nominees.[44] There may be over five nominees if a tie occurs in the nomination process.

Although members of the Academy of Motion Picture Arts and Sciences generally are invited to screenings or are sent DVDs of films nominated for Oscars, NARAS members do not receive nominated recordings, but instead receive access to a private online listening service.

Final voting

[edit]

After nominees have been determined, final voting ballots are sent to NARAS voting members, who may then vote in the general field and cast ten votes in various genre categories spread to three of the eleven fields. Members are encouraged, but not required, to vote only in their fields of expertise. Ballots are tabulated secretly by the independent accounting firm Deloitte Touche Tohmatsu.[44] After vote tabulation, winners are announced at the Grammy Awards. The recording with the most votes in a category wins, and it is possible to have a tie (in which case the two [or more] nominees who tie are considered winners). Winners are presented with a Grammy Award; those who do not win receive a medal for their nomination.[citation needed]

In both voting rounds, Academy members are required to vote solely based on quality, without consideration for sales, chart performance, personal friendships, regional preferences or company loyalty. Gifts may not be accepted. Members are urged to vote in a manner that preserves the integrity of the academy and their member community. Although registered media companies may submit entries, they have no vote.[citation needed]

Certificates

[edit]

In many categories, certificates are presented to those ineligible for a Grammy Award but who did contribute to a winning recording. These certificates are known as Participation Certificates or Winners Certificates. Those eligible for a certificate can apply for one in the weeks after the Grammy ceremony.[45]

Special honors

[edit]

Grammy Legend

[edit]

A special Grammy Award of merit is occasionally awarded to recognize "ongoing contributions and influence in the recording field".[46] It has come to be known as the Grammy Legend Award and the Grammy Living Legend Award at different ceremonies. As of 2018, fourteen solo musicians and one band have received this award.

Salute to Industry Icons Award

[edit]

The Grammy Salute to Industry Icons Award honors those who have made innovative contributions to the music industry.[47][48][49] Recipients include:

Leading winners

[edit]

With 35 Grammy Awards, Beyoncé is the artist with the most Grammy wins.[50][51] U2, with 22 Grammy Awards, holds the record for most awards won by a group.[52]

Criticism

[edit]

Commercialism

[edit]

When Pearl Jam won a Grammy for the Best Hard Rock Performance in 1996, the band's lead singer Eddie Vedder commented on stage, "I don't know what this means. I don't think it means anything."[53] In 2008, Glen Hansard, leader of the Irish rock group the Frames, stated that the Grammys represent something outside of the real world of music "that's fully industry based". He said he was not particularly interested in attending that year's ceremony, even though he had been nominated for two awards.[54] Maynard James Keenan, lead singer of progressive rock band Tool, did not attend the Grammy Awards ceremony to receive one of the band's awards, explaining that:[55]

I think the Grammys are nothing more than some gigantic promotional machine for the music industry. They cater to a low intellect and they feed the masses. They don't honor the arts or the artist for what he created. It's the music business celebrating itself. That's basically what it's all about.

The Grammys have also been criticized for generally awarding or nominating more commercially successful albums rather than critically successful ones.[56][57] In 1991, Sinéad O'Connor became the first musician to refuse a Grammy, boycotting the ceremony after being nominated for Record of the Year, Best Female Pop Vocal Performance, and Grammy Award for Best Alternative Music Performance. O'Connor would go on to win the latter award.[58] She said her reasoning came from the Grammys' extreme commercialism.[59] In 2024, Rhiannon Giddens described the financial strain of attending the ceremony for middle and working class musicians. She criticized the Recording Academy for introducing a policy of charging nominees $1200 for a plus one, saying the policy "makes it ever more obvious who is valued, and more specifically what (that would be lots of money, for the folks in the back)." A Billboard article clarified that the new policy was a tiered system, ranging from $375 to $2000 for a ticket to attend the pre-telecast ceremony.[60]

Reactions to nominations and awards

[edit]

The Grammys also have been criticized for snubbing awards to some nominated artists. The organization's awards journey states that nominees and winners are determined solely by voting members of the Recording Academy and that voting members are active creative professionals involved in the recording process, such as performers, songwriters, producers, and engineers.[61]

Nomination review committees, composed of anonymous industry figures, were established following the 37th Grammy Awards, which attracted criticism for the slate of Album of the Year nominations.[62][63] The winner, Tony Bennett's live album MTV Unplugged, competed against the live classical album The Three Tenors in Concert 1994, Seal's second eponymous album, and the twelfth albums from Bonnie Raitt and Eric Clapton, both longtime musical mainstays. Not nominated that year were several albums that would later be recognized as classics, including Nas's debut album Illmatic, Oasis's debut album Definitely Maybe, Hole's album Live Through This, Jeff Buckley's Grace, and the debut album from Wu-Tang Clan. The nomination review committees would be disbanded in 2021 following criticism of the lack of nominations for the Weeknd's album After Hours.[64]

At the 38th Annual Grammy Awards, artist Mariah Carey was nominated for six awards for her album Daydream, including Album of the Year and Record of the Year for her single "One Sweet Day". Although critics believed Carey would be "cleaning up" that year, Carey ultimately lost in all her nominated categories that night, much to the shock of critics and Carey herself.[65] In 2011, Los Angeles Times journalist Randall Roberts criticized the exclusion of Kanye West's My Beautiful Dark Twisted Fantasy from Album of the Year nominations for the 54th Grammy Awards. He described West's album as "the most critically acclaimed album of the year, a career-defining record".[66] Roberts went on to criticize the Grammy Awards for being "mired in the past" and out of touch with "new media" and trends among music listeners such as music sharing, stating:[66]

The major nominations for the 54th annual awards clearly show that the recording academy has been working overtime to be all-inclusive, but more significantly, they also reveal a deep chasm between its goals and the listening habits of the general population...The focus is still on the old music industry model of cash-cow hits, major label investments and commercial radio...

In an article for Time, journalist Touré also responded to the snub and expressed general displeasure with the awards, stating "I don't pretend to understand the Grammys. I have never been able to discern a consistent logic around who gets nominated or who gets statues. I comprehend the particular logic of the Oscars, but not the big awards for music. My normal state of confusion around what drives Grammy decisions was exponentialized this week when, to the shock of many, Kanye's masterpiece My Beautiful Dark Twisted Fantasy was not nominated for a Grammy for Album of the Year."[67] He went on to compare understanding the Grammy Awards to Kremlinology and commented on The Recording Academy's exclusion of more "mature" hip hop albums as Album of the Year nominees, noting that it occasionally opts to nominate "pop-friendly" hip hop albums instead.[67]

In a 2011 profile for The New York Times after the 53rd Grammy Awards, frontman Justin Vernon of indie band Bon Iver was asked about the Grammys and how he would react to a nomination for his group, to which he responded:[68]

You know, I was thinking about that a couple of months ago, someone asked me that, and I was like "I would go and I would" – and I don't think the Bon Iver record is the kind of record that would get nominated for a Grammy – "I would get up there and be like, 'This is for my parents, because they supported me,' because I know they would think it would be stupid of me not to go up there. But I kinda felt like going up there and being like: "Everyone should go home, this is ridiculous. You should not be doing this. We should not be gathering in a big room and looking at each other and pretending that this is important." That's what I would say.

He reaffirmed this sentiment and commented about the Grammys, saying:[68]

[Ninety-eight] percent of the people in that room, their art is compromised by the fact that they're thinking that, and that they're hoping to get that award. And who is that award given by? It's like they think it's literally handed down by the musical-history gods. And I don't know who the voters are. Like, I have a friend who's a voter who was like, "I had to be a voter because I don't trust the other voters." And I was like, "Me either!" And it's just not important and people spend too much time thinking about it.

Bon Iver subsequently received four nominations in November for the 54th Grammy Awards.[68] After winning, Vernon said in his acceptance, "It's really hard to accept this award. There's so much talent out here [...] and there's a lot of talent that's not here tonight. It's also hard to accept because you know, when I started to make songs I did it for the inherent reward of making songs, so I'm a little bit uncomfortable up here."[69]

In his article "Everything Old Is Praised Again", Jon Caramanica of The New York Times criticized Grammy voters for being "conservative" and disregarding more "forward-looking" music and wrote in response to the 54th Grammy Awards, "for the umpteenth time, the Grammys went with familiarity over risk, bestowing album of the year honors (and several more) on an album that reinforced the values of an older generation suspicious of change."[70] He cited the Grammy successes of Lauryn Hill's The Miseducation of Lauryn Hill (1998), Norah Jones' Come Away with Me (2003), and Adele's 21 (2011) as examples of "the Grammys drop[ping] a boatload of awards on a young female singer-songwriter and her breakthrough album". Of Kanye West's absence from the ceremony, Caramanica stated, "He didn't even bother to show up for the broadcast, which was well enough because hip-hop was almost completely marginalized."[70]

In an article for The Huffington Post, music executive and author Steve Stoute criticized the Recording Academy and the Grammy Awards for having "lost touch with contemporary popular culture" and noted "two key sources" for it: "(1) over-zealousness to produce a popular show that is at odds with its own system of voting and (2) fundamental disrespect of cultural shifts as being viable and artistic."[71] Stoute accused the academy of snubbing artists with more cultural impact, citing respective losses by the critical and commercial successes in Eminem's The Marshall Mathers LP (2000) and Kanye West's Graduation (2007) in the Album of the Year category. Stoute asserted:[71]

As an institution that celebrates artistic works of musicians, singers, songwriters, producers and technical specialists, we have come to expect that the Grammys upholds all of the values that reflect the very best in music that is born from our culture. Unfortunately, the awards show has become a series of hypocrisies and contradictions, leaving me to question why any contemporary popular artist would even participate. [...] While there is no doubt in my mind of the artistic talents of Steely Dan or Herbie Hancock, we must acknowledge the massive cultural impact of Eminem and Kanye West and how their music is shaping, influencing and defining the voice of a generation. It is this same cultural impact that acknowledged the commercial and critical success of Michael Jackson's Thriller in 1984.

