meta-scriptGRAMMY Premiere Ceremony Performers, Presenters Announced | GRAMMY.com

news

GRAMMY Premiere Ceremony Performers, Presenters Announced

Hosted by Hunter Hayes, Premiere Ceremony to present awards in approximately 70 GRAMMY categories; ceremony to stream live at GRAMMY.com/live

GRAMMYs/Jan 29, 2015 - 08:00 pm

The GRAMMY Awards Premiere Ceremony will take place at Nokia Theatre L.A. Live on Sunday, Feb. 8, from 12:30–3:30 p.m. PT, and present the first GRAMMY Awards of the day in approximately 70 categories. The ceremony will be hosted by current GRAMMY nominee Hunter Hayes and will stream live internationally at GRAMMY.com/live.

Attended by nominees and industry VIPs, the star-studded ceremony will feature performances by current nominees Angie Fisher, Cheyenne Jackson & Alexandra Silber, Old Crow Medicine Show, Ana Tijoux, and an all-star jazz quartet featuring Nathan East, Robert Glasper, Billy Hart, and Joe Lovano. Presenting the first GRAMMY Awards of the day in approximately 70 categories will be current nominees Rosanne Cash, Gloria Gaynor, Hilary Hahn, Smokie Norful, and John Waters as well as five-time GRAMMY-winning producer Jimmy Jam.

Hayes is nominated for Best Country Solo Performance for "Invisible." He has received four previous GRAMMY nominations.

East, Fisher, Hart, Jackson & Silber, Old Crow Medicine Show, and Tijoux each have one nod: East for Best Contemporary Instrumental Album for Nathan East; Fisher for Best Traditional R&B Performance for "I.R.S."; Hart for Best Jazz Instrumental Album for Enjoy The View; Jackson & Silber for Best Musical Theater Album for West Side Story; Old Crow Medicine Show for Best Folk Album for Remedy; and Tijoux for Best Latin Rock, Urban Or Alternative Album for Vengo.

Glasper and Lovano have two nominations each: Glasper for Best Traditional R&B Performance for "Jesus Children" and Best R&B Album for Black Radio 2; Lovano for Best Improvised Jazz Solo for "Recorda Me" and Best Latin Jazz Album for The Latin Side Of Joe Henderson.

Hahn, Gaynor and Waters each have one nomination: Hahn for Best Chamber Music/Small Ensemble Performance for In 27 Pieces The Hilary Hahn Encores; Gaynor for Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling) for We Will Survive: True Stories Of Encouragement, Inspiration, And The Power Of Song; and Waters for Best Spoken Word Album for Carsick: John Waters Hitchhikes Across America.

Norful has two nominations: Best Gospel Performance/Song for "No Greater Love" and Best Gospel Album for Forever Yours.

Cash has three nominations: Best American Roots Performance and Best American Roots Song for "A Feather's Not A Bird," and Best Americana Album for The River & The Thread.

The live stream of the Premiere Ceremony will remain on GRAMMY.com as video on demand for 30 days following the event. Following the ceremony, the 57th Annual GRAMMY Awards will be broadcast live on the CBS Television Network from 8–11:30 p.m. ET/PT. For GRAMMY coverage, updates and breaking news, visit The Recording Academy's social networks on Facebook, Twitter and Instagram.

After 9 Years, Ana Tijoux Returns With Songs At The BPM Of Life
Ana Tijoux performs during the opening ceremony of the Santiago 2023 Pan Am Games.

Photo: Buda Mendes/Getty Images

feature

After 9 Years, Ana Tijoux Returns With Songs At The BPM Of Life

Rapper Ana Tijoux experienced a series of devastating personal losses, but released a danceable album that's a tribute to life. Ahead of her first U.S. tour since 2018, Tijoux speaks about her new album 'Vida,' and creating the record she needed to hear.

GRAMMYs/Mar 12, 2024 - 01:25 pm

Ana Tijoux’s first album in almost a decade is titled Vida, but it began as a meditation on death. 

The French Chilean rapper began writing the songs for her fifth album following a series of personal losses, including a beloved sister. "I wanted to talk about the fragility of life. What I didn’t know when we began was that the name of the album would be ‘Life,’" Tijoux recalls, speaking from her home in Barcelona. "I wanted to call it, ‘Duelo,’ which is the complete opposite." Translated from Spanish, duelo means mourning. 

