meta-scriptThe Prelude To Music's Biggest Night | GRAMMY.com

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The Prelude To Music's Biggest Night

An Enhanced Prelude To Music's Biggest Night

GRAMMYs/Dec 3, 2014 - 05:06 am

Every year the GRAMMY Awards show presents memorable and unique performances to a worldwide audience and announces a select group of major awards for the greatest musical achievements of the year. In fact, there are only 10 trophies handed out during the show itself out of 81 total awards.

GRAMMYs for the other 70-plus categories are presented at the GRAMMY Pre-Telecast Ceremony, which has come to be known as the prelude to Music's Biggest Night. The two-hour-plus event has grown in size and recognition over the past few years, and once again will be streamed live at www.grammy.com as part of the comprehensive three-day GRAMMY Live coverage. The Pre-Telecast will also be available on-demand for 30 days following the event.

As the stars take to the red carpet for the big show at Staples Center, many nominees will have already learned their fate or fortune at the Pre-Telecast, which is being held for the first time this year at the adjacent Nokia Theatre at L.A. Live, after many years at the Los Angeles Convention Center.

The change in venue has inspired an extensive reimagination of the show itself. For many years, the "Pre-Tel" was held on the same stage as the GRAMMY show itself, whether it was at the Shrine Auditorium or Radio City Music Hall in New York or more recently at Staples Center.

"The GRAMMY producers were always breathing down our necks, telling us to wrap it up," recalls Recording Academy Vice President of Awards Bill Freimuth. "There were always things to fix or last-minute rehearsals and people were just tripping all over each other."

As the Pre-Telecast became a separate event to itself, moved to the convention center and grew in stature, so did the scale of the production.

"Now that we're moving to Nokia Theatre," says Freimuth, "it will be a lot more comfortable for the attendees, with nice seats instead of folding chairs. There will be a brand-new set; the whole look will be [enhanced], and the acoustics of the Nokia are considerably better because it is a real music venue."

Larry Batiste, veteran bandleader and musical director for the Pre-Telecast for nearly a decade, is also pleased about the change of venue.

"What the Nokia brings is even more of an awards-show feel," he says, "because those [are] GRAMMYs, real GRAMMYs! I'm really excited about moving over there. It's a better experience for the audience as well as for the nominees; it really puts them in an awards-show environment.

"When I started here, there were maybe two or three performances at the Pre-Tel," Batiste remembers. "Now there are five, and I wish we could have more, but we have so many awards to give out."

An eclectic group of artists will perform at the Pre-Telecast Ceremony, including South African trumpet legend Hugh Masekela, Americana singer/songwriter John Fullbright, Indian multi-instrumentalist Krishna Das, avant-garde classical group Eighth Blackbird, and R&B artists Tyrese and Elle Varner. Batiste has a 10-piece band of top-drawer players to support this broad canvas of styles.

"We've got a big band, so I can cover whatever comes up," he says. "With Hugh Masekela, I can do the horns; we want to play something in the genre of whatever category we're in, so I try to tailor it to that."

The Pre-Telecast will also feature main host David Alan Grier and presenters Radmilla Cody, Janis Ian, Jimmy Jam, Kaskade, Britt Nicole, and Manuel Valera.

"We try very hard to choose presenters who are also nominees," Freimuth explains. "The only exception we make is for our Chair Emeritus, Jimmy Jam."

Many stars who are also nominated for awards given out on the big show still try to make it to the Pre-Telecast to hear their nominations in person. In recent years, GRAMMY winners such as Tony Bennett, Foo Fighters, Taylor Swift, Melanie Fiona, Carrie Underwood, and Skrillex have attended, and now the physical convenience of the Nokia Theatre, just across the street from the red carpet, allows for nominees to more easily stop in. But the Pre-Telecast makes for a particularly attractive opportunity for talented artists who don't always have access to a worldwide audience.

"One thing that we try very hard to do with the Pre-Tel as a whole is highlight genres that are not necessarily highlighted on the telecast," says Freimuth. "The telecast really focuses on pop, rock and rap, R&B and country, so we often try to get classical and American roots, jazz and that sort of thing."