In 2020, Canadian artist Abel Tesfaye, known by his stage name the Weeknd, was shut out from the Grammys when his fourth studio album, After Hours, received no nominations at the 63rd Annual Grammy Awards. This came as a surprise to critics, fans, and Tesfaye himself, who had a successful run in 2020 with the success of both his album and the single "Blinding Lights". Tesfaye responded by social media calling the Grammys "corrupt".[72] Speculation arose that the announcement of his then-upcoming Super Bowl performance, as well as the discrepancy of being nominated as pop music versus R&B, contributed to the snubs.[73] Harvey Mason, Jr., CEO of the Recording Academy, responded by saying:[74]

We understand that The Weeknd is disappointed at not being nominated. I was surprised and can empathize with what he's feeling. His music this year was excellent, and his contributions to the music community and broader world are worthy of everyone's admiration. We were thrilled when we found out he would be performing at the upcoming Super Bowl and we would have loved to have him also perform on the Grammy stage the weekend before. Unfortunately, every year, there are fewer nominations than the number of deserving artists. But as the only peer-voted music award, we will continue to recognize and celebrate excellence in music while shining a light on the many amazing artists that make up our global community. To be clear, voting in all categories ended well before The Weeknd's performance at the Super Bowl was announced, so in no way could it have affected the nomination process. All Grammy nominees are recognized by the voting body for their excellence, and we congratulate them all.

Formatting

[edit]

The Grammys' eligibility period runs from October 1 of one year until September 30 of the next year.[75] Records released in the fourth quarter of a given year are not eligible for that year's awards (the submissions and first round ballots are underway at that time). This is despite the quarter falling during the Christmas and holiday season, when many physical albums have been traditionally released and are heavily purchased for holiday gift giving, and when Christmas music is at its natural peak.

Fans unfamiliar with the Grammys voting window perennially hold a mistaken notion that a favorite artist has then been snubbed; for example, Adele's album 25 was released in November 2015 and thus was ineligible for nomination for the 2015 awards, despite its massive sales, earning its Grammys (including Album of the Year) instead in 2017.[76] Conversely, the Grammys often recognize work more than a year after it was released. Taylor Swift's 1989 won Album of the Year in 2016, even though the album came out in October 2014.[77]

Accusations of racial bias

[edit]

The Grammys have also been accused of a racist bias against black recording artists. In a 2017 interview Canadian artist Drake accused the awards of seeing him only as a rapper and not as a pop-music artist due to his previous work and heritage. He criticized the snubbing of "One Dance" for the Record of the Year award and the nomination of "Hotline Bling" for Best Rap Song and Best Rap/Sung Performance, despite it not being a rap song.[78] The Atlantic's Spencer Kornhaber accused the Grammys of "sidelining a black visionary work in favor of a white traditionalist one".[79] Drake did not attend the 2017 awards ceremony where he was nominated. He had a performance in Manchester, England on February 12, 2017, the same night as the ceremony. Frank Ocean was vocal about boycotting the same Grammy Awards and did not submit his album Blonde for award consideration as a protest.[80]

The Grammys were also criticized after the 59th Annual Grammy Awards when Adele's 25 (as mentioned above, released in late 2015) won Album of the Year over Beyoncé's album Lemonade (released in April 2016), which many music publications believed should have won the award. Steve Knopper of Rolling Stone magazine believed that she lost due to the Grammy voters being all white males and for her pro-Black performance during the Super Bowl 50 halftime show.[81] USA Today also criticized Beyoncé's loss stating that "Black artists have struggled to win album of the year". They also felt 25 won only due to the album's record-breaking sales rather than having cultural significance and the large impact that Lemonade had in 2016.[82] Adele also expressed that Lemonade should have won over her for Album of the Year, stating in her acceptance speech:

I can't possibly accept this award. And I'm very humbled and I'm very grateful and gracious. But my artist of my life is Beyoncé. And this album to me, the Lemonade album, is just so monumental. Beyoncé, it's so monumental. And so well thought out, and so beautiful and soul-baring and we all got to see another side to you that you don't always let us see. And we appreciate that. And all us artists here adore you. You are our light.[83]

In 2019, for the first time since Outkast won Album of the Year in 2004, rap artists won major award nominations outside the rap categories when Childish Gambino won the first Song and Record of the Year awards ever for a rap song.[84] Hispanic and Latino Americans (the largest minority in America) are also considered to be under-represented at the Grammy Awards, and their music is prone to be shifted to the categories of the Latin Grammy Awards unless they have a mainstream following.[85][86]

In April 2022, the late Indian singer Lata Mangeshkar was omitted from the In Memoriam segment, and the nation's domestic media criticized the Grammys and Oscars for their Western-centric view of artists receiving attention over those throughout the rest of the world.[87]

Issues with women

[edit]

The Grammys have also been criticized for their treatment of female artists specifically. Notably at the 60th Annual Grammy Awards in 2018, New Zealand singer Lorde made headlines after turning down an offer to perform at the ceremony. She suggested that she was invited to perform alongside several other artists in a tribute to Tom Petty but was refused a solo slot, despite being nominated for the Album of the Year award and stated that each male nominee was allowed a solo performance. Lorde's mother Sonja Yelich also criticized the Grammys, pointing out an article that only nine percent of the nominees at the previous six Grammy ceremonies were women.[88] After the ceremony, several media outlets reported that the ceremony had failed women, specifically pointing to the most nominated female artist SZA who failed to win in any of her five nominated categories, and to the Best Pop Solo Performance category which included four female nominees but was won by Ed Sheeran.[89] Neil Portnow, president of the Recording Academy, sparked controversy after stating in an interview that female artists needed to "step up" in order to win awards. Portnow's comments were criticized by many female musicians including Pink, Katy Perry, Vanessa Carlton, Sheryl Crow, Iggy Azalea, Halsey, and Charli XCX.[90] They also caused the hashtag #GrammysSoMale to trend on social media.[91]

Before the 61st Annual Grammy Awards in 2019, singer Ariana Grande decided not to perform or attend that year's ceremony over a disagreement about the song choices for her performance. An anonymous source told Variety that Grande felt "insulted" when producers refused to let the singer perform her latest single "7 Rings". They compromised by having her perform the song as part of a medley, but the condition that the producers choose the second song led Grande to withdraw from the show. The source said that the same stipulations were not imposed on other performers.[92] Grande later accused Grammy producer Ken Ehrlich of lying about why she dropped out of the show. Ehrlich had said that Grande "felt it was too late for her to pull something together". Grande responded:

I can pull together a performance over night and you know that, Ken; it was when my creativity and self expression was stifled by you, that I decided not to attend. I hope the show is exactly what you want it to be and more.[93]

Despite the controversy, Grande won for Best Pop Vocal Album and in 2020 performed at the 62nd Annual Grammy Awards when nominated for five awards, including Album of the Year, but won none.[94] Despite past controversies, female artists dominated the 63rd Annual Grammy Awards, with the big four awards being awarded entirely to women. Several women also broke records at that ceremony.[95]

In May 2018, it was revealed that money intended for the Recording Academy charity MusiCares was siphoned off to pay for the cost overruns of hosting the 60th Annual Grammy Awards at New York City's Madison Square Garden.[96] Concerning the controversies of hosting that year's Grammy Awards in New York, Dana Tomarken, the former executive vice president of the MusiCares foundation claimed wrongful termination. She alleges that she was fired for pushing back against the Academy's "boys club". She claimed that by having the MusiCares Person of the Year Tribute to Fleetwood Mac at Radio City Music Hall, the event had to forgo its traditional VIP dinner and silent auction. She had already been offered a deal to have the event at the Barclays Center in Brooklyn. The Barclays Center is owned by AEG, which competes directly with The Madison Square Garden Company which owns Madison Square Garden and Radio City. Irving Azoff, who then had a joint venture with the Madison Square Garden Company, told Tomarken that the event can not be held at Barclays and had to be held at Radio City. Oak View Group, which is associated with Azoff, received 300 of the highest price tickets to the MusiCares event at Radio City. Oak View Group was supposed to sell them as a package deal which also included tickets to the Grammy Awards themselves. MusiCares was promised to receive $1.5 million from those tickets according to Tomarken. Those 300 tickets were never sold and were then returned to MusiCares, which resulted in a loss.[97]

In June 2019, rapper Nicki Minaj spoke up against the Grammys for allegedly blackballing her after her controversial performance of "Roman Holiday" at the 54th Annual Grammy Awards.[98] Minaj claimed that producer Ken Ehrlich, who had previously accepted the performance, wanted her to cancel it last minute due to what he excused as the passing of Whitney Houston. Minaj however refused his request and performed anyway. She accused that shortly after the performance, Ehrlich had snubbed her from winning the Best New Artist category, which was awarded to Bon Iver. In October 2022, Minaj went after the Grammys again for snubbing her song "Super Freaky Girl" from the rap categories at the 65th Annual Grammy Awards and instead placing it in the pop categories. By way of comparison, Minaj mentioned Latto's 2021 song "Big Energy" being potentially considered for the rap categories, saying that if Minaj's own single is not being qualified as a rap song, neither should be Latto's.[99] She also accused the Grammys of purposely placing her in those categories to favor other artists over her, such as Adele and Harry Styles. After Minaj's comments, Latto later responded to her in a series of tweets, leading them into a back-and-forth argument.[100] Subsequently, Minaj's song was not nominated for any categories for the ceremony, while Latto received nominations for the Best New Artist category as well as the Best Melodic Rap Performance category for the latter song.