This concept for the album evolved as the writing progressed. The first shift occurred when the musician began to write "Tania," which honors the sister she lost to cancer in 2019. "When I was thinking about her, I was thinking in a very happy way. It was not only with sadness," she tells GRAMMY.com. She couldn’t write a song, then, that was simply sad. "I think when you are confronted by death and someone’s passing, you are confronted by all that mixture of emotion and suddenly it moves, naturally," she theorizes. 

Tijoux let it move. Through such honest confrontations, Vida grew into an album full of complex emotions  about 10 years worth.

"Tania" is a profound and moving tribute that builds into a thumping dembow rhythm fit for the dancefloor. The song is all the more poignant for evoking a celebration. Dance was a vital part of grieving for Tijoux; to move from grief back toward life, she had to literally move. In connecting to her body, the most obvious reminder of being alive, the musician found a source of healing. 

"I feel I have this dissociation between my body, sometimes, and my brain," Tijoux muses. "I think we get this dissociation from our education, or perhaps we always feel that body movement is something superficial, but it’s interesting how the body responds to music, the tempo and the BPM."

This line of thinking — and Tijoux’s desire to dance — manifested on the album in a scintillating array of danceable sounds: tropical house, digital cumbia and Afro-Caribbean polyrhythms that interlock with boom-bap beats. 

The Spanish-language emcee's fifth full-length evolved through collaboration with her long-time producer Andrés Celis, as they wrote from their respective homes (Tijoux in Spain, where she relocated during the pandemic, and Celis in Santiago, Chile). "It was a dialogue. Sometimes, it was me bringing an idea and he was trying to translate that idea through melody. Other times, he had a melody and I would say, ‘Oh, this makes me feel like this, or that puts me in that mood," she says of the creative process. 

Through this back and forth during isolation, a lively, rhythmic album emerged from what was originally conceived of as a somber memorial. This is not to say that it’s a carefree album. In keeping with the rap pioneer’s previous work, Vida is driven by fight, in particular, the fight to preserve life and joy in the face of cruelty and death. 

Like Talib Kweli, who guests with De La Soul's Plug 1 on the album’s multilingual ode to hip-hop "Tue Sae," Tijoux has been a lyrical conscience in the world of rap since her debut. This album may be extremely personal, but it also finds her sharp as ever on political subjects, holding forth in her inimitable, rapid-fire flow. With "Óyeme," a song inspired by 2023 news reports that authorities in England planned to house hundreds of asylum seekers on a barge, Tijoux connects the racism that justified the transantlantic slave trade with the racism behind the violence inflicted on refugees and migrants. 

Because Tijoux’s new album is so emotionally intense, its moments of uplift and release hit with more power too. The title track, which features English soul singer Omar, is a funky jazz-hop love song to life itself and could not be more joyful. Its author is quick to point out that, even when the album is lighthearted, it isn’t meant to be escapist. 

"It’s not in a mood of ‘nothing is happening,’ because everything is happening right now. It’s because I feel that we need to continue to put hope in this world, because, if not, I don’t know how to raise my children," she explains.

Tijoux’s two children — Luciano, 18, and Emiliana, 10 — are present on the album in many ways. "Niñx" is a fiercely loving song expressing her aspirations for her daughter, mostly that she grows up brave and free, and never loses her laughter. Album opener "Millionaria" has a little bit of fun with the trope of the iced out rap star with stacks of money and designer clothes by rapping about how rich she is — in the love of friends and family. The song brings extreme mom energy in a way that the world badly needs right now. 

Ultimately, Tijoux made the album she herself needed to hear. "It was almost like an anthem for me to get my energy up and move, through vitality, through the BPM of life," she admits. That last phrase raises an interesting question: What is the BPM of life? Without having to think, Tijoux answers: "It’s every kind of BPM. It changes all the time. I guess it’s like emotion." Of course, it would be. Life’s tempo would be variable and elastic, like the breath, the heartbeat, or a J Dilla track. Varied as it is, Vida is a clear case of art imitating life. 

Inside Residente's 'Las Letras Ya No Importan': How His New Album Shows The Rapper In Transition

Living Legends: Gloria Gaynor On How "I Will Survive" Has Made Her "Feel Like A Family Heirloom"
Gloria Gaynor

Photo: Alex Arroyo

interview

Living Legends: Gloria Gaynor On How "I Will Survive" Has Made Her "Feel Like A Family Heirloom"

Nearly five decades after Gloria Gaynor released her timeless anthem, "I Will Survive," she celebrates her legacy — and her own resilience — with a new documentary, only in theaters Feb. 13.