"It's a great experience," says Batiste. "I really feel very rewarded afterwards, working with all the artists. It's a real joy."

(John Sutton-Smith is a music journalist and TV producer who helped establish the GRAMMY Foundation's GRAMMY Living Histories oral history program, currently comprising almost 200 interviews.)

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

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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

GRAMMY Museum Foundation Receives $2 Million Donation From The Ray Charles Foundation
Ray Charles plays piano as he performs onstage in Portugal in 1988.

Photo: Rita Barros / Getty Images

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GRAMMY Museum Foundation Receives $2 Million Donation From The Ray Charles Foundation

On Jan. 29, an official GRAMMY Week event will celebrate the renaming of the GRAMMY Museum's rooftop terrace, in honor of Ray Charles' legacy. The event is hosted by GRAMMY-winning producer Jimmy Jam, with artists Aloe Blacc and DJ Khalil.

GRAMMYs/Jan 18, 2024 - 03:03 pm

The GRAMMY Museum Foundation has received a $2 million donation from the Ray Charles Foundation. To celebrate this gift and honor Ray Charles’ lasting legacy as one of the most iconic and celebrated artists of all time, the GRAMMY Museum will rename their rooftop terrace The Ray Charles Terrace at the GRAMMY Museum.

Funds from this gift will go towards the Museum’s Campaign For Music Education, which launched in Oct. 2022 and aims to expand access to the Museum’s education programs, including GRAMMY In The Schools programming.

An official GRAMMY Week event honoring the terrace renaming will take place the evening of Mon, Jan. 29, ahead of the 2024 GRAMMYs. The ribbon-cutting celebration, hosted by GRAMMY-winning producer Jimmy Jam, will feature a red carpet, cocktail reception, and music curation by GRAMMY-winning DJ Khalil — as well as a performance by GRAMMY nominee Aloe Blacc, who will perform some of Ray Charles’ biggest hits. 

The GRAMMY Museum’s rooftop terrace serves as an incredible resource for the museum and the community, boasting phenomenal 180-degree views of downtown Los Angeles and the Hollywood Sign, and hosting more than 150 events each year, making it one of the most sought-after venues in downtown Los Angeles.

“The GRAMMY Museum embodies the spirit of our mission to empower young people through education,” says Valerie Ervin, President of The Ray Charles Foundation. “We are thrilled to be able to continue our partnership with the Museum and help them achieve their goal of expanding music education and fostering a love of music in our next generation.” 

“As the GRAMMY Museum celebrates our 15th anniversary, more than ever we are leaning into expanding music education and access to our renowned programs,” said Michael Sticka, President/CEO of the GRAMMY Museum. “We are incredibly grateful to our partners, the Ray Charles Foundation, for their generosity and investment towards the Museum’s Campaign for Music Education, which will help us further our educational mission. It’s an honor to deepen our longstanding relationship.”

The GRAMMY Museum’s Campaign For Music Education launched in Oct. 2022 with the goal of raising money for their educational endowment and programs. The funds raised will expand access to their music education programs across the country. The campaign is co-chaired by some of the biggest names in music, including Billie Eilish, Dua Lipa, Bruno Mars, Shawn Mendes, and Rosalía. The GRAMMY Museum’s objective is to eliminate the financial burden to access music education and foster the next generation of music’s creators and leaders. The campaign is a call to action for the music industry, with labels, publishers, artists, promoters, and more coming together to ensure that music education is accessible, sustainable and available for any and all who want it. 

GRAMMY In The Schools is the “umbrella” name for all GRAMMY Museum Foundation education activities, which fund school music programs, provide valuable career guidance, and honor teachers and students nationwide. Some of these programs include GRAMMY Camp, GRAMMY In The Schools Fest, GRAMMY In The Schools Sessions, GRAMMY Museum Student Showcase, and GRAMMY In The Schools Workshops. Additionally, the Music Educator Award presented by the GRAMMY Museum and the Recording Academy, honors outstanding music educators. Lastly, we expanded our online presence with the GRAMMY In The Schools Learning Hub, which is an online resource allowing educators, students, parents, music professionals, and music lovers to gain valuable insights and strategies on anything involving music. 