Recording Academy CEO Deborah Dugan was placed on leave on January 16, 2020, after a complaint of bullying from a member of staff (according to an anonymous New York Times source), ten days before the 62nd Annual Grammy Awards.[101] Dugan had complained internally, alleging a broken system of voting that was subject to conflicts of interest and unnecessary spending.[101] On the nominations for the 61st Annual Grammy Awards, she stated that the voting process was an "outrageous conflict of interest" with several nominated artists sitting on the voting boards of their prospective categories. She claimed that "one artist who initially ranked 18 out of 20 in the 2019 'Song of the Year' category ended up with a nomination". She also claimed that a few artists like Ed Sheeran and Ariana Grande had the votes to be nominated for the category, but were ultimately omitted.[102]

In 2020, comedy star Tiffany Haddish turned down the invitation to host the 63rd Annual Grammy Awards pre-telecast premiere ceremony when they said that she would have to pay her own way. In an exclusive interview with Variety, Haddish revealed that she was told to cover the cost of hair, makeup, and wardrobe for the three-hour event, adding, "I don't know if this might mean I might not get nominated ever again, but I think it's disrespectful". When contacted, the Recording Academy explained that the premiere ceremony is not a CBS program and is hosted by the Academy, a not-for-profit organization, meaning that artists, hosts and performers have to perform free every year. They also noted that the issue would have no impact in Haddish's future nomination.[103]

In 2022, the Grammys were criticized for nominating, and subsequently awarding, Louis C.K. a Best Comedy Album prize for his comedy special Sincerely Louis C.K. The album made light of, and included jokes about, the multiple sexual misconduct revelations he had admitted to years earlier.[104][105] In 2023, the Grammys faced significant backlash for debuting a new award called the Dr. Dre Global Impact Award, due to the rapper's history of violence against women.[106][107][108]

TV broadcasts and ratings

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Before the first live Grammys telecast in 1971 on ABC, a series of filmed annual specials in the 1960s called The Best on Record was broadcast on NBC. The first Grammy Award telecast took place on the night of November 29, 1959, as an episode of the NBC anthology series NBC Sunday Showcase, which normally was devoted to plays, original TV dramas, and variety shows. Until 1971, awards ceremonies were held in both New York and Los Angeles, with winners accepting at one of the two venues. Television producer Pierre Cossette bought the rights to broadcast the ceremony from the National Academy of Recording Arts and Sciences and organized the first live telecast.[109] CBS bought the rights in 1973 after moving the ceremony to Nashville, Tennessee; the American Music Awards were created for ABC by the late Dick Clark as a result.

The Recording Academy announced on June 21, 2011, that it had reached a new deal with CBS to keep the awards show on the network for another 10 years. As part of the new contract, the network would also air a "nominations concert" special in the last week of November, where nominations would be released during a special exclusive to CBS, rather than at a traditional early-morning press conference to a multi-network press pool. This was ended after the 2016 concert due to low ratings and criticism about the announcement format, and as of the 2017 nominations, they have been revealed in a roundtable conversation with Recording Academy representatives during CBS Mornings, though since 2020, it has returned to a traditional noontime Eastern press release statement and highlight of in-show award nominees on social media. In 2016, the Grammys became the first awards show to regularly air live annually in all U.S. territories, and for decades, alongside the Academy Awards, Primetime Emmy Awards and Tony Awards, the shows have aired live in over 150 countries worldwide.

From 2004 to 2019, the Grammys were held on the second Sunday of February (the week after the Super Bowl), with two exceptions: if that day was February 14 (Valentine's Day), it was moved to the following day; if it was a Winter Olympics year, it was held earlier on the last Sunday of January (the week before the Super Bowl). Starting in 2020, the Academy Awards ceremony would move back to the second Sunday of February, forcing the Grammys to move back to the last Sunday of January to avoid conflict with either the Oscars or the Super Bowl.[110] To allow enough time for preparation, the cutoff date for eligible recordings would move from September 30 to August 31. This change reduced the eligibility period for the 2020 awards to eleven months (October 1, 2018 – August 31, 2019), a month shorter than usual.[111]

CBS last renewed its rights to the Grammys in 2016 under a ten-year deal through 2026, making it the longest continuous broadcasting partnership between an awards presentation and a U.S. television network.[5] On October 30, 2024, the Recording Academy announced that the Grammys would return to ABC and stream on Hulu and Disney+ beginning in 2027, under a ten-year deal.[5] The agreement came amid cost-cutting by CBS parent company Paramount Global, which had also dropped the Academy of Country Music Awards in favor of its in-house CMT Music Awards,[112][113] while picking up rights to the American Music Awards earlier in the year.[114]

Viewership by year

[edit]
Year Viewers (millions) Rating/Share (households) Average ad price (30s) Ref.
1974 N/A 30.3/52 N/A [115]
1975 N/A 16.4/30 N/A [115]
1976 N/A 23.8/47 N/A [115]
1977 28.86 21.3/38 N/A [115]
1978 N/A 26.6/44 N/A [115]
1979 31.31 21.9/34 N/A [115]
1980 32.39 23.9/39 N/A [115]
1981 28.57 21.2/34 N/A [115]
1982 24.02 18.2/29 N/A [115]
1983 30.86 25.6/33 N/A [115]
1984 51.67 30.8/45 N/A [115]
1985 37.12 23.8/35 N/A [115]
1986 30.39 20.3/32 $205,500 [115]
1987 27.91 18.3/27 $264,200 [115]
1988 32.76 21.1/33 $299,900 [115]
1989 23.57 16.0/26 $318,300 [115]
1990 28.83 18.9/31 $330,600 [115]
1991 28.89 18.8/31 $319,200 [115]
1992 23.10 16.2/27 $352,900 [115]
1993 29.87 19.9/31 $401,500 [115]
1994 23.69 16.1/24 $407,700 [115]
1995 17.27 11.8/19 $399,100 [115]
1996 21.50 14.6/23 $304,800 [115]
1997 19.21 13.4/22 $346,300 [115]
1998 25.04 17.0/27 $315,600 [115]
1999 24.88 16.6/26 $472,000 [115]
2000 27.79 17.3/27 $505,500 [115]
2001 26.65 16.7/26 $574,000 [115]
2002 18.96 11.9/19 $573,900 [115]
2003 24.82 14.7/23 $610,300 [115]
2004 26.29 15.7/24 $654,600 [115]
2005 18.80 11.6/18 $703,900 [115]
2006 17.00 10.9/17 $675,900 [115]
2007 20.05 12.1/19 $557,300 [115]
2008 17.18 10.3/16 $572,700 [115]
2009 19.04 10.3/16 $592,000 [115]
2010 25.80 TBD $426,000 [116][117]
2011 26.55 10.0/25 $630,000 [118][116][119]
2012 39.91 14.1/32 $768,000 [120][121]
2013 28.37 10.1/25 $850,000–$900,000+ [122][123]
2014 28.51 9.9/25 $800,000–$850,000 [124][116][122]
2015 25.30 8.5/23 $1,000,000 [125][126]
2016 24.95 7.7/22 $1,200,000 [127]
2017 26.05 7.8/22 [128]
2018 19.80 5.9/21 [129]
2019 19.88 5.6/22 [130]
2020 18.70 5.4/22 [131]
2021 9.23 2.1/22 [132]
2022 9.59 [133]
2023 12.55 [134]
2024 16.9 [135]
2025 15.4 [135]

See also

[edit]

Footnotes

[edit]

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
The Grammy Awards are a set of annual accolades presented by , a professional membership organization, to recognize excellence in musical recordings across various genres and technical fields. The awards originated in 1959, with the inaugural ceremony held simultaneously in and on May 4, honoring achievements from 1958 in 28 categories through a peer-voted process involving industry professionals. Administered by the Academy's roughly 12,000 voting members, the process includes screening for eligibility, nominations determined by specialized genre committees and general voting, and final winners selected by broad membership ballots in up to 95 categories as of recent expansions. Regarded as the industry's most prestigious honors, the Grammys influence commercial success and cultural recognition, yet they have faced persistent scrutiny for opaque decision-making, including secret committees that override voter-nominated finalists, historical genre misclassifications, and patterns of underawarding non-mainstream or independent artists until voter reforms in the . These issues, compounded by the Academy's evolving membership demographics, highlight tensions between insider adjudication and broader , with empirical analyses showing correlations between wins and sales boosts but also divergences from public popularity metrics.

