Skip to main content
 
  • Recording Academy
  • GRAMMYs
  • Membership
  • Advocacy
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
GRAMMYs
  • Advocacy
  • Awards
  • Membership
  • GRAMMYs
  • News
  • Governance
  • Jobs
  • Press Room
  • Events
  • Login
  • MusiCares
  • GRAMMY Museum
  • Latin GRAMMYs
  • More
    • Governance
    • Jobs
    • Press Room
    • Events
    • MusiCares
    • GRAMMY Museum
    • Latin GRAMMYs

The GRAMMYs

  • Awards
  • News
  • Videos
  • Music Genres
  • Recording Academy
  • More
    • Awards
    • News
    • Videos
    • Music Genres
    • Recording Academy

Latin GRAMMYs

MusiCares

  • About
  • Get Help
  • Support
  • News
  • Events
  • Shop
  • Person of the Year
  • More
    • About
    • Get Help
    • Support
    • News
    • Events
    • Shop
    • Person of the Year

Advocacy

  • About
  • News
  • Issues & Policy
  • Act
  • Recording Academy
  • More
    • About
    • News
    • Issues & Policy
    • Act
    • Recording Academy

Membership

  • Events
  • PRODUCERS & ENGINEERS WING
  • SONGWRITERS & COMPOSERS WING
  • GRAMMY U
  • More
    • Events
    • PRODUCERS & ENGINEERS WING
    • SONGWRITERS & COMPOSERS WING
    • GRAMMY U
Log In Join
  • SUBSCRIBE

See All Results
Modal Open
Subscribe Now

Subscribe to Newsletters

Be the first to find out about GRAMMY nominees, winners, important news, and events. Privacy Policy
GRAMMY Museum
Membership

Join us on Social

  • Recording Academy
    • The Recording Academy: Facebook
    • The Recording Academy: Twitter
    • The Recording Academy: Instagram
    • The Recording Academy: YouTube
  • GRAMMYs
    • GRAMMYs: Facebook
    • GRAMMYs: Twitter
    • GRAMMYs: Instagram
    • GRAMMYs: YouTube
  • Latin GRAMMYs
    • Latin GRAMMYs: Facebook
    • Latin GRAMMYs: Twitter
    • Latin GRAMMYs: Instagram
    • Latin GRAMMYs: YouTube
  • GRAMMY Museum
    • GRAMMY Museum: Facebook
    • GRAMMY Museum: Twitter
    • GRAMMY Museum: Instagram
    • GRAMMY Museum: YouTube
  • MusiCares
    • MusiCares: Facebook
    • MusiCares: Twitter
    • MusiCares: Instagram
  • Advocacy
    • Advocacy: Facebook
    • Advocacy: Twitter
  • Membership
    • Membership: Facebook
    • Membership: Twitter
    • Membership: Instagram
    • Membership: Youtube
For The Record: Demi Lovato

Demi Lovato

Photo: Emma McIntyre/Getty Images for iHeartMedia

News
Inside Demi Lovato's 'Dancing With The Devil' demi-lovato-dancing-devil-art-starting-over-record

For The Record: How Demi Lovato Gazed Into The Mirror On 'Dancing With The Devil...The Art Of Starting Over'

Facebook Twitter Email
In the latest episode of For The Record, learn how Demi Lovato's courageous new album, 'Dancing with the Devil… the Art of Starting Over,' offers an inside look into the singer's personal health, addiction struggles and recovery
Morgan Enos
GRAMMYs
Aug 17, 2021 - 5:50 pm

Since their 2008 debut pop/rock album, Don't Forget, Demi Lovato has sung to those in flux regarding who they are. 

Across their discography, they've continually reassured their fans and listeners they are not alone. It's an ongoing theme they continue to explore on their newest album Dancing with the Devil … the Art of Starting Over, released this past April in the wake of Lovato's much-publicized struggles with an eating disorder, substance abuse, and other internal battles.

On Dancing with the Devil, Lovato offers an inside look into their personal health, addiction struggles and recovery. Lead single "Anyone," which they recorded four days before they suffered an overdose in July 2018, is brutally vulnerable: "Anyone, please send me anyone / Lord, is there anyone? / I need someone, oh / Anyone, please send me anyone," Lovato sings.