The GRAMMY Museum, currently celebrating its 15th anniversary, is a nonprofit organization dedicated to celebrating and exploring music from yesterday and today to inspire the music of tomorrow through exhibits, education, grants, preservation initiatives, and public programming. Paying tribute to our collective musical heritage, the Museum values and celebrates the dynamic connection in people’s diverse backgrounds and music’s many genres, telling stories that inspire us, and creative expression that leads change in our industry. 

The Ray Charles Foundation is dedicated to providing support in the area of hearing disorders and the empowerment of young people through education by offering support to educational institutions and non-profit education programs. Ray Charles said, “The inability to hear is a handicap; not the inability to see.” The vision of The Ray Charles Foundation is to instill in the youth of America that “there is no challenge too great one cannot overcome.” 

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How Singer/Songwriter Camden Cox Brings Lyrical Integrity To Dance Music
Camden Cox

Photo: Jeff Spicer / Stringer / Getty Images

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How Singer/Songwriter Camden Cox Brings Lyrical Integrity To Dance Music

The multi-hyphenate has worked with some of dance music’s biggest acts — including John Summit, deadmau5 and Kaskade — and is on a mission to "write from the soul" in a genre where lyrical depth is often underappreciated.

GRAMMYs/Dec 15, 2023 - 04:24 pm

Underneath much of dance music’s beat- and melody-driven landscape is shallow lyrical content — unless Camden Cox is holding the pen. 

The 30-year-old singer/songwriter’s philosophy — write not just from the heart, but also from the soul — is a defining aspect of her fan-first artistic identity.  This deeply personal creative process has also enabled her to transcend the genre’s vacuous, garden-variety lyricism. 

Cox’s voice quivers as she recalls the start of the songwriting session that would spawn John Summit’s "Where You Are," a song that embodies this ethos. "I was going through a breakup and I was wondering if they were thinking about me as much as I was thinking about them. I take myself back to that moment and I get emotional talking about it," she says. "I just love putting emotions into my lyrics — it’s such an incredible feeling."

"Where You Are" is not the only dance/electronic consensus hit to which Cox lent her lyrical muscle this year. The British songstress also co-wrote "Escape," the single with which  Kaskade and deadmau5 debuted their joint project, Kx5, in 2022. Penned by Cox, Hayla (who vocalizes its ruminative lyrics), Eddie Jenkins, and Will Clarke, the song was released on Kx5’s eponymous LP, which has been nominated for Best Dance/Electronic Music Album at the 2024 GRAMMYs. Fellow nominees in the category are Playing Robots Into Heaven from James Blake, the Chemical Brothers' For That Beautiful Feeling, Skrillex's Quest For Fire, and Fred again..'s Actual Life 3 (January 1 - September 9 2022)

Beyond her indomitable collection of writing credits for esteemed producers like Eli & Fur and Dombresky is a repertoire of work that’s entirely her own. Cox's recent work includes a solo single, October’s "Touching Me," and a just-dropped collab with Summit and Mathame called "Hungover" in which Cox is the featured singer.

In an interview with GRAMMY.com, Cox details her refusal to write anything "half-ass," subverting dance’s often tepid interest in lyrics, and how her time behind the decks has informed her approach to singing, songwriting, and DJing.

"Escape" and "Where You Are" were two of the biggest dance records this year. What about these songs caused them to skyrocket?

We followed the same formula. We wrote "Escape," and we had no idea that deadmau5 or Kaskade were going to get their hands on it. It was just a normal, ordinary session. 

We wrote this song, knew it was amazing, and then nothing happened with it for a year or two. Then, all of a sudden, I heard this random demo from deadmau5; he'd done a version of it. Once Kaskade got involved, they revamped the whole song. 

John Summit heard it and absolutely loved it; he was playing it out everywhere and he also did the official remix for it. His team reached out to us and said, "Can you write something similar?"

Deadmau5 has been an incredible influence on you, how did the song find its way to him?

Eddie Jenkins also wrote both of these songs with Hayla, and his management knew deadmau5’s management. He sent the song to deadmau5 and was like, "Hey, this your comeback, I think." It wasn't very deadmau5 [at that point]; it was a lot darker and a lot more progressive. 