History

Founding and Early Years

The National Academy of Recording Arts and Sciences (NARAS) was established on May 28, 1957, by a group of recording industry professionals including artists, producers, and engineers, with the primary aims of advancing creative and technical standards in sound recording, supporting the music community's welfare, and providing peer-based recognition for excellence. Motivated by the success of film industry awards like the Oscars, NARAS sought to create a comparable honor for music recordings, emphasizing achievements in production, performance, and engineering rather than live concerts. The awards were named Grammys following an internal contest at NARAS, where the winning suggestion referenced the colloquial term for gramophone—a device pivotal to the era—over alternatives like "Eddie" honoring inventor ; the gilded gramophone trophy design symbolized this heritage. The inaugural ceremony occurred on May 4, 1959, honoring 1958 releases across 28 categories, with events held simultaneously at the Hotel in , and the Park Sheraton Hotel in ; attendees included , , and , underscoring the industry's elite gathering for private peer voting outcomes. A second ceremony followed on November 29, 1959, recognizing 1959 accomplishments, with winning for "Mack the Knife" and Best New Artist, highlighting pop and vocal standards' early dominance. Through the early 1960s, the Grammys remained non-televised, hotel-based events focused on industry insiders, gradually expanding categories to include emerging genres like classical and while maintaining a emphasis on recorded works' technical merits over commercial sales alone. This period established the awards as a benchmark for recording quality, though voter composition—dominated by established professionals—shaped selections toward mainstream artists amid the rock 'n' roll shift.

Expansion in the Mid-20th Century

Following the establishment of the Grammy Awards in 1959 with 28 categories honoring recordings, the program expanded in the to accommodate diversifying musical output, including the addition of Best New Artist at the second ceremony on April 12, 1960. This reflected the Recording Academy's efforts to recognize emerging talent amid rising record sales and genre proliferation, though the total number of categories grew modestly during the decade compared to later surges exceeding 100 by the . Television exposure marked a key phase of growth, with NBC airing filmed specials of the ceremonies from 1959 to 1970, such as annual presentations that introduced the awards to broader audiences before live broadcasts became standard. These broadcasts, transitioning to the first live telecast on ABC on March 16, 1971, elevated the Grammys' cultural profile, aligning with the era's booming television viewership and music industry revenues, which saw U.S. album sales climb from approximately 200 million units in 1960 to over 400 million by 1970. The awards increasingly acknowledged popular innovations, awarding Album of the Year to Judy Garland's in 1962 and to Stan Getz and João Gilberto's Getz/Gilberto in 1965, incorporating and international influences, while pop acts like secured Best New Artist in 1965 for their 1964 work, despite voter hesitance toward full rock integration until later decades. This selective expansion maintained focus on established forms like vocal and orchestral categories but laid groundwork for broader genre representation, driven by empirical shifts in consumer preferences evidenced by chart dominance of youth-oriented recordings.

Modern Developments and Challenges

In response to the dominance of digital streaming platforms, the Recording Academy updated eligibility rules in 2015 to include streaming-only releases, allowing works without physical or digital download sales to qualify for consideration, a shift formalized further in subsequent years to reflect industry realities where platforms like drive consumption. This adaptation acknowledged that by 2023, streaming accounted for over 67% of U.S. music revenue, compelling the Grammys to evolve beyond traditional sales metrics to maintain relevance amid declining physical album purchases. For the Grammys, additional reforms expanded Best New Artist eligibility to artists previously nominated as featured performers on Album of the Year entries, aiming to broaden recognition while introducing categories like Best Traditional Country Album to better segment genres and honor roots-oriented works by artists such as and . Persistent challenges have included accusations of systemic bias in nominations and voting, with critics highlighting an overrepresentation of legacy acts and under-recognition of genres like hip-hop and contemporary urban music despite their commercial dominance. High-profile boycotts by artists including Drake, , and in the early underscored perceptions of exclusionary practices favoring established networks over merit-based evaluation, prompting internal diversity task forces but yielding limited empirical improvements in nominee demographics. The 2020 ceremony was marred by the abrupt dismissal of CEO Deborah Dugan amid allegations of , voting process corruption, and gender discrimination within the , events that exposed governance fractures and eroded trust, as detailed in her subsequent complaint. Viewership metrics reveal ongoing struggles with audience engagement, as the 2025 Grammys drew 15.4 million live viewers—a 9% decline from 2024's 16.9 million and a stark 61% drop from the 2012 peak of 39.9 million—attributable to fragmented , from streaming services, and perceptions of irrelevance among younger demographics. Despite post-ceremony streaming surges for winners like and , these trends signal causal pressures from and skepticism toward the Academy's voting body, which remains disproportionately older and less reflective of global 's diversification. Efforts to address these, such as the 2025 telecast's integration of fundraising, represent adaptive measures but have not reversed broader institutional inertia.

Specialized Awards

The Recording Academy has presented specialized awards, often categorized as Special Merit Awards, since the early years of the Grammy program to honor contributions to music and recording that extend beyond annual competitive categories. These non-competitive honors recognize lifetime impacts, technical innovations, and enduring recordings, selected by committees such as the National Trustees or specialized wings like Producers & Engineers. Introduced progressively from the 1960s onward, they address gaps in the standard genre-based fields by spotlighting performers, industry figures, and technological advancements that shape the recording arts. The Lifetime Achievement Award, established in 1963, is bestowed upon performers who have made creative contributions of outstanding artistic significance to recording during their lifetimes; Bing Crosby received the inaugural honor. Initially awarded to both performers and non-performers, it was refined after 1972 to focus exclusively on artists, with subsequent recipients including Louis Armstrong in 1972 and, more recently, N.W.A. in 2024 for their enduring influence on hip-hop. Selected by vote of the Recording Academy's National Trustees, the award underscores long-term excellence rather than single-year output, often presented at a dedicated ceremony during Grammy Week. Complementing the Lifetime Achievement Award, the Trustees Award was introduced in 1967 to recognize non-performers and, from 1983, select performers for significant industry contributions outside direct artistry, such as in production, executive roles, or innovation. Honorees, voted on by the National Trustees, include figures like and John Culshaw in 1967 for pioneering recording techniques in , and later in 2018 for his role in discovering punk and alternative acts at . This award fills a niche for behind-the-scenes impacts, with recipients often comprising label heads, engineers, and philanthropists who enable musical creation and distribution. The Technical Grammy Award, launched in 1994, honors individuals or companies for contributions of outstanding technical significance to the recording field, voted by the Producers & Engineers Wing Advisory Council and chapter committees. Dr. Thomas G. Stockham Jr. was the first recipient in 1994 for innovations, followed by pioneers like in 1995 for noise reduction technology. Subsequent awards have gone to entities such as / in 1998 for the format and in 2011 for advancements, reflecting the Academy's emphasis on engineering feats that enhance audio fidelity and production efficiency. Other specialized honors include the , inducted since 1973 to preserve recordings of at least 25 years with historical, artistic, or significant value, such as Elvis Presley's "Hound Dog" in 1988. The Grammy Legend Award, first given in 1990 to , celebrates individuals of legendary status across music eras. These awards, presented at separate ceremonies like the annual Special Merit Awards event, have evolved to include categories such as the since 1990, focusing on humanitarian efforts, but remain distinct from competitive Grammys by prioritizing cumulative legacy over eligibility periods.

The Grammy Trophy

Design and Production

The Grammy trophy portrays a gramophone, symbolizing the historical significance of phonograph records in music dissemination, with the design originating for the awards' inaugural presentation on May 4, 1959, honoring 1958 releases. The form has remained consistent, featuring a horn emerging from a cabinet atop a cylindrical base, though minor adjustments occurred over time to improve durability. In 1990, the trophy underwent a redesign to replace the original soft lead composition, which was prone to damage, with a stronger zinc alloy formulation, resulting in a larger and heavier statuette less susceptible to wear. This alloy, termed "Grammium" by its creator, incorporates , aluminum, and proprietary trace elements, enabling finer detailing and structural integrity before application of 24-karat . Production occurs exclusively at Billings Artworks in , under John Billings, who has overseen crafting for over four decades as of 2017, maintaining the distinction of being the only major still hand-poured. The process utilizes three dedicated molds—for the base, gramophone cabinet, and horn—into which molten Grammium is poured; components are then hand-polished, assembled, buffed to a shine, and electroplated with , yielding a finished measuring 9 inches in height and weighing 5 pounds 4 ounces. Approximately 100 to 150 trophies are produced annually, depending on category winners and special awards.

