According to Porfirio Piña, Director of the competition, the program is open to students between the ages of 16 and 24 who are enrolled in any college or university located in the United States and Puerto Rico. All words and music must be original. The postmark deadline for entries is February 8, 2010. Competition rules and applications are available online at www.bmifoundation.org.

Founded by Ralph S. Peer in 1928, peermusic is a global network of music publishing companies operating from 33 offices in 27 countries, with well over a quarter of a million titles in the company's catalog, and songs that vary from country, blues, jazz and pop to Latin, concert and rock & roll.

The BMI Foundation, Inc. is a not-for-profit corporation founded in 1985 to support the creation, performance, and study of music through awards, scholarships, commissions and grants. Tax-deductible donations to the Foundation come primarily from songwriters, composers and publishers, BMI employees and members of the public with a special interest in music. Because both the Foundation staff and the distinguished members of the Advisory Panel serve without compensation, over 95% of all donations and income are used for charitable grants.

For more information and to apply for this scholarship, visit the 2010 peermusic Latin Scholarship page.

The regional musical styles vary, but one of the most popular manifestations is referred to as banda, a buoyant subgenre matching acoustic guitars with brass, woodwind and percussive instruments. Boleros, rancheras, and corridos reminiscent of German polkas all fall under the banda umbrella, which points to an often unacknowledged ancestry: German immigrants actually settled in northern Mexico during the late 19th century.

The lyrics of today's banda take pride in addressing real issues, from urban dilemmas and immigration quagmires to failed relationships and drug- and alcohol-fueled violence and struggles. The dramatic story songs engross blue-collar men and women toiling—and listening—on both sides of the border.

“When I write a song, I think about everyday life, and focus on its realities,” Hernandez told BMI Music World during a recent phone interview. “When I say that I am a 'friend of the people' it has to do with the characters that inhabit my songs. I make music thinking of the people, and that sort of gives me that status. I do not write as an artist, but as one of the people.”

Hernandez’s approach exemplifies the genre’s proud storytelling tradition, which prides itself on gritty and occasionally politically charged reflections of society. An authentic connection to the sound of the streets is further underscored by Regional Mexican music’s select incorporation of other genres, including hip-hop. Many artists, several of whom are based in southern California, have worked guest appearances by rappers like El Blanquito and El Chavo Barruco into their Regional Mexican flair, propelling a genre with traditionally rural roots into a contemporary mash-up with urban appeal.

Los Pikadientes de Caborca’s recent recording of Michael Jackson’s “Billie Jean” also exemplifies the sonic experimentation currently fueling Regional Mexican music’s success. A sweeping tribute to an icon, the band’s video was filmed around Hollywood and features a Jackson impersonator, striking images of Los Angeles, and poignant shots of grieving fans huddled around Jackson’s star on the Hollywood Walk of Fame. The clip has become an Internet sensation, garnering massive rotation on YouTube and other sites since its timely release.

The band, based in Sonora, Mexico, has charmed genre devotees, industry insiders and critics alike, becoming one of the most-watched and most promising new artists of the year.

La Nueva Rebelión and Roberto Tapia are also currently topping must-hear lists. In addition to releasing two projects this year, La Lightning and 15 Chacalosas, La Nueva Rebelión’s single, “El Corrido del Pepo,” reached the Billboard Latin Regional Airplay top ten, and announced the arrival of a powerful new addition of musical storytellers to the genre. San Diego native Roberto Tapia has also garnered substantial traction. “Caminos Diferentes” propelled healthy sales of his 2009 release El Niño de la Tuna. Like La Nueva Rebelión and other Regional Mexican breakout stars, Tapia tours constantly throughout the United States and Latin America.

The genre appeals to homesick immigrants and nostalgic Mexican Americans all over the United States, offering a bridge to cherished culture. Espinoza Paz, one of Regional Mexican music’s brightest stars, now calls Los Angeles home. A charismatic artist and profoundly gifted songwriter, Paz, who is originally from just north of Sinaloa, Mexico, embodies the genre’s cultural importance and resolute connection to the everyman: The title of his sophomore album, El Canta Autor del Pueblo, translates as “The songwriter of the people.” His composition “Espero” garnered a 2009 Latin Grammy nomination for Regional Mexican Song of the Year.