I've based my entire sound and influence around that [deadmau5 type of] sound...It was so validating because I spent my entire career, my childhood, and my teens listening to Random Album Title by deadmau5. As a writer, you write what you are inspired by because it's just in your blood, in your mind, in your soul. 

So, it goes to show how much I did listen to Kaskade and deadmau5 to be able to get a song to them, however many years later. 

There will always be a place for beat-driven tunes in dance, but do you also get the sense that people are looking for a little more emotional resonance from dance music now?

Yeah. What I love about these two records is they can be stripped to piano and they're literally like ballads. They're so meaningful and they’re so from the heart. We wrote them with absolute integrity — they’re not just something you throw away. 

When  you do these sessions where the writing just takes more time and effort, it's so worth it when you get the final outcome. I think people love that because you not only can rave to it, but you can cry to it as well.

How do you balance your lyric-forward approach in a genre where lyrics aren’t always as appreciated as they are in other genres?

It's such a tricky one because I've been in sessions where the songwriters have been like, "It doesn't matter what the lyrics are as long as the melody is good," but lyrics are my thing. I love writing lyrics. I always dig deep and take my time. I’ll have rhyming dictionaries open; it's an operation for me. 

Even though lyrics can take a backseat, I don't let that affect the way I write. Even if people don't listen, I'm still going to write it from the soul, because you will get those musical people that want to break it down and hear the story, and they're the people who are really going to appreciate it. If one person can listen and appreciate it, that's good enough for me.

Do you often find yourself pushing back in these situations?

As I've grown in confidence and experience, I push back more and more. Whereas a lot of producers will say "Oh no, this is fine," I'll say, "No, I've heard it before." I've heard it a million times and I want it to mean something to me and to whoever gets to listen. Eventually, they just give in because they know that I'm not going to settle. So, I'll hone in on the lyrics, and then I'll send them a new version with better lyrical content.

You grew up in a very musical home; your dad loved rock and your mom, drum ‘n’ bass. How you made your way to dance music is clear, but what’s kept you here?

It's the one genre I just don't ever get bored of it. It's in my blood; I grew up on drum ‘n’ bass music, so I just love heavy, heavy beats and big basslines. As a little girl, I used to prance around singing along to the Prodigy and stuff like that, so it's in my soul.

I find that dance music is the most timeless genre. Pop is pop, and you’re always going to get songs that stick around for years, but those dance tunes that came out 20, 30 years ago that are absolute classics. In the dance world, when a song hits, it will stay with ravers forever, and I just think there's something really special in that. I listen to dance in my spare time when I'm not even working or writing. All I really listen to is dance. 

You used to start your songs as poems. Tell me how that started; did you read a lot of poetry when you were younger?

I didn't read it, but when I first started writing, I struggled with lyrics. I remember the first song I wrote. I said to my mom, "Can you write me a poem and I'll make it into a song?" And she did. Then I asked my dad, and he did the same thing. I made them into a song, and that unlocked a part of my brain. After that, I just started writing the poetry. 

Now, the melodies usually come before the lyrics, but if I have a sentence or something in my head that I think is really inspiring, I'll write it down. I never go full poems anymore. I go for a quote, for example. I recently found one, something "like remember when this all seemed impossible?" and I had a session with John Summit and I was like, "I wanna write that concept." So, I went in and sang something to those words. There’s no rules, and that’s what I love about it.

You’ve said you’ll often go into the studio and freestyle since the first take is often the best. 

It's my favorite way to write. When I freestyle, I always do it with a handheld mic, because I just feel like I can be a bit freer; I can walk around, I can sit down. The trick is to put autotune on pretty full blast, with loads of nice reverb and delays and compression, so it almost sounds ready when you hear it back. 

It'll all be a bit messy, but then you'll hear it back with the tuning on and you're like, Yeah, that's what I was trying to do. I just love working like that. I find it the most creative and the most productive because you come out with so much stuff and then you just narrow it down until you get the best three sections.

Learning how to DJ has to be transformative when it comes to conceptualizing new songs.

It’s helped me even further. Now being the one in control of the decks and understanding what keeps a crowd has unlocked a whole new world. It's crazy because I thought I knew everything that you could know about dance music — I grew up on it, I write it, I live and breathe it — but there's a whole other perception with DJing, and it's really helped me with my writing.