Categories

Historical Evolution

The Grammy categories debuted with 28 fields at the inaugural ceremony on May 4, 1959, emphasizing core genres of the era including (which claimed six categories), , pop vocal and instrumental performances, country and western, , and comedy recordings. These early categories prioritized vocal and instrumental excellence, engineering achievements, and broad fields like children's and spoken-word recordings, reflecting the mid-20th-century dominance of analog production and established musical forms. Expansion accelerated from the 1960s onward as cultural shifts introduced new styles, with categories added incrementally to capture rock (first formalized in 1980 with Best Rock Vocal Performance awards), rap (debuting in 1989 as Best Rap Performance), and later electronic/dance (in 2005 with Best Electronic/Dance Album). By the , proliferation led to a peak of 110 categories in , incorporating subgenres like Latin (starting in 1986), alternative, and production-specific honors to mirror technological advances such as and genre hybridization. This growth aimed to enhance representation but drew criticism for diluting focus and complicating the voting process. In 2011, overhauled the structure, consolidating overlapping fields and reducing the total to 78 categories for the 2012 ceremony to improve relevance and efficiency. Subsequent adjustments have been more selective, adding genre-specific nods like Best Rap Song in 2004 and expanding to 94 categories by 2024 with inclusions such as Best African Music Performance, Best Alternative Jazz Album, and Best Pop Dance Recording to address underrepresented global and fusion styles. For the 2026 Grammys, two further additions—Best Traditional Country Album and Best Album Cover—elevate the count to 96, signaling ongoing adaptation to streaming-era diversity while prioritizing artistic packaging.

Current Framework

The Grammy Awards currently encompass 94 categories, organized into a General Field and multiple genre- or style-specific fields, reflecting a broad spectrum of musical achievements across recordings, performances, compositions, production, and engineering. This structure, stable for the 67th Annual Grammy Awards held in 2025, prioritizes recognition of excellence without genre restrictions in the General Field while providing specialized awards in other areas to accommodate diverse musical traditions. The categories are determined annually by the Recording Academy's Board of Trustees, with periodic adjustments to adapt to evolving practices, such as the 2025 relocation of Best Remixed Recording from production fields to the Pop & Dance/Electronic field to better align with stylistic trends. The General Field includes six categories open to entries from any genre, evaluated by the full Academy membership for their overall impact and quality: Album of the Year (for complete albums, vocal or instrumental), (for a single track's production and ), Song of the Year (for songwriting composition), Best New Artist (for artists achieving breakthrough prominence), Producer of the Year, Non-Classical (for non-classical production work across multiple projects), and Songwriter of the Year, Non-Classical (for songwriting contributions across releases). These awards emphasize artistic and technical merit transcending stylistic boundaries, with nominees typically drawn from the top vote-getters in initial screening rounds. Genre-specific fields, numbering around 11 major groupings (including Pop & Dance/Electronic, Rock/Metal/Alternative, R&B/Rap/ Poetry, /Americana, /, /, Latin, Global Music, Children's, Classical, and Production//Composition/), contain the bulk of the categories, often subdivided into subgenres for albums, songs, performances (solo, duo/group, instrumental), and specialized formats like remixes or arrangements. For instance, the Pop & Dance/Electronic field features categories such as Best Pop Solo Performance, Best Dance/Electronic Recording, and Best Remixed Recording, while the Classical field addresses orchestral and chamber works separately from contemporary classical compositions. Voting in these fields is restricted to members who self-identify expertise in the relevant genres, ensuring specialized , though cross-field entries can compete in General Field categories if eligible. This framework balances inclusivity with granularity, covering over 80 subcategories in non-General fields to honor niche achievements, such as Best Opera Recording in Classical or Best Música Mexicana Album in Latin, while production-oriented categories like Best Engineered Album, Non-Classical, span technical excellence across disciplines. Approximately 10-15% of categories are typically presented at the main televised , with the rest at a concurrent event, prioritizing high-profile General Field winners for broadcast emphasis. The structure has drawn scrutiny for potential over-specialization diluting mainstream visibility, but it sustains the Academy's claim to comprehensive industry representation through empirical expansion from fewer than 50 categories pre-2000 to the current total.

Eligibility Criteria

Eligibility for Grammy Awards entries requires that recordings be newly released original material commercially available during a defined period, typically from October 1 of the year two years prior to the ceremony to September 30 of the year immediately preceding it; for instance, the 2025 Grammy Awards considered works released between October 1, 2023, and September 30, 2024. This timeframe ensures evaluation of contemporary contributions to recorded music, with entries screened manually by staff for compliance before advancing to voting. Recordings must be accessible to the general public via physical, digital download, or streaming platforms in the U.S. market, excluding promotional, private, or limited-distribution releases. An qualifies if it consists of at least five distinct tracks or has a total playing time of at least , emphasizing substantial original content over compilations or short-form works unless category-specific exceptions apply, such as for reissues or historical albums in dedicated fields. Single tracks, by contrast, are individual songs or pieces eligible in performance categories without minimum length requirements beyond . Submissions must originate from voting or professional members, or authorized media companies, via the official online entry process, with all eligible works required to be entered before the deadline regardless of exact release date within the period. Category-specific criteria further refine eligibility; for example, Best New Artist nominees must demonstrate a breakthrough impact during the eligibility year without prior Grammy wins in major performance categories or equivalent career milestones exceeding five years of principal activity. Recent amendments, effective for the 2025 awards, adjusted thresholds like reducing the minimum songs for Songwriter of the Year, Non-Classical from five to four, while mandating over 50% new music for soundtracks incorporating DLC expansions. The Recording Academy's Board of Trustees retains authority to classify entries and amend rules, ensuring alignment with evolving industry standards while prioritizing U.S.-centric commercial viability.

Nomination and Voting Process

Entry Submission

The entry submission phase for the Grammy Awards, known as the Online Entry Process (OEP), requires eligible recordings, , and related media to be formally submitted via a dedicated portal for potential inclusion on ballots. This mandates that all entries be provided regardless of their public release date within the eligibility period, ensuring comprehensive review by . Submissions occur in a single annual window, typically opening in mid-July and closing by late August or early September, as seen in the 2026 cycle from July 16 to September 5. Only authorized entities may participate: registered media companies, which must annually apply for approval through the , and Academy members classified as voting or professional members. Independent artists without such affiliation cannot directly submit; instead, they rely on labels or distributors to handle entries on their behalf. Each entry incurs a fee, structured with early-bird rates (e.g., July 16 to August 1) followed by standard pricing thereafter, to encourage timely participation and cover administrative costs. Submitters must provide detailed metadata, including artist credits, production details, and release information, alongside audio or video files compliant with specifications. Entries are required to feature human authorship, excluding works generated solely by without significant creative human input, per official guidelines emphasizing creator eligibility. The does not accept unsolicited submissions via , , or other informal channels, enforcing the OEP as the exclusive mechanism to maintain standardization and prevent unauthorized entries. Following submission, entries undergo eligibility screening for technical compliance, release timing, and category fit, though this verification occurs post-submission. In recent years, over 20,000 entries have been recorded annually, reflecting the scale of participation across genres.

Nominee Determination

The determination of Grammy nominees primarily relies on first-round voting by the Recording Academy's voting members, who are professionals actively involved in the recording arts and sciences and in with dues payments. Eligible members access online ballots to select up to five nominees per category within their fields of expertise, limited to voting in up to three genre fields (such as pop, rock, or classical) plus six general field categories. Votes are tabulated by & Touche LLP, with the top five selections in each category advancing as nominees; general field categories like Album of the Year feature eight nominees, while Producer of the Year, Non-Classical and Songwriter of the Year, Non-Classical remain at five. Prior to voting, entries undergo eligibility screening by over 350 experts who verify compliance with release criteria (typically recordings released between September 1 of the prior year and August 31 of the eligibility period) and assign appropriate category placements without rendering artistic judgments. This screening ensures entries fit genre-specific fields but defers creative evaluation to the voting membership. In contrast, nominations for craft categories—encompassing 16 fields such as Album Notes, (various subcategories), Historical Album, and Package—bypass broad membership voting in favor of specialized nominating committees. These committees consist of voting members from all chapters who are actively engaged in the relevant craft, reviewing top selections from initial member votes or entries to finalize the five nominees. This committee structure, retained despite broader reforms like the elimination of secret review committees in genre categories, aims to leverage domain-specific expertise but has drawn scrutiny for potential insularity in selections.

