The song “The Climb,” powerfully performed by Miley Cyrus in Hannah Montana: The Movie, resonated deeply with audiences worldwide and even earned a Grammy nomination. However, the journey to Grammy glory took an unexpected detour when the song faced disqualification from the “Best Song Written for a Motion Picture” category. This decision sent ripples through the music industry, sparking debates about the eligibility rules and leaving songwriter Jessi Alexander, co-writer of “song it’s the climb”, in a state of shock and disappointment.
The Shocking News and Initial Reaction
Jessi Alexander, a songwriter under contract with Disney, initially experienced the elation of a Grammy nomination. The news was delivered by Disney brand staff members, leading to a night of celebration. This high, however, was quickly followed by a devastating low. The very next morning, Alexander was informed that Disney would be withdrawing “The Climb” from Grammy consideration.
The reason for this withdrawal, as explained to Alexander, centered on a specific Grammy rule stipulating that nominated songs in the soundtrack category must be “written specifically for” the motion picture. Disney concluded that “The Climb” did not meet this stringent criterion. This decision was made internally by Disney, leaving Alexander feeling sidelined. While she was eventually allowed to plead her case to the National Academy of Recording Arts and Sciences (NARAS), the ultimate decision to withdraw the song rested with Disney. Understandably, Alexander expressed her disappointment, highlighting the whiplash of emotions – from the peak of nomination excitement to the trough of disqualification.
The “Gray Area” of Songwriting: Was “The Climb” Written for Hannah Montana?
At the heart of the controversy lies the nuanced process of songwriting itself and the somewhat ambiguous nature of when a song is truly “written for” a specific project. Jessi Alexander shed light on the origins of “song it’s the climb”, revealing that it wasn’t initially conceived for Hannah Montana: The Movie.
Alexander and her co-writer, Jon Mabe, were engaged in their regular songwriting routine when inspiration struck. A melody came to Alexander, which she recognized as special, possessing a pop sensibility and a Disney-esque quality. They began crafting a song originally titled “It’s the Climb.” This initial version was described as more spiritual and written in the third person, reflecting Alexander and Mabe’s personal struggles within the music industry.
Being a Disney songwriter, Alexander routinely submitted her work with the hope of placements in film and television projects. This aspiration was a key reason for her signing with Disney. Prior to the filming of Hannah Montana: The Movie, director Peter Chelsom visited Nashville and listened to Alexander’s music. He expressed interest in songs for the movie, and Alexander included “It’s the Climb” on a CD submission. Within weeks, Chelsom responded, indicating that the song resonated deeply and would become integral to the film. However, he requested significant alterations to tailor it specifically for the movie’s narrative and Miley Cyrus’s character.
This is where the “gray area” emerges. Transforming the song from third person to first person, as requested by the director, brought about substantial changes in meaning and perspective. Alexander and Mabe wrestled with adapting the song while preserving its core integrity. Lines with spiritual undertones, for instance, were reconsidered. Through collaborative revisions, a version emerged that felt perfectly suited for the movie and for Miley Cyrus. Alexander recounted being told that the song was “perfect for Miley” and would be transformative for both the artist and the songwriter.
For Alexander, the songwriter’s role is to nurture the nascent ideas of melodies and lyrics and trust the process. Many songs never find a home, making placements like this exceptionally rare and valuable. She questioned the rigid definition of when a song is definitively “finished” or “written for” a particular purpose, arguing that the creative journey is often more organic and less predetermined. She emphasized that these placement decisions are typically outside the songwriter’s direct control, handled by publishers and music supervisors.
Disney’s Stance and the Grammy Rules
Disney’s decision to disqualify “song it’s the climb” stemmed from their interpretation of the Grammy eligibility rules, specifically the requirement that the song be “commissioned.” Their stance, reportedly, was that for a song to qualify in the “Best Song Written for a Motion Picture” category, it must be explicitly commissioned for that specific film project.
Jessi Alexander countered this interpretation by pointing to her unique position as a Disney songwriter. Being under contract and paid to create songs for Disney projects, she argued that her work inherently carried a sense of commission. Furthermore, she highlighted the evolution of “It’s the Climb” from a general song idea into the version used in Hannah Montana: The Movie, emphasizing that the adaptation process was significant and directly tied to the film’s needs.
The situation revealed the inherent complexity in applying rigid rules to the fluid nature of creative endeavors. Was “The Climb” commissioned enough? Did the substantial alterations for the movie qualify it as being “written for” the film, even if its initial spark wasn’t directly movie-related? These questions fueled internal debate within NARAS, underscoring the difficulty of drawing definitive black and white lines in such creative contexts.
The Impact and Call for Rule Reassessment
The Grammy disqualification was undeniably a significant blow for Jessi Alexander. Having experienced the highs and lows of the music industry, including lost record deals and songs removed from albums, she described this event as a “new low.” The public acknowledgment of a nomination followed by its retraction was particularly “humiliating,” casting a shadow over her achievement and potentially creating a false perception of impropriety in the submission process.
Beyond her personal disappointment, Alexander expressed concern for the integrity of the Grammy process and its impact on songwriters. With only two Grammy categories dedicated to songwriting, recognition in these categories is highly competitive and deeply valued. She lamented the introduction of “politics” into what should be a celebration of creative achievement, fearing that the controversy might taint the positive message and widespread appreciation of “song it’s the climb.” The song had become a source of inspiration for many, resonating with Miley Cyrus’s fans and beyond.
Jessi Alexander voiced a strong desire for NARAS to reassess the eligibility rules for the “Best Song Written for a Motion Picture” category. Her aim was to advocate for clearer, more unambiguous guidelines to prevent similar situations from occurring in the future, ensuring that other songwriters would not face the same disheartening experience. She hoped that some positive change could emerge from her experience, leading to a more transparent and equitable process for recognizing songwriting contributions in film.
In conclusion, the Grammy disqualification of “The Climb” ignited a crucial conversation about the intersection of creative songwriting processes and the often-rigid structures of award eligibility. Jessi Alexander’s candid account of her experience underscored the complexities and “gray areas” inherent in defining when a song is truly “written for” a motion picture, prompting a necessary call for reassessment and greater clarity in Grammy rules to better serve and recognize the songwriting community.