Inside Demi Lovato's 'Dancing With The Devil'

"At the time when I was recording it, I almost listen back and hear these lyrics as a cry for help," Lovato said of "Anyone" in a 2020 interview with Apple Music's Zane Lowe. "And you kind of listen back to it and you kind of think, how did nobody listen to this song and think, 'Let's help this girl.'" (Lovato delivered an equally vulnerable performance of "Anyone" at the 62nd GRAMMY Awards in 2020, their first televised performance since their 2018 overdose.)

The album's title track goes one step deeper: On "Dancing with the Devil," Lovato chronicles their relapse that led to their overdose in 2018, singing how "a little red wine" turns into "a little white line" and eventually "a little glass pipe." "Almost made it to Heaven / It was closer than you know," Lovato sings in the chorus. "It's so hard to say no / When you're dancing with the devil."

In the latest episode of For The Record, experience a crash course in the making and intent of Demi Lovato's Dancing with the Devil … the Art of Starting Over. Freshly out as nonbinary and with a new lease on life, it's anybody's guess where Lovato will go next—both as an artist and a champion for the marginalized.

2021
For The Record
Prev
Next
Britney Spears performing at the 2001 MTV Video Music Awards
Britney Spears performing at the 2001 MTV Video Music Awards
Photo: Kevin Mazur/WireImage

How Britney Spears Shed Her Teen-Pop Image

The Strokes positioned in front of a brick wall
The Strokes in 2005
Photo: Fairfax Media via Getty Images/Fairfax Media via Getty Images via Getty Images

How The Strokes Revived Rock On 'Is This It'

Artwork for For The Record episode on Sasha & John Digweed's 'Northern Exposure'
John Digweed (L) & Sasha (R)
Photo: PYMCA/Universal Images Group via Getty Images

Sasha & John Digweed's 'Northern Exposure' At 25

Artwork for For The Record episode on Beyoncé's '4'
Beyoncé
Photo: Kevin Winter/American Idol 2011/Getty Images

The Creative Rebirth Of Beyoncé On '4'

Artwork for For The Record episode on Aaliyah's 'One In A Million'
Aaliyah
Photo: Steve Granitz/WireImage

How 'One in a Million' Redefined Aaliyah's Sound

For The Record: Adele '21'
Adele

For The Record: Adele's '21' Turns 10

Artwork for For The Record episode on Lady Gaga's 'Born This Way'
Lady Gaga

Celebrating Lady Gaga's 'Born This Way' At 10

For The Record: Demi Lovato
Demi Lovato
Photo: Emma McIntyre/Getty Images for iHeartMedia

Inside Demi Lovato's 'Dancing With The Devil'

Artwork for For The Record episode on LeAnn Rimes' 'Blue'
LeAnn Rimes
Photo: KMazur/WireImage

How 'Blue' Made LeAnn Rimes A Global Pop Star

Artwork for For The Record episode on Alicia Keys' 'Songs in A Minor'
Alicia Keys

Inside Alicia Keys' 'Songs in A Minor' At 20

For The Record: Fugees
The Fugees

For The Record: The Fugees 'The Score' At 25

Joni Mitchell in 1968
Joni Mitchell in 1968  
Photo: Jack Robinson/Hulton Archive/Getty Images

For The Record: Joni Mitchell's 'Blue' Masterpiece

"Little" Louie Vega smiles at the camera while wearing his merchandise
Louie Vega
Photo: PYMCA/Universal Images Group via Getty Images

Explore "Little" Louie Vega's Legendary Career

Artwork for For The Record episode on The Rolling Stones' 'Sticky Fingers'
The Rolling Stones in 1972  
Photo: Michael Ochs Archives/Getty Images

Inside The Rolling Stones' 'Sticky Fingers' At 50

Whitney Houston
Whitney Houston
Photo: Georges De Keerle/Getty Images

For The Record: 'Waiting To Exhale' Soundtrack

Photo of Kendrick Lamar at SXSW 2012
Kendrick Lamar at SXSW 2012
Photo: Roger Kisby/Getty Images

How Kendrick Lamar Rewired Rap On 'Section.80'

Artwork for For The Record episode on Sylvester's 'Step II'
Sylvester
Photo: Eric Blum/Michael Ochs Archives/Getty Images

Inside The Colorful World Of Sylvester's 'Step II'

