Prince’s estate is about to party like it’s 1999. Or actually, 1996.

Taking a page from the Michael Jackson Estate playbook, the Prince estate’s music and entertainment interests are going to be overseen by two of his former advisers– Charles Koppelman and Londell McMillan.

When Jackson died, he had just re-hired former attorney John Branca. Branca became co-executor of Jackson’s estate thanks to a will he’d drawn up for Jackson during one of their past associations.

McMillan was Prince’s attorney during the 90s and the early part of the 2000s. He was responsible for the 1996 album “Emancipation.” At the time, Koppelman–who has a long track record in the music biz– was chairman and CEO of EMI Records, he cut the deal to distribute “Emancipation,” which was one of Prince’s last real hits on a regular label.

Koppelman had been a manager of Michael Jackson when the King of Pop was alive, back in 2003-2005. He and partner Al Malnik left Jackson’s business when the singer let the Nation of Islam and brother Randy Jackson take over his interests during his child molestation and conspiracy trial.

When Prince died, McMillan flew directly to Minneapolis and quickly got re-involved in advising Prince’s estate, which is in the hands of Bremer Trust National Association. The probate court in Minneapolis told Bremer to find music executives who could maximize Prince’s intellectual property until they can figure out who the heirs are. As far as anyone knows, Prince left no will.

Koppelman is a savvy choice. He’s built a reputation as a savior of companies like Martha Stewart and Steve Madden when their CEOs went to jail. He’s also had his own entertainment companies and the very cool but short-lived SBK record label with current Sony ATV Music chief Martin Bandier back in the 90s. (BTW His son, Brian, is the co-creator of the great new Showtime series “Billions.”)

Maybe one of the first things Koppelman and McMillan can do is bring back the “Emancipation” album. It’s one of many albums that no longer exist in print or for sale except as imports or collectors’ items.

There are new Grammy Award rules this morning, for better or worse. For the first time, artists can submit streaming-only entries. This is a big deal because digital has taken 0ver, while issuing a physical CD is no longer mandatory for anyone.

The Grammys are also warning artists about submitting recordings that includes potentially copyright-infringing material from other recordings. Considering that almost all of hip hop and rap consists of samples and “interpolations,” the Grammys will now entertain complaints if the t’s aren’t crossed and the i’s aren’t dotted on licenses.

Best New Artist is now expanded so that the minimum requirement for eligibility is adjusted. You aren’t a potential Best New Artist unless you have five singles or a whole album. On the other hand, you can keep submitting until you hit a maximum of 30 tracks or three albums.

Here’s the whole list. The Grammys will air February 12th on CBS. Adele, Beyonce, Kanye West, and Paul Simon should be in the mix, with at least a tribute to Prince ( hopefully from artists he worked with or covered him) and the late David Bowie’s album “Blackstar” should be nominated for Album of the Year. This past winter, the Grammys were like a train accident.

Rule Amendments

Streaming-Only Recordings Now Eligible

Previous eligibility guidelines required recordings to be commercially available via general distribution or digital recordings/downloads, thereby precluding works released solely through streaming services. The eligibility guidelines have been revised to include recordings released via streaming platforms, and are updated as follows:

Release Date: Recordings (albums/singles) must be available to the public nationwide as stand-alone purchases or streams between Oct. 1, 2015, and Sept. 30, 2016. Imports are not eligible.

General Distribution: Works must be released via general distribution, defined as the nationwide release of a recording via brick and mortar, third-party online retailers, and/or applicable digital streaming services. Applicable streaming services are paid subscription, full catalogue, on-demand streaming/limited download platforms that have existed as such within the United States for at least one full year as of the submission deadline. All recordings entered must have an assigned International Standard Recording Code (ISRC).

Digital Recordings: Recordings released nationwide via download or streaming service must have quality comparable to at least 16-bit 44.1 kHz. Submissions sent to The Academy for consideration must also include both the original file and the product, proper label credits (producer, mixer, songwriter, etc.) in the metadata file, and a verifiable online release date.

Recordings must be non-infringing, original works of authorship. To the extent a recording embodies in whole or in part the copyrighted work of a third party, appropriate authorization to use and incorporate such copyrighted work must have been obtained. If allegations are made that a recording is unauthorized and does not meet these criteria, The Academy will consider the allegations and determine, in its sole discretion, the eligibility of such recording.

Number Of Categories In Which Voters May Vote Decreases

To encourage members to vote only in those categories in which they are most knowledgeable, passionate, and qualified, while keeping in mind that certain genre fields contain several distinct award categories, the number of categories in which Academy members may vote has decreased from 20 to 15, plus the four General Field categories (Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist).

Best New Artist Guidelines Amended To Reflect Trends In How Emerging Artists Release Music

Previous Best New Artist rules were amended to remove the album barrier given current trends in how new music and developing artists are released and promoted. To be eligible in the category of Best New Artist, the artist, duo, or group:

· Must have released a minimum of five singles/tracks or one album, but no more than 30 singles/tracks or three albums.

· May not have entered into this category more than three times, including as a performing member of an established group.

· Must have achieved a breakthrough into the public consciousness and impacted the musical landscape during the eligibility period.

Additional Blues Category Added To American Roots Field

To reflect the dynamic range of Blues submissions that The Recording Academy receives, the category previously known as Best Blues Album will now branch into two distinct categories:

Best Traditional Blues Album

Blues recordings with traditional Blues song structures, harmonic structures, and rhythms, that may also employ traditional Blues instruments such as acoustic and electric guitar, piano, organ, harmonica, horns, and electric bass and drums. This category includes various subgenres such as Delta Blues, Piedmont Blues, Jump/Swing Blues, Chicago Blues, and Classic/Southern Soul.

Best Contemporary Blues Album

Blues recordings that vary from traditional Blues song and harmonic structures. These may employ non-traditional Blues rhythms such as Funk, Hip-Hop, Reggae, and Rock, and may also include both traditional blues instruments and non-traditional blues instruments. Recordings may also feature contemporary techniques such as the use of synthesizers, programmed tracks, and loops. This category includes various subgenres, such as Funk Blues and Blues-Rock.

Best Rap/Sung Collaboration Category Renamed and Redefined

Best Rap/Sung Collaboration has been renamed and redefined as Best Rap/Sung Performance to represent the current state and future trajectory of rap by expanding the category beyond collaborations between rappers and vocalists to include recordings by a solo artist who blurs the lines between rapping and singing. The expanded category is defined as follows:

Best Rap/Sung Performance

This category is intended to recognize solo and collaborative performances containing elements of R&B and rap in melody and song. In the case of a collaboration of artists who don’t usually perform together, one of the collaborating artists should be credited and recognized as a featured artist.

Additional amendments were made to the number and type of music creators recognized in the categories of Best Choral Performance and Best Jazz Vocal album, and procedural updates were made to the process of populating nominations committees.

Henry McCullough died yesterday. He was 72 and mostly famous for playing with Paul McCartney and Wings in the early 70s. He was the lead guitarist on a great album, “Red Rose Speedway” which included his solo on “My Love.” He also played on two classic McCartney singles– “Live and Let Die” and “Hi Hi Hi.” That’s his blistering guitar everywhere. He also played on McCartney’s “Ram” album, and on at least three Joe Cocker albums.

Paul posted on a note on his website: “I was very sad to hear that Henry McCullough, our great Wings guitarist, passed away today. He was a pleasure to work with, a super-talented musician with a lovely sense of humour. The solo he played on ‘My Love’ was a classic that he made up on the spot in front of a live orchestra. Our deepest sympathies from my family to his.”