Final Voting Mechanics

The final round of voting for Grammy winners occurs after the nominees are announced, typically in late December or January preceding the ceremony, and involves all eligible voting members of selecting recipients across categories. Voting members, comprising professionals in recording arts such as performers, songwriters, producers, and engineers, cast ballots online through a secure member portal, with access restricted to those who have maintained active membership status. Each member may vote in all four General Field categories—Album of the Year, , Song of the Year, and Best New Artist—regardless of expertise, as these are open to the entire electorate to determine overall excellence. For genre-specific categories, members are limited to voting in up to 10 categories spanning no more than three genre fields aligned with their designated expertise, ensuring within relevant disciplines such as , or classical. This restriction, implemented to promote informed judgments, requires members to select a single winner per category from the nominees, with no abstentions permitted in voted categories. Ballots must be submitted by a fixed deadline, such as January 7 for recent cycles, after which no changes are allowed. Votes are tallied confidentially by the independent auditing firm , which conducts the process under strict secrecy protocols to prevent leaks or influence. The results remain unknown to Academy members and staff until envelopes are sealed and delivered on the day of the ceremony, with winners determined by plurality—the nominee receiving the most votes in each category prevails. This mechanics has been in place since reforms in the early aimed at streamlining participation, though critics have noted potential vulnerabilities to bloc voting within specialized fields despite the limitations.

Reforms and Transparency Measures

In response to longstanding criticisms of opacity and potential interference in the nomination process, eliminated secret nominating committees in April 2021, effective for the held in 2022. These committees, which had the authority to override member votes in general and genre fields to ensure "excellence," were accused of enabling undisclosed biases and exclusions, as highlighted by high-profile snubs such as The Weeknd's omission from the 2021 nominations despite commercial success. The change shifted nominations to a , vote among the Academy's approximately 11,000 voting members, aiming to align outcomes more directly with collective member preferences. This reform followed a 2019 lawsuit by former Recording Academy CEO Deborah Dugan, who alleged a "rigged" process involving committee manipulations and conflicts of interest, including interference in categories like Song of the Year. Dugan's claims, filed days before the 2020 Grammys, contributed to her resignation and prompted internal reviews, though the Academy disputed the allegations as unsubstantiated. Academy CEO Harvey Mason Jr. described the elimination as a step toward greater trust and accountability, without admitting prior wrongdoing. Additional transparency measures included updated solicitation guidelines prohibiting references to chart positions, sales figures, or during voting periods, introduced in 2021 to curb undue commercial influence on peer decisions. Voting members are now required to certify compliance with ethical standards, emphasizing decisions based on artistic merit rather than external pressures, though enforcement relies on self-reporting and oversight. These adjustments addressed perceptions of systemic favoritism, particularly in genres underrepresented in voter demographics, but critics argue that underlying membership biases—such as underrepresentation of younger or diverse artists—persist despite procedural fixes.

Ceremonies

Formats and Venues

The Grammy Awards ceremonies comprise two distinct events: the Premiere Ceremony and the main telecast. The Premiere Ceremony occurs in the afternoon, awarding winners in the majority of categories—85 out of 94 for the 67th Annual Grammy Awards in 2025—while featuring presenters, brief acceptance speeches, and occasional performances. This event is streamed live on platforms such as live.GRAMMY.com and the Recording Academy's YouTube channel, emphasizing efficiency for the numerous technical and genre-specific categories. The main telecast follows in the evening, broadcast live on and streamed on Paramount+, focusing on the four general field categories—Album of the Year, , Song of the Year, and Best New Artist—along with select other awards, elaborate live performances by nominees and guests, celebrity presenters, and hosted segments. This format prioritizes high-profile moments and entertainment value, with the host guiding transitions between awards and musical interludes. For the 68th Annual Grammy Awards in 2026, Trevor Noah will host for the sixth consecutive year and his final time, also serving as executive producer. Ceremonies have predominantly occurred in Los Angeles since inception, with the main telecast held at Crypto.com Arena (formerly Staples Center) annually since 2000. The Premiere Ceremony typically takes place at an adjacent venue, such as the Peacock Theater for the 2025 event. Earlier telecasts from 1978 to 1999 were frequently at the Shrine Auditorium in Los Angeles. The inaugural 1st Annual Grammy Awards on May 4, 1959, were conducted simultaneously at the Hotel in , and the Park Sheraton Hotel in to accommodate East and West Coast participants. Subsequent years consolidated to single primary locations, though outliers include the 39th Annual event in 1997 at in New York. This Los Angeles-centric approach reflects the Recording Academy's base and the music industry's concentration there, facilitating logistics for voters and artists.

Broadcast History

The Grammy Awards ceremonies were not broadcast live on television during their inaugural years from 1959 to 1970, with coverage limited to radio or delayed presentations on networks such as and ABC in select years. The first live telecast occurred on March 16, 1971, airing on ABC from the , marking the event's entry into national television prominence as the last major awards show to adopt live broadcasting. ABC retained broadcasting rights for the 1972 ceremony before acquired them starting in 1973, initiating a partnership that spanned over five decades and broadcast 53 consecutive ceremonies through 2026, with the 68th Annual Grammy Awards serving as the last on CBS and Paramount+ before shifting to ABC, Hulu, and Disney+ in 2027. CBS's long-term agreement emphasized live primetime slots, typically in February, with the network producing elaborate productions featuring musical performances and celebrity presenters to maximize viewership. In recent years, integrated streaming options, simulcasting the event on Paramount+ since at least 2020 to accommodate cord-cutters while maintaining traditional broadcast accessibility. The 67th Annual Grammy Awards, held on February 2, 2025, exemplified this model, airing live on and Paramount+. On October 30, 2024, announced a shift away from , granting a 10-year deal beginning with the 70th Annual Grammy Awards in ; the ceremony will air live on ABC, with simultaneous streaming on and . This transition ends 's exclusive run but preserves the live broadcast format, potentially expanding reach through 's multi-platform ecosystem amid evolving media consumption trends.

Viewership and Attendance Data

Television viewership for the Grammy Awards, as measured by Nielsen live plus same-day ratings, has shown volatility in recent years, with a general downward trend from pre-pandemic levels amid broader shifts in . The 2020 ceremony drew 18.7 million viewers, marking a relatively strong audience before the disruptions. The 2021 telecast hit a record low of under 10 million viewers, the smallest since tracking began in the , attributed in part to pandemic-related changes and lack of live audience energy. Subsequent years saw partial recoveries, with the 2024 event achieving 16.9 million viewers, the highest since , boosted by performances and wins involving artists like and . However, the 67th Annual Grammy Awards on February 2, 2025, averaged 15.4 million viewers across and Paramount+, a 9% decline from 2024, representing the third-largest audience of the decade despite strong engagement.
YearCeremonyViewers (millions, Nielsen L+SD)
201961st19.9
202062nd18.7
202163rd<10 (record low)
202466th16.9
202567th15.4
This table highlights key recent data points; fuller historical series indicate a peak in the followed by decades of erosion due to audience fragmentation. Attendance figures for the live ceremonies are infrequently disclosed publicly, as events are primarily invite-only gatherings of music industry figures, performers, and nominees rather than mass-ticketed spectacles. The Grammy Awards have frequently been held at large arenas such as in since 2000, which has a seating capacity of approximately 19,000 for such events, allowing for audiences in the tens of thousands including pre- and post-ceremony areas. Specific headcounts remain proprietary, but the scale supports intimate yet expansive industry networking compared to the broader television reach.

Records and Achievements

Most Awarded Artists

Beyoncé holds the record for the most Grammy Awards won by any individual artist with 35 victories as of the 67th Annual Grammy Awards on February 2, 2025, where she secured three additional wins, including Album of the Year for Cowboy Carter. This total encompasses awards across genres such as R&B, pop, and , reflecting her prolific output since her solo debut in 2003. Prior to 2025, she had tied and then surpassed conductor Georg Solti's long-standing mark of 31 wins, which were predominantly in classical and categories from the through 1990s. The following table lists the top artists by total Grammy wins through 2025, drawing from official tallies that include performers, producers, composers, and conductors across all fields:
RankArtistTotal WinsPrimary Fields
135R&B, Pop, Country
231Classical, Opera
328Producer, Pop, Jazz
428Jazz
5Alison Krauss27Country, Bluegrass
626Classical
726Film Score, Classical
825R&B, Pop
925Classical
1022Rock
These figures highlight disparities in award distribution, with classical and jazz recipients dominating historical totals due to specialized categories and ensemble credits, whereas contemporary pop and rock artists often compete in fewer, more competitive general fields. For instance, Quincy Jones's wins stem largely from production roles on albums by artists like and , underscoring the Recording Academy's recognition of behind-the-scenes contributions. Alison Krauss's 27 awards, achieved through collaborations with and Union Station, represent the highest for a non-classical female artist prior to Beyoncé's ascent.