GRAMMYs/Feb 13, 2024 - 07:11 pm

She will survive, indeed! As a poster child for the disco era, an advocate for the power of resilience, and an artist who has mastered the craft of the comeback, Gloria Gaynor has proven that her triumphant classic, "I Will Survive" isn't just her signature hit — it's become her mantra.

In addition to her triumphant classic (which won the only GRAMMY ever given for Best Disco Recording, in 1980), Gaynor has carved out a unique career full of risk, reward and longevity. That includes taking major bets on herself, including self-funding and releasing her 2019 spiritual album, Testimony — which earned her a second GRAMMY 40 years after her first, this time for Best Gospel Album. 

Along the way, Gaynor faced both health and financial issues and stayed true to the meaning of the song. These days, she's been on a victory lap, still a queen of the modern disco scene — even releasing a track with another club icon, Kylie Mingoue, with 2021's "Can't Stop Writing Songs About You" — while basking in the enduring legacy of "I Will Survive." 

Now 80, the legend's inspiring story of highs and lows is on full display in the new documentary aptly titled Gloria Gaynor: I Will Survive, which premiered at the 2023 Tribeca Film Festival and hits select theaters for one day only on Feb. 13. Gaynor reflected with GRAMMY.com about the hit that made her a household name, its lasting effects and her remarkable longevity.

I know it's been an eight year-long process working on the new documentary. What was it like bringing it to life with director Betsy Schechter?

It was difficult because I was working and there were things happening in both our lives that hindered us from coming together from time to time and progressing with the process — so part of what made it take so long was personal reasons. It was fun and tedious, but most of the time it was fun. 

What was it like seeing your emotional story on screen for the first time?

Well, I went through several emotions. It was kind of cathartic. It was surprising to see the reactions of people in the audience with me. When I was watching it on my own, I was like, "Is this going to be popular?" Because when you're watching your own life, you don't think anything big of it. You think everybody has the same problems and stories. But it was mixed emotions. 

People are saying they're learning new things about me that they've never known before or suspected. But a lot of people are also saying that they're being encouraged, and uplifted, and empowered by what they've seen in the documentary. It's been really wonderful, when it comes to the response. It's been tremendous. 

In the midst of production of the documentary, you entirely self-funded the album Testimony which later won a GRAMMY for Best Roots Gospel Album in 2020. Why was it important for you to release this independently and take on that risk?

Because I really believed it was something that God would have me do. When He calls you to do it, of course you do it. Unless I was totally wrong in what I believed I heard, in which case it'd just be an experience. 

But I really felt I had been called to do this, because it was something I've wanted to do for many years. My old management didn't think it was important. He was so interested in the money that would not come from whatever other music I did. So he thought, why bother? But for me, it was more than money. 

What did vindication of the subsequent GRAMMY win mean to you?

It was awesome and very, very validating for me. Just uplifting and encouraging. The GRAMMY is an award that comes from your peers; people who are in the business who know what it takes to record an album or talent when they hear it. It was extremely rewarding for me to win a GRAMMY for that album that was so not championed by everybody in the business. 

And leading up to the win, what was it like when you heard you were nominated?

It was like, "Okay, if this happens I'm going to be flying high." And for sure I was.

But this wasn't your first GRAMMY, because I know that distinction goes back to 1980 for "I Will Survive." Do you remember anything from that night?


Well, I was not familiar with the filming of the televising of the GRAMMYs; it was my first time there and I was actually not there when I received the GRAMMY.

Where were you?

I was in the restroom! I thought I could run to the restroom and get back and seated before it started, and then [my category came up]. Someone else received my GRAMMY and held it for like five years.

Five years, why?

I didn't even know who had it. But it was Tom Moulton, who was the geneious mixologist who did "Never Can Say Goodbye" and "I Am What I Am." He received the award for me and kept it before I even found out where it was. [But] I got it back from him! 

"I Will Survive" was waiting for you for a couple years until you recorded it. So what did you say and what did songwriters Freddie Perren and Dino Fekaris say when you decided to record it?

What had happened was, I was sent to record a song that the record company president had chosen because he was newly over from England and had a hit with a song there ("Substitute", originally by the Righteous Brothers). He wanted to repeat the success of it here in the United States with me. 