Billie Eilish's Road To Happier Than Ever: How The Superstar Continues To Break Pop's Status Quo

Grammys Newsletter

Subscribe Now

GRAMMYs Newsletter

Be the first to find out about winners, nominees, and more from Music's Biggest Night.
Artwork for For The Record episode on Sylvester's 'Step II'

Sylvester

Photo: Eric Blum/Michael Ochs Archives/Getty Images

News
Inside The Colorful World Of Sylvester's 'Step II' sylvester-step-ii-record-lgbtq-pride-month

For The Record: Explore The Colorful, Inclusive World Of Sylvester's 'Step II'

Facebook Twitter Email
In the latest episode of For The Record, learn how disco maverick Sylvester crafted 'Step II,' a touchstone of the genre and a clarion call for LGBTQ+ culture
Morgan Enos
GRAMMYs
Jun 13, 2021 - 1:50 pm

Let's face it: "Disco Sucks" sucks. The late-'70s backlash against the popularity of disco music and films like Saturday Night Fever, which crescendoed with the infamous Disco Demolition Night on a Chicago ballfield in 1979, is now generally understood as wrongheaded, if not bigoted.

Because the discotheque wasn't simply some hedonistic phenomenon: It was often the last place where marginalized people, like Black, gay singer/songwriter Sylvester, could be themselves.

Inside The Colorful World Of Sylvester's 'Step II'

"You've come out of the closet. It's been difficult," Sylvester's biographer, Rick Karr, told NPR in 2018. "Many people [at the time] have moved out of their homes of origin, their families of origin, with great pain, and moved to a more liberated place, like San Francisco. And then ... this person comes out into public life that sounds like what you were feeling when you made yourself free."

Granted, by 1979, Sylvester had already been around for six years and had released five albums. But it was his 1978 album, Step II, that genuinely delivered his message of liberation to the world. Step II, which included his chart-topping signature song "You Make Me Feel (Mighty Real)," hit the Billboard charts hard and received gold certification by the RIAA in the late '70s.

Both the album and the song left a profound mark on disco and are today considered touchstones of the genre and clarion calls for LGBTQ+ culture. Hailed as one of the definitive LGBTQ+ Pride anthems of all time, "You Make Me Feel (Mighty Real)" was inducted to the Library of Congress' National Recording Registry in 2019.

The world lost Sylvester too soon; he died in 1988, at 41, of AIDS. But when considering the strides the LGBTQ+ community has made in music, art and all other media, we can partly thank this fearless, out-and-proud musical dynamo.

In the latest episode of For The Record, GRAMMY.com takes you into the colorful, inclusive world of Step II, the classic album from disco maverick Sylvester that still sounds like it could have been recorded this morning.

For The Record: The Liberating Joy Of Lady Gaga's Born This Way At 10

Photo of Kendrick Lamar at SXSW 2012

Kendrick Lamar at SXSW 2012

Photo: Roger Kisby/Getty Images

News
How Kendrick Lamar Rewired Rap On 'Section.80' 2021-for-the-record-kendrick-lamar-section-80-debut-album-revisited

For The Record: How Kendrick Lamar Rewired The Rap Game With His Debut Album 'Section.80'

Facebook Twitter Email
In the latest episode of For The Record, rediscover Kendrick Lamar's seminal 2011 debut album, 'Section.80,' which paved the way for a career of masterpieces while standing tall on its own
Morgan Enos
GRAMMYs
Jul 2, 2021 - 12:39 pm

Before good kid, m.A.A.d city; To Pimp A Butterfly and DAMN., before he brought the house down at the 58th GRAMMY Awards with flames licking around him, before winning a Pulitzer and being seriously considered the next Bob Dylan, Kendrick Lamar was simply a socially conscious rapper from Compton on a personal quest.

His 2011 debut album, Section.80, contains the themes Lamar would return to again and again—albeit in relatively green form. Song for song, you'll hear references to the spiritual vacancy of endless partying ("A.D.H.D."), Biblical justice ("Kush and Corinthians"), and the '80s drug scourge ("Ronald Reagan Era").

"I'm making music that represents my generation, their struggle," Lamar told Billboard in 2011. "It feels good to know that I went in with a concept in mind to talk about my generation and that everybody caught on to it so fast and understood where I was coming from."