Category-Specific Milestones

In the Album of the Year category, set the record for the most wins by an artist with four, for Fearless (2009 release, awarded 2010), (2015, awarded 2016), (2020, awarded 2021), and (2022, awarded 2024). At the 67th Annual Grammy Awards in 2025, achieved her first Album of the Year win for Cowboy Carter (2024 release), marking the first time the most overall Grammy-winning artist prior to that ceremony secured the top album honor. The Record of the Year category has seen fewer repeat winners, with no artist exceeding two victories; multiple recipients including (for "Uptown Funk" in 2016 and an earlier collaboration) share this mark, though specific pairs vary by source verification. In 2025, Kendrick Lamar's "Not Like Us" became the first diss track to win , highlighting evolving recognition of hip-hop subgenres in general field awards. For Best New Artist, introduced in 1959, the category has produced milestones such as the first group winner, the Swingle Singers in 1964 for their jazz vocal interpretations, and the first hip-hop act, in 1993. won in 2025, following a trajectory from indie releases to mainstream breakthrough, underscoring the category's role in spotlighting emerging pop acts. Rap categories, first established in 1989 with Best Rap Performance, awarded DJ Jazzy Jeff & The Fresh Prince the inaugural win for "Parents Just Don't Understand," marking the Academy's initial formal acknowledgment of the genre. Genre breakthroughs in general fields include Lauryn Hill's 1999 Album of the Year win for The Miseducation of Lauryn Hill, the first for a hip-hop album, and Childish Gambino's 2019 Record of the Year for "This Is America," the first rap song to claim the honor. In country and Americana fields, Alison Krauss holds the record for most wins across related categories, totaling 27, primarily in bluegrass and collaborations, reflecting sustained excellence in roots music subgenres. The 2026 introduction of Best Traditional Country Album category aims to distinguish heritage styles using instruments like and from contemporary entries. Classical categories have been dominated by conductors like , who amassed 31 wins, mostly in orchestral and recordings, establishing benchmarks for interpretive and production achievements in the field. Recent expansions, such as Best Alternative Jazz Album in 2024, signal ongoing adaptation to hybrid genres blending improvisation with non-traditional elements.

Special Honors

Lifetime and Trustees Awards

The Lifetime Achievement Award, a Special Merit honor from the Recording Academy, recognizes performers who have made creative contributions of outstanding artistic significance to the field of recording over their lifetimes. This award targets individuals whose body of work demonstrates sustained excellence and influence, often spanning decades, and is distinct from the competitive Grammy categories that evaluate specific releases within eligibility periods. Recipients may include solo artists, groups, or ensembles, with eligibility not restricted by or era, allowing for posthumous honors in cases where the individual's impact persists beyond their death. Selection for the Lifetime Achievement Award occurs through a vote by the Recording Academy's National Trustees, a subset of the organization's leadership responsible for non-competitive recognitions. This process emphasizes qualitative assessment of an honoree's overall career trajectory and cultural footprint in recorded music, rather than quantifiable metrics like sales or chart performance, though such data may inform deliberations. The award has been conferred since the early years of the Grammys, with announcements typically made annually alongside other Special Merit honors, reflecting the Academy's intent to celebrate enduring legacies amid the annual focus on contemporary works. The Trustees Award, also a Special Merit designation, honors non-performers who have rendered significant contributions to the recording industry through roles in production, , executive leadership, or . Unlike the Lifetime Achievement Award, it explicitly excludes artistic performance, targeting behind-the-scenes figures whose efforts have shaped industry infrastructure, standards, or dissemination of . Examples include executives, audio engineers, and broadcasters who advanced recording techniques or , with criteria focusing on tangible advancements in the field's operational or creative enablement. Like the Lifetime Achievement Award, the Trustees Award is determined by vote of the National Trustees, ensuring decisions align with the Academy's governance priorities for merit beyond competition. Both awards are presented at the annual Special Merit Awards Ceremony, an invitation-only event held during Grammy Week—such as the February 1, 2025, gathering at the in —separate from the televised Grammy broadcast to maintain focus on reflective tributes rather than spectacle. Formal mentions may occur at the main ceremony, but the core recognition emphasizes peer validation of long-term industry impact over public fanfare.

Industry Icon Recognitions

The Grammy Salute to Industry Icons is a special recognition bestowed by to honor executives and innovators for their pioneering contributions to the business of music, including advancements in artist management, label operations, and . The award is presented annually during the Pre-Grammy Gala, an event co-hosted by and , typically held the evening before the main Grammy ceremony. Established in the mid-2000s, it emphasizes transformative that has shaped commercial and industry practices, often spotlighting figures responsible for multi-platinum releases and strategic innovations. Recipients are selected for their long-term influence, with the honor frequently accompanied by performances and tributes from artists they have worked with. Early honorees included , founder of Records, who received the award in 2008 for revolutionizing and through artist development and global distribution. Other foundational recipients encompass and of , of , , , and himself, recognized for founding influential labels and negotiating landmark deals that expanded market reach. More recent awards have continued this focus on executive impact:
  • In 2018, was honored for his entrepreneurial ventures, including and Tidal, which generated billions in revenue and influenced streaming economics.
  • received the distinction in 2020 for building Bad Boy Entertainment into a hip-hop powerhouse, with artists under his label achieving over 100 million album sales.
  • Julie Greenwald and , leaders at Atlantic Music Group, were jointly awarded in 2023 for overseeing releases that amassed more than 100 million units sold and multiple chart-topping campaigns.
  • , Chairman and CEO of , was recognized in 2024 for modernizing publishing rights management amid digital shifts, securing high-value catalogs and sync deals.
  • Jody Gerson, Chairman and CEO of , accepted the 2025 honor for advocating songwriter equity and expanding global publishing revenue through data-driven strategies.
This award differs from artist-focused honors by prioritizing behind-the-scenes , though recipients often have direct ties to Grammy-winning projects.

Criticisms and Controversies

Commercial Pressures

Record labels and artist teams exert significant commercial influence on Grammy outcomes through permitted campaigning activities, which include advertisements in industry trade publications, hosted events, and promotional materials distributed to voters. These efforts, governed by the Academy's rules prohibiting direct solicitation such as telephone or gifts, nonetheless require substantial budgets that disadvantage independent artists lacking major label support. For instance, aggressive campaigns can exceed $200,000, encompassing costs like $15,000 monthly for billboards in key markets such as , while even modest efforts range from $15,000 to $50,000. Label executives have reported unprecedented levels of such in recent years, with resources funneled into voter outreach to highlight commercial achievements alongside artistic claims. This financial asymmetry amplifies pressures toward commercially viable nominees, as major labels leverage their marketing infrastructures to amplify visibility and frame entries in terms of sales, streaming metrics, and chart performance—factors increasingly weighted in voter considerations since eligibility expansions in to include . Critics contend this tilts the process toward a popularity contest, where empirical analyses of past winners show strong correlations with chart dominance rather than niche critical acclaim. In response to perceived excesses, the introduced "secret committees" in for general field categories to override purely popularity-driven nominating votes, aiming to prioritize over commercial metrics, though this has sparked further debate on transparency. Broadcast partners, notably , impose additional commercial imperatives by prioritizing high-profile, sales-generating performers to combat declining viewership, which fell to 15.4 million for the 2025 ceremony—a 9% drop from 2024's 16.9 million and part of a broader trend from peaks above 25 million in the early . Such pressures manifest in programming decisions favoring mainstream acts with broad appeal, as evidenced by post-ceremony sales spikes for winners like and in 2025, which underscore the symbiotic link between awards and revenue generation. This dynamic has led to accusations that the Grammys prioritize economic viability and television metrics over pure musical excellence, with industry observers noting that voter demographics—dominated by established professionals—often align with commercial conservatism.

Bias Allegations

Critics have long alleged that the Grammy Awards exhibit racial bias, particularly in major categories like Album of the Year, where Black artists have historically been underrepresented despite dominance in genre-specific fields such as R&B and rap. A analysis found that only 24% of top Grammy nominees that year were , with just a handful of winners in Album of the Year since the award's inception, including recent cases like ' win over Beyoncé's highly acclaimed Lemonade. These claims intensified after revelations of secret nomination committees, which former CEO Deborah Dugan accused in 2020 of systemic favoritism and rigging that disadvantaged non-white artists, prompting the Academy to eliminate the committees in amid charges of and . Genre biases have also drawn scrutiny, with rock and metal acts frequently cited as overlooked despite commercial viability. The Best Metal Performance category, introduced in 1990, has awarded progressive or fusion acts like Jethro Tull's 1989 upset over Metallica in the inaugural hard rock/metal field, fueling perceptions of disdain for heavier subgenres. In 2025, reported that rock voters skew toward an older demographic, resulting in nominations favoring legacy acts over contemporary innovators, contributing to rock's absence from major performances and wins even as it ranks as the U.S.'s second-largest genre by consumption. Radio host has publicly condemned the Grammys for demonstrating "no clue at all" about and metal since the , arguing the process ignores the genres' evolution and fanbase. Allegations of ideological bias, particularly against conservative-leaning artists, surface in country music snubs, where performers with patriotic or traditional themes fare poorly. , a prolific seller with over 30 million albums moved and seven nominations spanning 1997 to 2011, secured zero wins, a echoed for other stalwarts like despite her 14 nods. Morgan Wallen's 2021 racial slur incident led to his effective exclusion from subsequent nominations despite record-breaking sales, culminating in his 2025 boycott of Grammy submissions for , which debuted at No. 1 on the ; Wallen's team cited ongoing snubs as emblematic of industry disconnect. Grammy broadcasts, often featuring overt liberal advocacy—such as 2025 segments on trans rights and 2017 projections amid anti-Trump sentiments—have prompted claims from observers that the awards alienate non-aligned musicians, though the maintains voting reflects membership tastes rather than politics. Voter data from 2020 indicates a predominantly older, white, male electorate, potentially amplifying these disparities.