They asked me what could be on the B side because they weren't sure about it, and wondered what kind of songs I liked. So I said, "I like songs that are thoughtful, meaningful and touch people's hearts and have a good melody." So they said, "Well, we think you're the one we've been waiting for to record this song we wrote two years prior." I was like, "Okay, what song is that?" 

When I read the lyrics I said, "What are you stupid, you're going to put this on the B-side? This is a timeless lyric. I'm standing here relating to this song since I had a back brace on from a surgery I had just had. I'm relating it to the fact that my mother passed away a few years prior, something I never thought I'd survive. Everybody is going to relate every traumatic situation they're going through with this song. Any situation they find seemingly insurmountable, they can relate." So they said, "Well, that's the deal we made." So I said, "Well, if it's for me then it won't stay on the B-side."

What happened when it was released?

It was definitely on the B-side, but they gave us a box of records, and there were 25 in a box, and we took them to Studio 54 and asked the DJ there, Richie Kaczor, to play it. When he did, the audience definitely responded to it, so I thought, "Okay, this jaded New York audience is losing their mind over this record, I have no doubt I'm right that this is a hit." 

So I asked him to give the records to his DJ friends in New York to play it, and they did and people began to request it on radio. The stations started calling the label: "Where is this record people keep asking for?" And the rest is history.

The song has impacted so many people over the years. Do you have any special memories of hearing how it impacted someone?

What immediately comes to mind is a situation that happened when I was in Italy. I had actually rewritten the words because I had become a devout Christian and wanted it reflected in the song. So I changed it from saying "It took all strength I had not to fall apart" to "Only the Lord can give me strength not to fall apart." And then when it said, "Now you see me somebody new," I changed it to say "He made me somebody new." 

After I sang those words for the first time at the concert in Italy, afterwards a young lady came to me and said, "You saved my life. I've been living here for almost a year and its been really, really difficult for me and I was going to home to commit suicide. But now that I've heard you sing that song, I know where my strength can come from and I don't have to die." I'll never forget her.

Before "I Will Survive" you had an early hit with "Never Can Say Goodbye," which was originally recorded by the Jackson 5. Take me inside the studio for that one.

What I remember about recording that song is that we went into the studio, the track had been done and now I'm putting my vocal on it. The producer told me, "Look, you can't sing it like Michael Jackson. You have to do your own thing with it. Let's stop now, go home and rehearse it and stop trying to sing it like Michael." 

I was so frustrated and came back the next day after not rehearsing anything, because I thought, This is the way I sing it. So when I got into the studio I knew I wanted to do something different, so I thought of the words and tried to make them really personal to me and just do it. My attitude after I finished was, "That's it, and if you don't like it, too bad!" And as I was thinking that, he jumped up from the console and said, "That's the take!" 

Clive Davis first signed you to Columbia Records in 1973. How quickly did your life change after that?

I was taken to Columbia and introduced by Paul Leka, a producer there at the time, and he was the one who introduced me to Clive. What I remember most of all is that Clive had me do three auditions; I went to New York to sing for him three times. I said, "There's no way this man has to hear me sing three times before he determines I can sing, he just likes my voice and wants a free concert." [Laughs]

He finally did sign me, but unfortunately right after I recorded my first song he left to form his own company. And I was not signed to Clive, I was signed to RCA, so he couldn't take me with him and I remained at Columbia. So my career took a different course I'm sure than if I had been signed to him specifically.  

New generations continue to discover your music and "I Will Survive," and you've even recorded new material as of late with people like Kylie Minogue. What has your recent resurgence been like?

It's wonderful, I feel like I have not missed my calling and that I'm on the path I'm supposed to be on. It's extremely rewarding, validating and encouraging. It's wonderful. I feel like a family heirloom, passing me down from one generation to another.

An Ode To Donna Summer's 1970s: How The Disco Queen Embodied Both Innovator And Vixen

The GRAMMY Museum Celebrates Black History Month 2024 With A Series Of Special Programs And Events

news

The GRAMMY Museum Celebrates Black History Month 2024 With A Series Of Special Programs And Events

Throughout February, the GRAMMY Museum will celebrate the profound legacy and impact of Black music with workshops, screenings, and intimate conversations.

GRAMMYs/Feb 9, 2024 - 08:31 pm

The celebration isn't over after the 2024 GRAMMYs. In recognition of Black History Month, the GRAMMY Museum proudly honors the indelible impact of Black music on America and the fabric of global pop culture. 