Kendrick Lamar's 'Section.80' | For The Record

In the latest episode of For The Record, examine how Section.80 came to be and led to even more fully-fledged works of art as time went on. With rumblings of a new album on the way, now's the time to do so—especially considering Lamar tends to change the game, Radiohead-style, with each new release. 

With the help of the above clip, turn back the clock a decade and revisit a time when the 13-time GRAMMY winner was merely a young, hungry upstart with potential coming out of his ears.

Black Sounds Beautiful: How Kendrick Lamar Became A Rap Icon

Artwork for For The Record episode on Alicia Keys' 'Songs in A Minor'

Alicia Keys

News
Inside Alicia Keys' 'Songs in A Minor' At 20 alicia-keys-songs-minor-20th-anniversary-record

For The Record: Inside Alicia Keys' Masterpiece 'Songs in A Minor' At 20

Facebook Twitter Email
In the latest episode of For The Record, learn how Alicia Keys crafted a masterpiece in her 2001 genre-blurring debut album, 'Songs in A Minor'
Morgan Enos
GRAMMYs
Jun 8, 2021 - 2:43 pm

Five years after Clive Davis signed Alicia Keys to his fledgling J Records label and made her a household name, Bob Dylan shouted her out in a song. "I was thinking 'bout Alicia Keys," he rasped in "Thunder on the Mountain," from his 2006 album Modern Times, rewriting a line from Memphis Minnie's song, "Ma Rainey." "She was born in Hell's Kitchen, I was living down the line/I'm wondering where in the world Alicia Keys could be."

She didn't go anywhere, Bob: Since her 2001 debut album, Songs in A Minor, Keys has made a string of critically acclaimed albums and has remained a constant force in music. But Dylan's line—asking about and beseeching her—speaks volumes. The modern-day Bard wrote it after watching the 2002 GRAMMY Awards show, in which he also appeared despite not coming in contact with her. "I said to myself, 'There's nothing about that girl I don't like,'" he later recalled to Rolling Stone.

And if music fans reading this are nodding along with that assessment, Songs in A Minor, which just celebrated its 20th anniversary, has a great deal to do with that.

Inside Alicia Keys' 'Songs in A Minor' At 20

Songs in A Minor, which released June 5, 2001, on Davis' then-new (and now-defunct) label, J Records, is a big part of the reason we all know Keys' name. It had a long and careful gestation, for one thing; she began writing the tunes at the tender age of 14. Rather than being the product of a team of chefs, she was a self-contained, self-actualized artist, intimately involved in everything from the songwriting to the production of tracks like "Girlfriend," "Fallin" and "A Woman's Worth."

The album—an amalgam of R&B, soul, hip-hop, jazz, and half a dozen other genres—paid off in dividends. Songs in A Minor debuted at No. 1 on the Billboard charts. At the 44th GRAMMY Awards in 2002, the album scooped up five GRAMMY wins: Best R&B Album as well as Song Of The Year, Best R&B Song and Best Female R&B Vocal Performance for Keys' debut single, "Fallin'," with the singer/songwriter taking home the Best New Artist GRAMMY that same year.

However, the success of Songs in A Minor was in no way preordained. Label dysfunction and creative insecurity could have stopped it before it even started.

Alicia Keys Wins Best New Artist

Songs in A Minor was supposed to release on Columbia Records, who signed her when she was 15. But creative differences stymied that arrangement. "They wanted me, the tomboy from Hell's Kitchen, to become the next teen pop idol," Keys wrote in her 2020 memoir, More Myself: A Journey. After a protracted exit, Keys signed with Davis at Arista Records, and later, J Records. But even with the business side of things tied up, she struggled to form the album in her mind.

The skeleton key, Keys said, turned out to be "Troubles." "That's when the album started comin' together," she told Rolling Stone in 2001. "Finally, I knew how to structure my feelings into something that made sense, something that can translate to people. That was a changing point. My confidence was up, way up."

The partnership between Keys and Davis proved fruitful: These Songs in A Minor braided relationship dysfunction with biracial identity via a unique, genre-catholic sound the world won't soon forget. To partly quote Dylan, wherever you'll be, Keys will be.

