This post has been updated. See note below for details.

The 2012 Grammy Awards will look a little trimmer as the Recording Academy on Wednesday unveiled a massive overhaul of its categories and voting process, most notably slashing the number of nominated categories by 31 to 78. The Grammys had swelled from 28 categories in 1959 to 109 at the most recently televised awards in which the Arcade Fire were a surprise win for album of the year. 

"The message isn't anything about cutting," said Recording Academy President and Chief Executive Neil Portnow at a Wednesday press conference.

Instead, the Grammy czar said the academy had previously taken a "collage" approach that lacked a specific vision and noted that changes to the Grammy format began in earnest in 2009 -- the same year the Academy of Motion Picture Arts and Sciences altered the Academy Awards, upping the number of nominated best picture films from five to 10. 

"This growth," Portnow said of the past increases in Grammy categories, "springs from a tradition of honoring specific genres and/or subgenres within a field, and it has basically been approached one category at a time without a current overall guiding vision and without consistency across the various genre fields."

The official Grammy site has posted a category-by-category comparison. Some of the most noted changes include the cutting of the "best contemporary R&B album" category and going with the more simplified best R&b album. In recent years, artists such as Mary J. Blige had jumped back and forth from best contemporary to best R&B album without any rhyme or reason, as the contemporary field lacked an easy definition.

Backstage after being named the Academy of Country Music’s youngest ever entertainer of the year, 21-year-old Taylor Swift said she was humbled because of the esteem she holds for previous winners.

Name-checking such ACM entertainer of the year recipients as Tim McGraw, Keith Urban and George Strait, she noted that each had given her opening slots on their tours early in her career.

She also cited '90s country heavyweights Shania Twain and Garth Brooks, saying, "To be even mentioned in the same breath as them, I feel shock and overwhelming gratitude."

Academy officials said more than 600,000 votes were cast in the fan-voting facet of the award, the highest number since the organization started allowing the public  to weigh in on its top honor three years ago, partly in response to the success of "American Idol."

Swift also spoke briefly about her just-completed tour of Asia and Europe as an experience as humbling as it was illuminating.

“It was amazing to go to so many countries where they don’t speak English and hear people singing all the words to my songs in perfect English,” she said.

And how did the overseas experience affect what audiences will see when her 78-show, six-month tour of North American arenas and stadiums begins May 27 in Omaha? (The vast majority of dates are already sold out, including the four nights she's slated to play L.A.'s Staples Center in August.)

“It’s a completely different stage for the U.S. tour, where we’re having a completely different tour put together,” she told Pop & Hiss after scampering down the hallway outside the press room in a pale yellow, vintage-looking embroidered Elie Saab gown. 

“We’ll be rehearsing for six weeks for that, with the knowledge of what works with crowds from the European and Asian tours. It’s so wonderful to have that in our back pocket for putting together the American tour.”

"I’m so excited,” she said, adding, “and really, really hungry.”

For what? Without missing a beat, she confessed, “P.F. Chang’s.”

RELATED:

Miranda Lambert, Taylor Swift win at Academy of Country Music Awards

Red carpet photos: Academy of Country Music Awards

How did Taylor Swift pull off that shockeroo at the ACM Awards?

-- Randy Lewis

Photo: Taylor Swift accepts her entertainer of the year award at the 2011 Academy of Country Music Awards in Las Vegas. Credit: Steve Marcus / Reuters

For the first time in its 25-year history, the Rock and Roll Hall of Fame will allow an audience into rehearsals for its star-studded induction ceremony and dinner, which take place this year on March 14 at the Waldorf-Astoria Hotel in New York.

Through a new partnership between the Rock Hall and the Gilt City website, which specializes in luxury services and experiences, fans can buy tickets that will include admission to the March 13 rehearsal for this year’s event, at which the Alice Cooper Band, Neil Diamond, Tom Waits, Dr. John and Darlene Love are being inducted.

The privilege comes at a price, however. A VIP ticket that opens the door to otherwise closed rehearsals costs $3,500, and also includes entrance to the pre-ceremony cocktail party and the awards dinner itself. For $2,000, members of the public can get into the cocktail party and awards dinner.