This programming is a testament to the rich heritage and profound influence of Black artists, whose creativity and resilience have shaped the foundation of American music. Through a series of thoughtfully curated events — including educational workshops, family programs, special screenings, and intimate conversations — the Museum aims to illuminate the vibrant legacy and ongoing evolution of Black music. 

From a workshop on the rhythmic storytelling of hip-hop following its 50th anniversary and the soulful echoes of Bill Withers' classics, to the groundbreaking contributions of James Brown and the visionary reimagination of "The Wiz," these GRAMMY Museum programs encapsulate the enduring legacy and dynamic future of Black music.

The GRAMMY Museum invites audiences to delve into the stories, sounds, and souls that have woven Black music into the tapestry of our shared human experience. Through this journey, the Museum and the Recording Academy honor the artists, visionaries, and pioneers whose talents have forever altered the landscape of music and culture. 

Read on for additional information on the GRAMMY Museum's month-long tribute that explores, appreciates and celebrates the invaluable contributions of Black music to our world.

Thurs., Feb. 8

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Sat., Feb. 10

Family Time: Grandma’s Hands

WHAT: Join us for a very special family program celebrating the recently released children’s book Grandma’s Hands based on one of Bill Withers’ most beloved songs. Bill’s wife, Marcia, and daughter, Kori, will participate in a book reading, conversation, audience Q&A, and performance, followed by a book signing. The program is free (4 tickets per household.)

WHEN: 11 a.m. – 12:30 p.m. 

REGISTER: Click here.

Mon., Feb. 12

Celebrating James Brown: Say It Loud

WHAT: The GRAMMY Museum hosts a special evening on the life and music of the late "Godfather of Soul" James Brown. The program features exclusive clips from A&E's forthcoming documentary James Brown: Say It Loud, produced in association with Polygram Entertainment, Mick Jagger’s Jagged Films and Ahmir “Questlove” Thompson’s Two One Five Entertainment, followed by a conversation with Director Deborah Riley Draper, superstar Producer Jimmy Jam, and some surprises.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sat., Feb. 17

Backstage Pass: "The Wiz"

WHAT: Presented in partnership with the African American Film Critics Association, join us for an afternoon spotlighting the famed Broadway Musical, "The Wiz," with the producers and creative team responsible for the Broadway bound reboot. The program will feature a lively conversation, followed by an audience Q&A in the Museum’s Clive Davis Theater, and will be hosted by AAFCA President, Gil Robertson, and GRAMMY Museum Education & Community Engagement Manager, Schyler O’Neal. The program is free (four tickets per household).

WHEN: 1 p.m.

REGISTER: Click here.

Thurs., Feb. 22

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Reel To Reel: A Hip Hop Story

WHAT: In conjunction with the GRAMMY Museum's exhibit, Hip-Hop America: The Mixtape Exhibit, the GRAMMY Museum is thrilled to host a special screening of A Hip Hop Story with a post-screening conversation featuring Affion Crockett to follow.

WHEN: 7:00 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sun., Feb. 25

Lunar New Year Celebration

WHAT: Join us for a special program celebrating Lunar New Year as we usher in the Year of the Dragon with a performance by the South Coast Chinese Orchestra. The orchestra is from Orange County and uses both traditional Chinese instruments and western string instruments. It is led by Music Director, Jiangli Yu, Conductor, Bin He, and Executive Director, Yulan Chung. The program will take place in the Clive Davis Theater. This program is made possible by the generous support of Preferred Bank. The program is free (four tickets per household).

WHEN: 1:30 p.m.

REGISTER: Click here.

Tues., Feb. 27

A Conversation With Nicole Avant

WHAT: The GRAMMY Museum is thrilled to welcome best-selling author, award-winning film producer, entrepreneur and philanthropist, Ambassador Nicole Avant to the museum’s intimate 200-seat Clive Davis Theater for a conversation moderated by Jimmy Jam about her new memoir Think You’ll Be Happy – Moving Through Grief with Grit, Grace and Gratitude. All ticket buyers will receive a signed copy of the book.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

GRAMMY.com’s 50th Anniversary Of Hip-Hop Coverage: A Recap

The Recording Academy’s Los Angeles Chapter Honored Its Musical Family At 2024 GRAMMY Nominee Celebration
Robert Glasper performs at Los Angeles Chapter Nominee Celebration 2024.

