The GRAMMYs new guard on 'big, bold changes' in the Recording Academy's future. Read the full 2022 Grammy Voter Guide cover story here:
return Jan. 31 to Los Angeles’ former Staples Center — newly named the Crypto.com Arena — with Trevor Noah hosting and a full audience, the show onscreen will certainly look different. But it will be different behind the scenes, too. It will be the first awards produced under’s new organizational structure: Harvey Mason Jr. as CEO and co-presidents Valeisha Butterfield Jones and Panos A. Panay, whom Mason appointed in late June, shortly after his own transition from interim to official CEO.
Mason, Butterfield Jones and Panay know that all eyes are on them — not only when it comes to the Grammy Awards, but the future of the Recording Academy as well. They are charged with a tricky dual task: instilling a much-needed sense of stability following years of tumult and achieving an equally necessary evolution at the academy, meeting the changing demands of its membership and the greater music community.
Since those appointments took effect mid-August, the trio have immersed themselves in academy business. Though staffers haven’t returned to the organization’s Santa Monica, Calif., headquarters, the leaders have daily Zooms, weekly calls and in-person meetings. They also meet for the occasional meal: A few Sundays ago, Panay, who moved to the United States from his native Cyprus when he was 19 , grilled octopus, cod and vegetables for an outdoor feast at his house.
Panos, as chief revenue officer, part of your mandate is to find new sources of revenue beyond the Grammy broadcast and deal with CBS, which accounted for 54% of the academy’s revenue last year. What are your plans to diversify revenue?There are multiple areas. I believe that there is a lot of room for expansion for us in the education sector. That is ultimately how we elevate and give opportunity to people.
The genre-screening committees — which comprise around 350 creatives, music experts and executives — came under criticism this fall for removing works, including those from Kacey Musgraves and Brandi Carlile, from the genres in which they were submitted and reslotting them elsewhere. Why shouldn’t an entry stay where the label or the creator of the work thinks it belongs?You’re seeing genre lines blurring. You’re seeing people switching from song to song as to what [their music] sounds like.
The academy launched a Songwriters & Composers wing this year, similar to the Producers & Engineers wing. Is that a step toward a songwriter of the year Grammy, like the producer of the year awards?I think it was, and I don’t think it’s a bad idea. Shining a bright light on the songwriters makes a lot of sense from an academy standpoint.
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