This year’s honorees are being inducted by Neil Young (Waits), Paul Simon (Diamond), Bette Midler (Love), Rob Zombie (Cooper) and John Legend (Dr. John). Elton John will present Leon Russell with the hall’s new musical excellence award, which replaces the former Sideman category; Doors’ drummer John Densmore will usher in Elektra Records founder Jac Holzman as a non-performer; and Lloyd Price will do the same for Specialty Records founder Art Rupe.

-- Randy Lewis

Tom Waits, left, will be inducted into the Rock and Roll Hall of Fame by Neil Young. Credit (Waits): Michael O'Brien; (Young): Jack Plunkett / Associated Press.

There was no shortage of critical accolades heaped upon the score to "The Social Network," yet the work was far from conventional. In other words, the composition from Trent Reznor and Atticus Ross, which is heavy on electronic atmospheres and forgoes the use of an orchestra, was not typical Academy Awards fare. 

Reznor, of Nine Inch Nails fame, and his frequent collaborator Ross stood out in an Oscar field that contained film composer veterans. Among the pair's competitors Sunday night at the Academy Awards were Hans Zimmer, whose booming work in "Inception" was hard to ignore; A.R. Rahman, who brought a Western-leaning rock 'n' roll slickness to "127 Hours"; and Alexandre Desplat, who used an orchestra with minimalist grace in "The King's Speech." 

Once an early favorite for best picture, David Fincher's legal drama "The Social Network," which takes its inspiration from the battle over Facebook and focuses on the company's enigmatic young leader Mark Zuckerberg (Jesse Eisenberg), is action-less and heavy on the dialogue.

Reznor and Ross spoke with Pop & Hiss about composing the music for the film in late 2010. Now that the pair are Oscar winners ("To be standing up here in this company is humbling and flattering beyond words," Reznor said from the stage), Pop & Hiss presents the full, unedited transcript of the interview.

Country kingpin Garth Brooks, Oklahoma rocker Leon Russell and New Orleans R&B godfather Allen Toussaint are among the 2011 inductees to the Songwriters Hall of Fame. They’ll be honored at a June 16 ceremony in New York City along with John Bettis and the team of Billy Steinberg and Tom Kelly, whose songs became hits in the hands of Michael Jackson, Madonna, Cyndi Lauper, Whitney Houston and many others.

Toussaint’s compositions over nearly six decades have been recorded by artists including Paul McCartney, Elvis Costello, the Rolling Stones, Glen Campbell, the Pointer Sisters, Irma Thomas and Lee Dorsey.

"We are inspired by the striking caliber and range of the 2011 Songwriters Hall of Fame class," hall chairman and songwriter Jimmy Webb said in a statement issued Tuesday announcing the honorees for the organization's 42nd induction and awards dinner.

Upon the announcement, Brooks issued a statement saying, “To consider myself a 'songwriter' is something I find hard to agree with, for it is the songwriter that is the most gifted and most important ingredient in the music formula.  I am humbled and flattered by this award and want to thank the songwriters I have written with in the past.  I feel it is because of them I am receiving this award."

Previous inductees include Kris Kristofferson, Bruce Springsteen, Dolly Parton, Van Morrison, Leonard Cohen, Elton John and Bernie Taupin  and James Brown.

-- Randy Lewis

Photo: Garth Brooks during 2008 benefit performance at Staples Center in Los Angeles. Credit:  Los Angeles Times

Oscar's best song category sometimes feels like the field that gets no respect. Two years ago, only three songs were nominated, and the prior year much of the music recognized by the academy came from one film, Disney's "Enchanted." And this year, a long-standing tradition was done away with, as the contenders for best song did not perform on the telecast.

But what feels like a lack of attention from the academy isn't reflected in the films themselves. The likes of Randy Newman, Christina Aguilera, Cher, Carrie Underwood and John Legend are among the many who have lent their vocals and musical talents to films this year. Below is a small sampling of some of this year's contenders.

The Disney factor

Alan Menken is a veteran when it comes to delivering music to Disney films, but for "Tangled," he had to retrain himself. A snappy digital update of the classic princess fairy tale "Rapunzel," "Tangled" is a musical that isn't song-driven. That meant few long expository songs with grand landscapes and colorful characters.

"Marrying the contemporary tone of the book to a classic Disney fairy-tale score was a challenge," Menken says. "There was a tendency to want to put the kitchen sink in every song."