For The Record: The Transformational Public Heartache Of Janet Jackson's All For You At 20

Grammys Newsletter

Subscribe Now

GRAMMYs Newsletter

Be the first to find out about winners, nominees, and more from Music's Biggest Night.
Artwork for For The Record episode on Lady Gaga's 'Born This Way'

Lady Gaga

News
Celebrating Lady Gaga's 'Born This Way' At 10 lady-gaga-born-way-10th-anniversary-record

For The Record: The Liberating Joy Of Lady Gaga's 'Born This Way' At 10

Facebook Twitter Email
Released in May 2011, 'Born This Way' is remarkable for its unrelenting reinvention of the woman we know as Lady Gaga. Nominated for three GRAMMYs, Mother Monster's third album gave the world an eternal gay pride anthem in "Born This Way."
Zel McCarthy
GRAMMYs
May 23, 2021 - 10:07 am

It's hard to imagine a more theatrical arrival to any event than Lady Gaga at the 53rd GRAMMY Awards on Feb. 13, 2011. Encased in a translucent ellipsoid, carried like a palanquin down the red carpet by a quartet of latex-clad models, Gaga herself was barely visible, but her presence was undeniable. Later that night, when she emerged from the egg-like container onto the GRAMMY stage, she wasn't simply performing her new single-she was introducing the world to a new era of her artistry.

Released on May 23, 2011, Born This Way was one of the most highly anticipated albums of the year; upon release, it sold more than 1 million copies in its first week, making Lady Gaga only the fifth female artist to reach that milestone. While eye-catching couture was de rigueur on her pre-release tour between February and May, the topic of her red carpet "vessel," as she called it, was still hot when she appeared on the "Late Show with David Letterman" on release night.

It was a symbol of her rebirth, she explained, deliberately facing the studio audience. "I believe that you can be reborn over and over again until you find that part of you that is the best you that you can be. I encourage everyone to do that."

She then cheekily turned to Letterman. "I wonder what would happen if I put you in an egg."

In some ways, the ease with which Gaga can flow from sincere expressions of depth to ribald humor is the essence of the artist. At once, she is both serious and facetious. It's how she can simultaneously convey absurdity and ferocity on the cover of Born This Way, which pictures her as an anthropomorphized motorcycle, or how she can take liberties with the German language on the song "Scheiße" without undermining a pining love song like "You and I."

If the biker babe aesthetic of the cover wasn't enough of a clue that Born This Way was here to rock, the album opens with the full-throttled aggression of the guitar-heavy "Marry The Night." In what would become one of her signature songs, Gaga declares herself a free spirit while simultaneously committing to a figurative union with darkness, in a vocal produced with radiant clarity by Fernando Garibay.

The sonic motif continues on the penultimate track, "You And I," the most surprising collaboration on the album. Known for producing albums by AC/DC and Def Leppard as well as Shania Twain, co-producer Robert John "Mutt" Lange delivers his pop-by-way-of-metal pedigree, which is uniquely suited for the moment, if only to remind listeners that the guitars on Born This Way aren't a fluke and neither are the hooks.

Read: For The Record: Inside The Robotic-Pop Reinvention Of Daft Punk's Discovery At 20

Even though Garibay, along with producer RedOne, had worked with Lady Gaga before, neither rehash their former glories here. Born This Way is remarkable for its unrelenting reinvention of the woman we know as Lady Gaga. A classic house and experimental techno enthusiast, Garibay is perhaps most audible in the album's decided turn away from Gaga's polished electro past toward a more raw, EDM-influenced future. Tracks like "Government Hooker" and "Heavy Metal Lover" play with Gaga's vocal as if she's inhabiting different skins, each reflecting various parts of herself and all creating soundtracks for stomping across strobe-lit dance floors.

On album closer "The Edge Of Glory," Garibay and Gaga deliver a benediction. "There ain't no reason you and me should be alone tonight," the song starts, implying the impending end of the LP isn't the end of our time with the singer. Before performing the song for Oprah in the final weeks of the host's daytime talk show, Gaga described how she wrote it at her piano as a tribute to her grandmother shortly before her passing. The rawness of her emotion is palpable as the song is both a celebration of life and a full-throated embrace of vulnerability. Even though E Street Band saxophonist Clarence Clemons underscores Gaga's rock and roll daydreams with a record-defining run on the bridge, this ain't Gaga's "Thunder Road."