Notable Snubs and Backlash

One prominent example of Grammy snubs generating widespread backlash occurred in 2014, when Kendrick Lamar's critically acclaimed album good kid, m.A.A.d city lost the Best Rap Album category to & Ryan Lewis's The Heist, despite Lamar receiving seven nominations and privately texting Lamar that he deserved the win. This outcome fueled accusations of undervaluing hip-hop artistry in favor of pop-rap crossovers, with Lamar later expressing indifference but the incident highlighting tensions over genre recognition. Beyoncé experienced repeated Album of the Year losses despite 32 career Grammy wins, the most of any artist, including Lemonade (2017) to Adele's 25, Beyoncé (2015) to Beck's Morning Phase, and (2023) to Harry Styles's Harry's House, prompting debates over institutional bias against and genre experimentation in major categories. She addressed these snubs in her 2024 album Cowboy Carter on the track "Sweet Honey Buckin'," referencing taking "that s--- on the chin," before finally winning Album of the Year for Cowboy Carter at the 67th Grammys on February 2, 2025, marking only the fourth win for a Black woman in the category's 67-year history. The Weeknd's 2020 album After Hours, which spawned the global hit "" and topped charts in multiple countries, received zero nominations at the 2021 Grammys, widely regarded as one of the largest oversights due to its commercial dominance and cultural impact, leading The to future ceremonies and publicly denounce the 's "corrupt" process. This snub amplified criticisms of the system's reliance on undisclosed voting by over 11,000 members, often favoring insider networks over empirical metrics like sales or streams. Other historical snubs include Nas's 1994 debut , a cornerstone of rap lacking any nominations despite retrospective acclaim, and Frank Ocean's 2016 album Blonde, which Ocean withdrew from consideration after the Academy moved it to the urban contemporary category, citing frustration with racialized genre classifications. These cases have contributed to broader backlash, including boycotts by artists like Drake in 2019 over perceived favoritism toward non-rap voters in hip-hop categories and Jay-Z's 2024 onstage critique of the for past exclusions despite his contributions. Such incidents underscore recurring allegations of commercial pressures and demographic imbalances in the voter base, though defenders argue subjective defies quantifiable backlash.

Institutional Responses

In response to widespread criticisms of racial underrepresentation following the #GrammysSoWhite movement in 2015, formed a diversity and inclusion task force in March 2018, chaired by attorney , to examine and address barriers, unconscious bias, and structural issues within its membership and operations. The task force recommended expanding voter eligibility, enhancing transparency in governance, and increasing outreach to underrepresented communities, leading to subsequent membership drives that added thousands of diverse professionals by 2020. Amid allegations of voting irregularities and favoritism exposed in the January 2020 complaint by then-CEO Deborah Dugan, who claimed secret committees manipulated nominations, the Academy implemented major rule overhauls in June 2020, including stricter eligibility criteria for entries, caps on submission numbers per category, and enhanced oversight to promote fairness and rebuild public trust in the process. These changes aimed to eliminate perceived corruption, such as board overrides of initial shortlists, though Dugan's ouster preceded full implementation. Further addressing claims of and in April 2021, abolished its anonymous "secret committees" responsible for final category nominations, shifting to a fully member-voted system to mitigate accusations of and ensure decisions reflected broader peer consensus rather than small-group discretion. In parallel, the organization has periodically culled inactive voters—removing over 8,000 in alone—and invited waves of new members, such as 4,000 in , to maintain an electorate of approximately 11,000 active professionals deemed current in the industry. CEO Harvey Mason Jr. has publicly defended these reforms while acknowledging persistent challenges, stating in a November 2021 announcement that nominations reflect evolving membership tastes and in his February 2025 Grammy speech that "there's still work to do" on diversity and historical oversights like artist snubs. Despite such statements, the Academy has maintained that the peer-voted nature inherently resists institutional favoritism, attributing outcomes to collective artistic judgments rather than centralized control.

Impact and Legacy

Industry Influence

The Grammy Awards exert considerable influence on the music industry by amplifying commercial outcomes for award recipients and nominees. A "Grammy bump" typically follows wins or nominations, with album sales and streaming metrics surging due to heightened visibility from the broadcast's large audience. For example, research indicates that such recognition can increase concert ticket sales and producer fees by at least 55% in the year after a win, while boosting recorded income by one-third or more, particularly if a new album follows. This commercial leverage extends to career advancement, as Grammys attract new audiences, secure additional gigs, and facilitate lucrative recording deals or partnerships. The Recording Academy's endorsements elevate artists' industry standing, granting access to expanded resources and networking opportunities among professionals. However, in the streaming-dominated era, the financial uplift has diminished compared to physical sales periods, with wins no longer guaranteeing outsized revenue spikes for all genres. Beyond , the awards shape artistic production and industry norms. Winners often differentiate their subsequent work more boldly, capitalizing on enhanced creative , while nominees who lose may conform closer to mainstream formulas to regain favor. influences trends through its voting body of over 10,000 members—primarily established professionals—who prioritize commercially viable or networked works, effectively validating certain styles and perpetuating popularity-driven hierarchies. The Academy further molds standards via annual category revisions, advocacy for creator rights, and guidelines on like AI-generated music, positioning human artistry as central while adapting to technological shifts. This gatekeeping role reinforces peer-validated excellence but can sideline innovative or niche acts lacking industry connections.

Cultural Significance

The Grammy Awards serve as a prominent cultural marker in the music industry, annually convening artists, performers, and audiences to recognize achievements and showcase performances that often preview emerging trends. Established by the Recording Academy, the event has historically reflected evolving musical landscapes, from jazz and rock in its early years to hip-hop and electronic genres in later decades, thereby contributing to the canonization of influential works and artists. This visibility extends beyond the ceremony, influencing public discourse on musical excellence and innovation through broadcasts that reach tens of millions, though viewership has declined significantly, with the 2020 telecast marking the smallest audience in over a decade at approximately 18.5 million viewers compared to peaks exceeding 40 million in the 2000s. A key aspect of the Grammys' cultural footprint is the "GRAMMY Effect," where nominations and wins demonstrably boost artist engagement and commercial performance; for instance, Nielsen data from 2015 analysis showed substantial increases in digital sales and streams for award recipients post-ceremony, reinforcing their role in elevating artists within popular consciousness. Wins also correlate with shifts in artistic output, enabling recipients to pursue more experimental directions due to enhanced bargaining power with labels and platforms, as evidenced by studies tracking post-award trajectories. However, this influence is not uniform; while the awards shape perceptions of mainstream success, they have faced scrutiny for lagging behind grassroots cultural shifts, occasionally amplifying established narratives over diverse or innovative voices, which underscores a tension between industry validation and broader societal tastes. In terms of societal resonance, the Grammys function as a for cultural priorities in music, periodically sparking debates on representation and artistic merit that permeate media and social platforms. For example, category expansions like Best Global Music Album have aimed to incorporate non-Western influences, signaling an adaptive response to , yet persistent critiques highlight institutional in fully capturing contemporary diversity. Despite these challenges, the event's enduring prestige persists in shaping , with iconic moments—such as groundbreaking performances—becoming embedded in cultural lore and influencing subsequent generations of musicians.

Economic Dimensions

The Grammy Awards ceremony is primarily funded through broadcast rights fees, sponsorship agreements, and advertising revenue generated during the telecast. The Recording Academy receives approximately $20 million annually from under a deal extending through 2026, with the upcoming 10-year agreement with , starting in 2027, valued at over $500 million, equating to roughly $50 million per year for rights to air on ABC, , and . Sponsorships from brands such as , which has invested around $50 million in association with the event, and others like Hilton and , contribute additional millions through promotional integrations and visibility, with individual deals reportedly ranging from $10 million to $50 million annually. Advertising during the broadcast has generated tens of millions in revenue for networks, though specific figures for recent years remain proprietary. Production costs for the ceremony are substantial, often exceeding $50 million per event when factoring in venue, staging, performances, and logistics, with additional premiums for non-traditional locations; for instance, hosting in in 2018 incurred $6 million to $8 million more than in due to higher labor and facility expenses. The Recording Academy's overall operations, which encompass the Grammys alongside and member services, reported $107 million in revenue against $122 million in expenses for 2024, reflecting a reliance on event-related income amid fluctuating dynamics. Winning a Grammy provides no direct cash prize but yields significant indirect economic value through heightened visibility, leading to surges in streaming, sales, and touring revenue. Analysis indicates winners experience an average 55% increase in concert ticket sales and related fees in the year following an award, potentially elevating two-year touring income from $1.5 million to $8 million for mid-tier artists. Specific cases, such as 's 2023 Best New Artist win, demonstrate a 989% sales boost and 670% rise in on-demand streams for her album in the immediate aftermath. However, in the streaming-dominated era, the financial uplift has diminished for some, with additional streams yielding modest per-unit payouts—around $0.004 each—limiting gross gains to tens of thousands unless amplified by broader catalog engagement or endorsement opportunities. Nominees and performers can see earnings spikes of 4% to 400% post-ceremony, often translating to six-figure bonuses via renewed label deals or merchandising.

References

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