Jenni Rivera and La Arrolladora Banda El Limón are just two of the additional Regional Mexican powerhouse artists based in Los Angeles. The city serves as a hub for many of the genre’s elite who are constantly traveling throughout both the United States and Mexico. La Arrolladora Banda El Limón, also from Sinaloa, are one of Regional Mexican music’s giants who have performed in various incarnations since the 1960s. When they signed their first record deal in 1999, the genre heavyweight’s honed musical chops ensnared an even broader audience. Their 2009 release, Más Adelante, topped both the Billboard Latin and Regional Mexican charts, underpinning the beloved group’s unmitigated popularity.

Regional Mexican music’s formula relies on authenticity and deceptive simplicity: songs for the people, about the people, and by the people themselves. Whether toe-tapping or tear-jerking, the music is equal parts contemporary art, sharp social commentary, and traditionally inspired storytelling, creating a powerful and valuable musical force.

BMI, House of Blues, Recording Academy Los Angeles, NocheLatina.com and SunTrust Bank played host to an evening of rich Latin sounds on Wednesday, November 4 at House of Blues at Mandalay Bay in Las Vegas.

Hosted by Cucu Diamantes (co-writer of Best Alternative Song nominee, “Mas Fuerte”), the evening featured performances by 2009 Latin Grammy nominees Luz Rios (nominee for Best New Artist & Best Female Pop Vocal Album, Aire), Espinoza Paz (Best Regional Mexican Song nominee, “Espero”), Jorge Villamizar (Best Tropical Song winner and Song of The Year nominee, “Yo No Se Manana,” co-written by Jorge Luis Piloto, from Ciclos), Jimena Angel (Best Female Pop Vocal Album nominee, Día Azul), Darey Castro of Dareyes De La Sierra (Best Banda Album nominee, Una Copa Mas), and special guest Alex Cuba.

Another highlight of the evening was the presentation of a BMI Latin Award to Mario Quintero for writing “Sólo Jugaste,” recorded by Tucanes de Tijuana. Quintero was also nominated for Best Regional Mexican Song for “Se Fue Mi Amore,” also recorded by Tucanes de Tijuana.

Cachorro López earned the prestigious Producer of the Year crown, underscoring the Latin Alternative pioneer’s top-tier status. Duo Wisin & Yandel’s “Abusadora,” co-written with Marcos Masis "Tainy,” received Best Urban Song honors, while Draco Rosa’s Teatro garnered Best Rock Solo Vocal Album of the Year. Caetano Veloso won Best Singer-Songwriter Album for his Zii E Zie in addition to Best Long Form Music Video for his “E a Música de Tom Jobim.”

The wildly popular Regional Mexican category featured winners from the BMI family as well. In a testament to broad appeal of the genre, Grupo Pesado and Costumbre shared Norteño Album of the Year honors for their Sólo Contigo and Siempre, respectively. Jimmy González y Grupo Mazz’s The Legend Continues…La Continuacion was named Best Tejano Album.

Additional BMI 2009 Latin Grammy winners include Jorge Villamizar, who co-wrote Best Tropical Song "Yo No Sé Mañana”; Carlos Franzetti & Eddie Gómez’s Duets for Best Instrumental Album; Bebo Valdés’ Juntos Para Siempre for Best Latin Jazz Album; Paulina Aguirre’s Esperando Tu Voz for Best Christian Album (Spanish Language); and Pombo Musical, featuring BMI songwriters Carlos Vives, Juanes, Santiago Cruz, Adriana Lucia, Ivan Benavides and Cabas, for Best Latin Children’s Album.

For more information on the 2009 Latin Grammy Awards and to view a complete list of winners, please visit www.latingrammy.com.