With eight Oscars to his name, including awards for "Beauty and the Beast" and "Aladdin," Menken is one of the company's most decorated musicians. "Tangled" shows off his more stripped-down side, as Menken turned to folk heroes of the likes of Joni Mitchell and Jackson Browne for opening number "When Will My Life Begin." "Tangled's" younger fans can be forgiven, though, for hearing more Taylor Swift than Mitchell in the peppy acoustic guitar number.

"I wrote five numbers for the opening scene," Menken says. "The one we used established a song reality, but it was compatible with the scene. It didn't carry the scene. On a gut level, '60s folk rock felt like a fresh, interesting place to go to."

The meditative one

A.R. Rahman can do celebratory. American audiences saw a glimpse of his talents with "Slumdog Millionaire's" "Jai Ho," a festive and rousing Bollywood number. Working with director Danny Boyle once more for "127 Hours," the Indian superstar was again called upon to marry song with a moment of triumph. Although his "If I Rise," a collaboration with English pop artist Dido, strikes a more meditative tone this time.

As a character on the verge of falling victim to the elements, James Franco's Aron Ralston summons a final burst of courage, turning recent memories of new acquaintances into dreams of better days to come. "Somebody was offering him something of a future," Rahman says. "That gave him a hope and the energy to liberate himself."

Light and ambient, "If I Rise" builds delicately, with Dido's soft voice lending an angelic presence. With layer upon layer of guitar, the song has a magical feel, as it's grounded in real instrumentation but not exactly organic, either.

Boyle, says Rahman, had one request.

"Danny said, 'I want your voice too,' so I had to put my voice on it," Rahman says. "I initially wanted it to be just Dido, but the main character is a male voice. It's a very simple tune, very innocent, very much from the heart."

What follows are instant grades of every performance at tonight's American Music Awards. This post was written off-site from the AMAs at the LAT HQ, and strived to be as fast, coherent and accurate as possible. You have been warned. This post was updated constantly throughout the night, with the last update occurring at 8:53 p.m. PST. 

There may be typos. Photos from the red carpet can be found on The Envelope.

1. Rihanna, "Love the Way You Lie (Part 2)" & "What's My Name" and "Only Girl (In the World)."  And the annual major-label popularity contest that is the American Music Awards gets underway with a shaky start. Rihanna can be captivating, as she is on much of "Rated R." But after a brief few seconds of "Love the Way You Lie," performing above what looked to be a futuristic set of spikes, she drops any sense of contemplation. At the start, it was the dark, sci-fi-like "Tron" atmospheres Rihanna sported on award shows while promoting "Rated R," and though her singing is a bit wobbly, the song strikes such a somber tone that you're on her side. But for Rihanna, being depressed is soooo 2009, and she drops the serious tone for some booty-shaking pop-by-numbers. Hey, it sells better. More curious than either of her recent songs, however, is the handkerchief-like accessory she has used to add a dash of color to her hot pants. Yet clearly that's where the viewers' focus shouldn't be heading. Also, when will award-show producers learn that a medley isn't a good look for anyone? C-.

Enrique Iglesias & Pitbull. "Tonight" & "I Like It." In a performance that should have been sponsored by the Ibiza board of tourism, Iglesias' club anthem gets some added intensity via a drum line. The Grammys, mind you, don't have a lock on marching band-enhanced songs. The medley started with "Tonight," which despite its laser light show and uneventful groove, at least showed off Iglesias' chops. "I Like It," however, does no such thing, going for the electronic-infused David Guetta/Black Eyed Peas overindulgence of synth and sugar. But for sing-along choruses and energy-boosting numbers, one can do worse B-.

Miley Cyrus, "Forgiveness and Love." A ballad in search of a Garry Marshall film. C-

Diddy Dirty Money, "Coming Home." Another attempt at reincarnation from Sean Combs, featuring the rap mogul flanked by a pair of knock-out women. At least Diddy seems aware that the world is bored with looking at him. This song flirts with contemplation, but it settles for pandering, with its repetitive -- yet gratingly memorable -- "I'm coming home" refrain. It's the kind of obvious, boardroom-crafted hit that feels as if it's going to show up in countless video montages and movie trailers for at least the next 11 months. But perhaps a preemptive D- can save us.