It's also hard to get a booking as a singer on a dance song. One of the reasons why I wanted to start DJing was because I knew I could probably get some bookings out of it. Two was because I'm writing all these dance songs, and all these DJs are playing them out and no one knows I've written them. I just wanted to get behind the decks and play my portfolio. It's opened up a whole new fan base for me.

Speaking of, you recently wrapped your first residency in Ibiza. How was that?

I go to Ibiza every year anyway, being a dance head, and I've been to all the clubs. I've gone and watched my songs being played out, but I just never envisioned myself doing it. And then this year, all these bookings flooded in because I started DJing. 

I've only been DJing for a year and a half, but because I had already made a bit of a name for myself in the dance world as a singer when people started to realize I was DJing, I was getting bookings a bit easier. I started suddenly seeing my name on some posters and it all became very real. 

I had the time in my life, but I also did find it very exhausting because there's so much traveling. Tour life is actually quite hectic, and it really hit me, but it was also very incredible and such a learning curve. Each gig, you learn something. 

Now that you’re doing the singing, the songwriting, and the DJing, how do you find balance? 

I'm a machine. I think I'm a bit of a workaholic because I just love it so much. I genuinely know how lucky I am that I get to do what I love for a living. But I found the more gigs I did, the more traveling I did, I knew that as much as I wanted to be in the studio — and I was getting offered good sessions — I'd have to turn them down because I knew I'd need a couple of days to recover. 

I did my last show, and it felt so fulfilling. Now, I'm back in the studio, and I built up so much inspiration over the summer because I couldn't write as much as I wanted to, so I was bursting at the seams. I'm going like 100 miles an hour right now, writing five days a week. I'll be doing this until I burn out.

Given that you’ve been writing so frequently, what has the process of shaping your musical identity been like these days?

I feel like I'm starting to find a few identities in my writing. There's a darkness to what I'm writing, but there's a good balance between brightness and darkness, as in this raw emotion that will come out in a really pretty melody. I'm good at finding that balance where you could cry and dance to it. 

Thinking about how this relates to your music, where do you hope to take your artist project next?

Getting nominated for a GRAMMY for something of my own is the dream. Getting nominated as a writer is such a big tick for me. So now, I want to aim for the next level, which is maybe getting nominated for something that I'm singing on, and eventually getting nominated for a GRAMMY for something that is just mine.

I've also got some really exciting collabs coming up. Me and John [Summit] have a song coming out together in two weeks. Right now, I'm establishing myself in London, in the UK a little bit, but it just takes a lot of time. 

Some people have one song and then that's it — they're blowing up in the charts. It's not happened like that for me; I've been working away behind the scenes. I'm just hoping that through some collaborations, I will be introduced to new audiences who will then discover my music, which will allow me to keep releasing.

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Inside Resonance: Celebrating 50 Years Of Hip-Hop At The GRAMMY Museum
(From left) Harvey Mason Jr., Lady London, Jimmy Jam, and Linda Duncombe

Photo: Tommaso Boddi/Getty Images for The Recording Academy

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Inside Resonance: Celebrating 50 Years Of Hip-Hop At The GRAMMY Museum

"Nothing resonates more in our everyday lives than hip-hop," Jimmy Jam said during the celebratory event Resonance, which honored the legacy of hip-hop at the GRAMMY Museum.

GRAMMYs/Dec 8, 2023 - 11:46 pm

The Recording Academy is continuing to honor the legacy of hip-hop, to one of the most popular genres of music in America. Held on Dec. 4 at the GRAMMY Museum in downtown Los Angeles, Resonance: Celebrating 50 Years of Hip-Hop was presented by the Academy's Black Music Collective and sponsored by City National Bank.

The Resonance event took over the Museum's fourth floor, which is home to the recently unveiled "Hip Hop America: The Mixtape Exhibit." There, members and leadership from the Academy and BMC, along with musicians and industry professionals, celebrated 50 years of music that has transcended boundaries, inspired advocacy and fostered impactful social change. 