Instead, Born This Way is Lady Gaga's Ulysses. From her rebirth to her acceptance of mortality, the album is an epic journey of an artist as a young woman. At times, it comes across like a casual stream of consciousness by a pop star who knows how to conquer a dance floor and is laying claim to more. Elsewhere, she subtly reveals that she's actually always in total control. Just as James Joyce's novel once courted controversy, so, too, did Born This Way.

It's easy to forget how the overtly political title track was culturally polarizing only a decade ago. The song's message of self-empowerment through self-acceptance wasn't necessarily new on its own, not even when set to a high-energy dance beat. In fact, for decades, the combination of dance floor bangers with universally relatable lyrics had been embraced as unofficial gay anthems, signaling an unspoken but loudly sung message of validation and equality to LGBTQ+ audiences while carefully never disrupting the sensibilities of listeners intolerant of what was often described as a "lifestyle choice."

On "Born This Way," Lady Gaga, who is bisexual, is unequivocal: Not only are all people worthwhile, "no matter gay, straight, or bi," she sings on the track, but their sexuality is a birthright to be proud of. It's a succinct statement of love and visibility that's hard to dispute. As Oprah put it, "you encourage people to be comfortable being born the way they are, being born that way."

Just as it's hard to imagine a time before Lady Gaga was a household name, it's hard to remember that before 2011, LGBTQ+ rights weren't widely accepted or even openly discussed. For decades, artists had been discouraged by their managers and labels from taking similar stances, either in their music or in the press. Paralyzed by fears of alienating parts of their audiences or becoming targets of morality campaigns, pop artists were quiet at best when it came to issues of LGBTQ+ equality. With the forces of change moving quickly toward progress, thanks to a string of legal and legislative victories, "Born This Way"—as a credo and the first bona fide gay anthem that explicitly advocates for gay rights—arrived at the exact moment when Americans needed it.

In the hands of an artist without Lady Gaga's credibility, a song like "Born This Way" could have been dismissed as pandering or propaganda. In the three years between releasing her 2008 debut album, The Fame, and Born This Way, Gaga had already established herself as an ally to the LGBTQ+ community. For all her theatricality, as an artist who existed beyond the confines of concert stages, music videos and even music itself, Gaga routinely shattered the illusion of a fourth wall to connect with her audience. Her 24/7 commitment to being Lady Gaga created often-unfiltered content for emerging social media platforms, notably Twitter, where fans were eager to like, retweet and devour her every move. Whether she was walking the 10 feet from her hotel to a car or staying up all night with a bottle of wine to respond to tweets about her album on the eve of its release, Gaga made herself accessible, reachable and knowable. She also knew her fans.

As much as she expressed herself through her art, Lady Gaga was unapologetic about who that art was for. While the story of most fan bases speaks to the positioning of an artist in the market and the reception of their work by customers, the relationship between "Mother Monster" and her legion of "Little Monsters" became uniquely vital to her craft on Born This Way. Lady Gaga showed the world that her fans weren't simply there to respond to her work—they were actively inspiring it.

For The Record: Adele's Icon-Making 21 At 10

Grammys Newsletter

Subscribe Now

GRAMMYs Newsletter

Be the first to find out about winners, nominees, and more from Music's Biggest Night.
Top
Logo
  • Recording Academy
    • About
    • Governance
    • Press Room
    • Jobs
    • Events
    • FAQ
  • GRAMMYs
    • Awards
    • News
    • Videos
    • Events
    • Store
  • Latin GRAMMYs
    • Awards
    • News
    • Photos
    • Videos
    • Cultural Foundation
    • Members
    • Press
  • GRAMMY Museum
    • COLLECTION:live
    • Museum Tickets
    • Exhibits
    • Education
    • Support
    • Programs
    • Donate
  • MusiCares
    • About
    • Get Help
    • Support
    • News
    • Events
  • Advocacy
    • About
    • News
    • Learn
    • Act
  • Membership
    • Chapters
    • Producers & Engineers Wing
    • Songwriters & Composers Wing
    • GRAMMY U
    • Events
    • Join
Logo

© 2022 - Recording Academy. All rights reserved.

  • Terms of Service
  • Privacy Policy
  • Cookie Policy
  • Copyright Notice
  • Contact Us

Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.