As one of the biggest record buying weeks (Kanye West!! Nicki Minaj!! Justin Bieber!! Robyn!! Ke$ha!?) in recent history approaches, it’s only fitting that the American Music Awards closes out the year, and butters up the populace for the Grammy nominations announcement next month.

The broadcast, in its 38th year, airs at 8 p.m. Sunday on ABC. The East Coast will see the show live from the Nokia Theatre, which, bummer for us, means they're more likely to experience the (best) unplanned moments, such as Jennifer Lopez’s tumble last year, which was edited from the West Coast airing. The three-hour show is to feature 18 music performances -- and, of course, a few awards tossed in to make it official.

Pop & Hiss caught up with AMA producer Larry Klein on Friday during last-minute rehearsals for the show at downtown's Nokia, where he offered his thoughts on a few potential highlights.

Reed Johnson reports on the Latin Grammys from Las Vegas for Awards Tracker:

Camila, the Mexican soft rock group, captured the award for song and record of the year with "Mientes" at the 11th annual Latin Grammy Awards on Thursday night. The ceremony, at the Mandalay Bay hotel in Las Vegas, had the feeling of a kind of coronation party for the group, which has surged to hemispheric popularity over the last five years.

Camila also won best pop album for "Dejarte de Amar," the record that yielded "Mientes."

Toward the other end of the generational spectrum, the veteran 53-year-old artist Juan Luis Guerra from the Dominican Republic took home the album of the year trophy for his contemplative, socially conscious "A Son De Guerra."

As per its custom, the Latin academy tilted toward familiar names at this year's event, bestowing awards on such venerable perennial winners as Tropicalia godfather Gilberto Gil, Spanish singer-songwriter Alejandro Sanz and Guerra.

In perhaps the ceremony's most moving gesture, the academy demonstrated its support, and possibly also its sympathy, for Gustavo Cerati, the former frontman for the seminal Argentine rock band Soda Stereo during the 1990s, who went on to launch a highly successful solo career.

The singer-songwriter, who has been hospitalized in Buenos Aires in a coma since early this year after suffering a stroke, won the best rock album award for “Fuerza Natural” (“Force of Nature”) as well as best rock song for “Déjà Vu."

READ MORE ON AWARDS TRACKER

-- Reed Johnson

RELATED:

- Latin Grammys 2010: Red carpet arrivals

- 2010 Latin Grammy Awards winners

Photo: Camila accepting its award for record of the year. Credit: Associated Press

The previous post in this series went live last week. Be sure to check out The Envelope's new blog Awards Tracker to stay up to date on all things Oscars, Tonys, Emmys, Grammys and more. Don't fret, Pop & Hiss Grammy fans, this blog will keep you informed of anything of Grammy importance that you need to read on Awards Tracker.

The Grammy Awards went young -- and pop -- in 2010, awarding crossover teen star Taylor Swift the show's top crown -- album of the year. Will the popularity trend continue, or will voters finally throw a curve and honor something a bit more unexpected? Answers will be forthcoming soon enough. 

Grammy ballots were due Wednesday, and nominations will be revealed in early December. Here's a look at some of the likely nominations -- and perhaps some deserving ones. 

This is Part 2 of a two-part post. Looking for thoughts on the Arcade Fire, Eminem and more? Those are in Part 1. 

Lady Gaga, "The Fame Monster" (Interscope)

Grammy potential: This is sort of a wild card. Sales have surpassed 1.3 million, according to Nielsen SoundScan, and voters embraced Gaga in 2010, giving her an album of the year nod for "The Fame." Television plays a part here, as Grammy no doubt wants the Monday-morning talk that a Gaga performance typically brings. Yet "The Fame Monster" is only eight tracks, and could be classified more as an EP than an album. Though Gaga has supported it as if it's a full-length release, voters may wait till her 2011 album rather than nominate a shortened effort.

Grammy deserving: Again, this is kind of a toss-up. With "The Fame" scoring an album of the year nomination in 2010, voters happily embraced Gaga's spectacle, and in terms of major pop stars, this year's field lacks a Beyoncé or a Black Eyed Peas (don't expect to see a Ke$ha or a Katy Perry in the album of the year field). From start to finish, "The Fame Monster" packs more hooks, and more weirdness, than "The Fame," and tracks such as "Bad Romance" and "Alejandro" have instantly become Gaga signatures.