Guests were welcomed into the space by an unparalleled collection of artifacts — an ode to the genre through memorabilia and interactive displays showcasing the evolution of hip-hop music and culture. Tupac’s all-white suit — worn in the last video he made — is displayed next to Notorious B.I.G.'s red leather pea jacket worn in the music video for Junior M.A.F.I.A.’s "Players Anthem." The impact of the museum’s intentionally curated collection evokes the extended struggle of the Black experience in America, while celebrating its culture, creativity, and endurance against all odds.

The power of connection and representation was emphasized by five-time GRAMMY winner Jimmy Jam, an R&B songwriter, music producer, and illustrious GRAMMY Museum Board Member. "The idea of 'resonance' struck a chord in me because the mission is unification, amplification and to celebrate Black music. Nothing resonates more in our everyday lives than hip-hop." 

A legendary figure who made his mark in the '80s by producing artists such as Janet Jackson, Jimmy Jam and producing partner Terry Lewis, were inducted into the Rock and Roll Hall of Fame in 2022. 

"I'm proud to have known my partner Terry Lewis for 50 years. We were raised on hip-hop," he told the crowd. "Hip-hop inspires, it embodies transcendence. Hip-hop advocates and fosters social change, and the cultural significance is astounding."

Jimmy Jam highlighted the integral role of partnerships between the Black Music Collective and sponsor/supporters such as City National Bank and Amazon Music. Such relationships have enabled the third year of the Amazon Music-sponsored Your Future Is Now, a scholarship program.

"We have the opportunity to pour knowledge, resources and many opportunities into the young talent and the young creatives of the future. And that's what we're here to do," he continued.

GRAMMY Museum Board Member and Executive Vice President of City National Bank, Linda Duncombe, who was introduced by Jimmy Jam as "music’s best friend" spoke to the critical work of support. 

"We protect and celebrate those who have shared their gift as well as ensure their artistic contributions are accessible for people of all walks of life around the world and for future generations," she said, adding that as a Museum board member, "educating the next generation of artists and teachers is always top of mind. The 'Mixtape Exhibit' really will inspire students to pursue hip hop and the music industry."

Host Lady London, a rapper and songwriter from The Bronx summed up the power of hip-hop and its ability to transcend music. A hyped crowd enthusiastically received her words.

"It's beautiful to see what we have been able to cultivate in such a short amount of time. We are the culture, we have the power to shift the culture and we continue to move mountains," she said. "We are influences in fashion and design and the Black family education, economic empowerment, the arts. We're limitless.

"We have balanced everything and there is nothing that is quite parallel to that," Lady London continued. "I'm so proud to be a part of the culture."

As guests mingled among the exhibits many displays and highlights like original lyric sketches, mixtapes, and an interactive "sonic playground" where guests could interact with recording devices, make 808 beats and record tracks. Academy CEO Harvey Mason Jr. reflected on the culmination of a year celebrating the 50th anniversary of hip-hop. 

"Hip hop has been a defining force in our culture and it is so important to be able to honor it in this way" he said. "This is the end of a year that started with us celebrating at our GRAMMY Awards show last season."

Los Angeles' DJ Jadaboo — who has performed for Tommy Hilfiger at New York Fashion Week and a slew of celebrity parties and high profile events — set the vibe all night. Her mix spanned all five decades of the genre and beyond, from R&B to hip hop classics by Jay-Z and Drake, stacking much-sampled songs like Curtis Mayfield’s "Pusher Man" into the set. 

As the event carried on, Jimmy Jam’s earlier remarks echoed between the museum’s walls. "Look at what's been done in the last 50 years. You see it all around here," he said. "Now take a look at each other and know all that is happening right now… is because we are the people that are gonna continue to carry this on for another 50 years."

The GRAMMY Museum’s "Hip Hop America: The Mixtape Exhibit" runs through Sept. 4, 2024. "A GRAMMY Salute To 50 Years Of Hip-Hop" will air Sunday, Dec. 10, from 8:30 to 10:30 p.m. ET and 8 to 10 p.m. PT on the CBS Television Network, and stream live and on demand on Paramount+.

How To Watch "A GRAMMY Salute To 50 Years Of Hip-Hop": Air Date, Performers Lineup, Streaming Channel & More