2009 BMI Latin Grammy Award Winners

Record of the Year
“No Hay Nadie Como Tu”
Calle 13 con Café Tacvba
Engineer/mixer Omar Vivoni

Album of the Year
Los De Atrás Vienen Conmigo
Calle 13

Best Urban Music Album
Los de Atrás Vienen Conmigo
Calle 13

Best Urban Song
“Abusadora”
Co-written by Marcos Masis "Tainy", with Wisin & Yandel

Best Rock Solo Vocal Album
Teatro
Draco Rosa

Best Alternative Song
"No Hay Nadie Como Tú"
Co-written by Rubén Albarran Ortega, Eduardo Cabral, Emmanuel Del Real Díaz, Enrique Rangel Arroyo and Jose Alfredo Rangel Arroyo

Best Norteño Album
Siempre
Costumbre

Sólo Contigo
Grupo Pesado

Best Tejano Album
The Legend Continues…La Continuacion
Jimmy González y Grupo Mazz

Best Tropical Song
"Yo No Sé Mañana"
Co-written by Jorge Villamizar

Best Instrumental Album
Duets
Carlos Franzetti & Eddie Gómez

Best Latin Jazz Album
Juntos Para Siempre
Bebo Valdés

Best Singer-Songwriter Album
Zii E Zie
Caetano Veloso

Best Christian Album (Spanish Language)
Esperando Tu Voz
Paulina Aguirre

Best Latin Children’s Album
Pombo Musical
Featuring Carlos Vives, Juanes, Santiago Cruz, Adriana Lucia, Ivan Benavides and Cabas

Producer of the Year
Cachorro López

Best Short Form Music Video
“La Perla”
Calle 13

Best Long Form Music Video
“E a Música de Tom Jobim”
Caetano Veloso

For more information about The Latin Academy, click here.

Jerry, who is one of the most successful and musically adept producers to emerge from the hip-hop era since 1994, treated bourgeoning singer/songwriters and fans to anecdotal stories on creating hits for The Fugees (The Score), Whitney Houston (“My Love Is Your Love”), and Shakira (“Hips Don’t Lie”). In addition, Jerry ensnared the audience’s attention by demonstrating his musicianship skills by playing chords on his bass that lead to the foundation of many of his hits. Highlights include songwriter Mary Brown joining Jerry to recall the songwriting process of creating songs for Wyclef Jean (“911”), and Destiny’s Child (“No, No, No”).

BMI also sponsored the summit, held Thursday, October 8 and Friday, October 9 at the Hyatt Regency Century City. On Thursday, BMI presented the “How I Wrote That Song” panel, moderated by BMI’s Delia Orjuela, and featuring a collection of Latin music’s elite songwriters including Javier San Roman, Horacio Palencia, Gloria España, Erika Vidrio, Luis Carlos Monroy and Gabriel Flores, who discussed issues of composition, including hit songwriting strategy and technique.

However, what makes him most proud is his composer project Plataforma, a music service that not only distributes his own compositions but also organizes workshops to teach aspiring composers the composition method he developed through his career, which began in the mid-70s as he participated in music festivals in Mexico and abroad. “The professional composition course is based on a methodology that summarizes rules one should follow when writing a song,” he explains over a telephone interview.

Campos suffers from a degenerative disease that has damaged both his hearing and sight since his mid-twenties. Today, he is unable to tune his own guitar, but somehow he knows when the instrument is out of tune. “What happens is that this deficiency developed over the years,” he says. “There is some kind of internal mechanism in my memory that helps me compose today. This partial deafness has made it difficult to identify certain tones, so I cannot tune my guitar because I cannot distinguish between certain notes, but I can tell if the guitar is tuned from its vibration.”

“Because of this disease I have learned to compose by memory,” he says. “Using a pre-tuned guitar I can structure the melody in the way that I have envisioned it – when it comes to singing it or recording, it is not difficult to do so. Once I hear the vibration, I can coordinate it with my voice.”

In addition to the Composition Workshops, he has kept busy with various other recording projects, including his new album No Canto... Digo  (I Don't Sing, I Say) and another with Mexican diva Manoella Torres, which he is also co-producing.

“I always tell my students that they have to find a theme,” he notes. “The first thing one has to think about is what genre he or she is working with. Once that is established, you should think of how to tell a story in a few words in the clearest way possible.”