Photo: Jerod Harris / Getty Images for The Recording Academy

news

The Recording Academy’s Los Angeles Chapter Honored Its Musical Family At 2024 GRAMMY Nominee Celebration

The unofficial kick-off to GRAMMY Week brought people from every corner of the music industry together for a sparkling celebration of Los Angeles' talents.

GRAMMYs/Jan 31, 2024 - 05:26 pm

Hundreds of music professionals gathered Jan. 27 for the Los Angeles Chapter of the Recording Academy’s annual nominee celebration, held at NeueHouse Hollywood. Hailed by Academy CEO Harvey Mason Jr. as the "unofficial kickoff to GRAMMY Week," the event featured performances by three of this year’s nominees from the chapter: Gaby Moreno, Robert Glasper, and Jordin Sparks

Chapter Board Vice President Lynne Earls said that the unofficial theme for both the board and the chapter this year is "belonging," and those vibes certainly trickled down to the nominee celebration. People from every part of the recording industry came together to enjoy brunch, have some drinks, and mix and mingle. 

Groups of attendees called out friendly greetings to each other, catching up over mimosas and waffles, and attendees exchanged hugs while clad in everything from cocktail dresses to platform combat boots. Not unlike at the actual GRAMMY Awards, fashion was truly on parade at the nominee celebration. Attendees rocked fully bedazzled suits, bespoke leather jackets, and plush safari print hoodies; at least one crystal-covered clutch resembling an old school cassette was spotted.

While many attendees at the event undoubtedly hope to take home a golden gramophone on Feb. 4, Mason took pains to remind the room that being nominated for the award is just as life-changing. "Being a GRAMMY nominee… that goes with you for your entire life and your entire career. On your bio, it's always going to say ‘GRAMMY nominee,’ and hopefully it's going to say ‘GRAMMY winner.’"

In his remarks, Recording Academy President Panos Panay agreed with Mason but made a special effort to remind attendees that being a member of the GRAMMY family is more than just attending an awards show once a year. 

"We're known for the GRAMMYs, which are the big graduation ceremony … but what's important to know is that the Academy works 365 days a year," he said. "We're here to advocate for the creative class." He encouraged non-member attendees to join the Academy, saying "We really would love to have you become a member of this incredible group of professionals." 

Qiana Conley Akinro, the Senior Executive Director of the Recording Academy Los Angeles Chapter, also encouraged attendees to stop into the D.R.E.A.M. Lounge on the second floor of NeueHouse, which had been set up in partnership with Pacific Bridge Arts, Paper Magazine, and Netflix and featured a gifting suite full of Hallmark Mahogany items and a bloom bar by Postal Petals. Several panels were held in the space, which was given the D.R.E.A.M. acronym from the phrase "Diversity Reimagined Engaging All Musicians." Earls talked about her work with Women In The Mix and Academy Proud, while Academy Governor Kev Nish hosted a panel talking about the Gold Music Alliance, which aims to boost the impact of Pan-Asian people within both the GRAMMY organization and the recording industry.

After the panels, various nominees stopped by the D.R.E.A.M. video studio to give testimonials about how they found out they’d been honored. Best Jazz Arrangement, Instrument and Vocals nominee Maria Mendes relayed the importance of being the first Portuguese person nominated for a GRAMMY in the category, as well as her pride in repping her country’s music. Mendes even shouted out the jewelry and fashion designers behind her upcoming GRAMMY ceremony look, both of which are from Mendes’ home country. 

Colombian singer and Best Latin Pop Album nominee AleMor said she’s proud to represent her home country and independent artists. "I'm honored that I get to be here, and I am grateful that I'm alive at the same time as all of the people that are alive now," she told onlookers. "I think music is like invisible medicine, you know, like you listen to a song and it might make you feel good and you have no idea why. We are little magicians in the world, We get to change people's moods, and we get to change the way people see life."

2024 GRAMMY Nominations: See The Full Nominees List

The Los Angeles Chapter Nominee Celebration was made possible by generous support from Premier Sponsor Netflix, Co-Presenting Sponsors Pacific Bridges Arts, Paper Magazine, Official Sponsors SESAC Latin and NeueHouse Hollywood, and Gifting Sponsors Hallmark Mahogany, HYPNO, Fox Dog Productions, the Canadian Consulate, and VYDIA.