The Grammy Award for Best Long Form Music Video is an accolade presented at the Grammy Awards, a ceremony that was established in 1958 and originally named the Gramophone Awards, to performers, directors, and producers of quality videos or musical programs. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position". To qualify for this category, a video or musical program must be at least twenty minutes in length.
Along with the similar honor Grammy Award for Best Short Form Music Video, this award was first presented in 1984. From 1984 to 1985, it was known as Best Video Album, but in 1986, it was renamed to Best Music Video, Long Form. Since 1998 it has been known as Best Long Form Music Video. In 1988 and 1989, the award criteria were changed and the video accolades were presented under the categories Best Concept Music Video and Best Performance Music Video. The awards were returned to the original format in 1990. Except in 1988 and 1989, the Grammy Award for Best Long Form Music Video recipients included the artists, directors, and producers associated with the winning videos.
Singers Madonna and Sting hold the record for the most wins as a performer in this category, with two each. To date, David Mallet is the only director to receive more than one Grammy Award for Best Long Form Music Video. He won his first award in 1992 and a second at the 1995 ceremony. The British pop rock group Eurythmics holds the record for the most nominations as a performer without a win, with three from 1985 to 1991.
Read more about Grammy Award For Best Long Form Music Video: Recipients
Famous quotes containing the words award, long, form, music and/or video:
“The award of a pure gold medal for poetry would flatter the recipient unduly: no poem ever attains such carat purity.”
—Robert Graves (18951985)
“Shall we never have done with that cliché, so stupid that it could only be human, about the sympathy of animals for man when he is unhappy? Animals love happiness almost as much as we do. A fit of crying disturbs them, theyll sometimes imitate sobbing, and for a moment theyll reflect our sadness. But they flee unhappiness as they flee fever, and I believe that in the long run they are capable of boycotting it.”
—Colette [Sidonie Gabrielle Colette] (18731954)
“Well then! Wagner was a revolutionaryhe fled the Germans.... As an artist one has no home in Europe outside Paris: the délicatesse in all five artistic senses that is presupposed by Wagners art, the fingers for nuances, the psychological morbidity are found only in Paris. Nowhere else is this passion in questions of form to be found, this seriousness in mise en scènewhich is Parisian seriousness par excellence.”
—Friedrich Nietzsche (18441900)
“To know whether you are enjoying a piece of music or not you must see whether you find yourself looking at the advertisements of Pears soap at the end of the libretto.”
—Samuel Butler (18351902)
“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . todays children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)