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Mavis Staples

Mavis Staples

Photo: sGRAMMY Museum/Getty Images

News
GRAMMY Museum Announces "Live From The Vault" grammy-museum-live-vault-digital-series-iron-mountain

GRAMMY Museum Announces "Live From The Vault" Digital Series In Partnership With Iron Mountain

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Appearances by Mavis Staples and Ringo Starr punctuate the event on the GRAMMY Museum's official streaming service, COLLECTION:live
Morgan Enos
GRAMMY Museum
Feb 4, 2021 - 1:04 pm

The GRAMMY Museum today (Feb. 4) announced a new "Live From The Vault" series in partnership with Iron Mountain Entertainment Services (IMES), a division of Iron Mountain Incorporated, the storage and information management services company. Since 2008, the GRAMMY Museum has curated more than 80 exhibits, hosted more than 1,000 programs and captured more than 2,000 hours of archived video footage. As the Official Preservation Partner of the GRAMMY Museum, IMES has stored the Museum's most prized physical artifacts in a climate-controlled vault and will now store, manage and distribute its video archives using Iron Mountain's secure digital content repository technology platform.

The GRAMMY Museum and IMES will curate specific archived videos as part of a new series, "Live From The Vault," which takes fans inside the vaults of some of the Museum's most iconic programs, showcasing rarely seen footage. Mavis Staples will be the first artist featured from her 2010 program in the Museum's Clive Davis Theater, released starting today on the Museum's official streaming service, COLLECTION:live, with free access to all viewers. To further increase accessibility, the Museum will utilize Iron Mountain's Content Localization Services (CLaaS) system to transcribe the Museum's archives into other target languages, including subtitles.

"As we've seen in the past year, it's vital for museums to increase their digital presence and the GRAMMY Museum has been doing just that," GRAMMY Museum President Michael Sticka said in a statement. "We're thrilled to partner with IMES for our new 'Live From The Vault' series to preserve these important recordings and moments in music history from our archives."

This series will also include a previously recorded program with Ringo Starr, which will be released on March 4 on COLLECTION:live. Additional artists and special programming will be announced soon.

"Our mission is to help our customers protect and activate their archives," Lance Podell, Senior Vice President and General Manager, IMES at Iron Mountain, said. "Our long relationship with the GRAMMY Museum is rooted in this shared dedication to preserve musical history. We're proud to be the Museum's Official Preservation Partner to help safeguard their diverse treasure trove and propel it into the streaming age, featuring dynamic artist interviews and performances. We're excited about sponsoring the 'Live From The Vault' series and its debut episode with musical pioneer Mavis Staples—what a privilege it is to hear in her own words how her upbringing and social justice convictions inspired her music."

Billie Eilish & FINNEAS To Appear On GRAMMY Museum's New Streaming Service COLLECTION:live

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H.E.R.

H.E.R.

Photo: Daniel Mendoza/The Recording Academy

 
 
News
GRAMMY In The Schools Fest Announced: H.E.R., More grammy-museum-announces-grammy-schools-fest

GRAMMY Museum Announces GRAMMY In The Schools Fest: H.E.R., HAIM, Charlie Puth And More Confirmed

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An official GRAMMY Week event, the four-day virtual GRAMMY In The Schools Fest, taking place Monday, March 8, through Thursday, March 11, 2021, celebrates music and music education
Morgan Enos
GRAMMY Museum
Feb 9, 2021 - 6:00 am

As the world is forced to rethink learning in the COVID era, it’s more important than ever to establish music as a cornerstone of a well-rounded education. To that end, the GRAMMY Museum is leading the charge. During GRAMMY Week this year, the Museum will kick off GRAMMY In The Schools Fest (GITS Fest), a four-day virtual festival running Monday, March 8, through Thursday, March 11​.

GITS Fest, previously GRAMMY In The Schools Live!, will feature GRAMMY winner and current nominee Derek "MixedByAli" Ali; current GRAMMY nominees HAIM; GRAMMY winner and current nominee H.E.R.; previous GRAMMY nominee Hunter Hayes; GRAMMY winner and current nominee Michael League of Snarky Puppy; GRAMMY winner and current nominee Manny Marroquin; GRAMMY winner and current nominee PJ Morton; previous GRAMMY nominee Charlie Puth; and Michael Sticka, President of the GRAMMY Museum.

Featuring performances by students and professionals along with engaging, educational panels by artists, educators and other music professionals, GITS Fest will truly localize the GRAMMY Week experience in cities and schools nationwide. Woven throughout the virtual festival will be lessons and other valuable information provided by top practitioners across the broad spectrum of music, music education and its connection to other school subject areas. Lesson plans and study guides will be made available free of charge to all teachers around the country who register their students to participate.

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GITS Fest, presented by MusicPower, incorporates elements of various GRAMMY Museum education programs, including GRAMMY Camp, GRAMMY Career Day and the Music Educator Award. These programs also receive support from Ford Motor Company Fund as part of Ford’s commitment to music education.

The festival will be free to the public for those who register in advance here.

Below, check out the full GRAMMY In the Schools Fest schedule (all times listed are in PST):

Monday, March 8 — Thursday, March 11​, 2021

Monday, March 8

  • 2:00 p.m. – School Feature, Westfield Academy & Central School (NY): Creating a diverse music program and collaborating with other academic subjects to enhance it.
  • 3:00 p.m. – Hot Takes on Real World Scenarios: Career Tips in Music and Beyond with GRAMMY Camp Faculty Members.
  • 4:00 p.m. – Young Professionals in Music: Insights from emerging artists, songwriters, and musicians ft. GRAMMY In The Schools program alumni.
  • 5:00 p.m. – Music Careers in Preservation and Research: Experts discuss careers available in these areas.
  • 6:00 p.m. – Afternoon with HAIM: Insights on being a music professional ft. GRAMMY Nominee HAIM.

Tuesday, March 9

  • 2:00 p.m. – School Feature, University of Central Florida (FL): Socially distanced choral rehearsal techniques.
  • 3:00 p.m. – Afternoon with PJ Morton: Insights on being a music professional featuring GRAMMY winner PJ Morton.
  • 4:00 p.m. – Using Music to Teach Other Subjects
  • 5:00 p.m. – Afternoon with Hunter Hayes: Insights on being a music professional featuring GRAMMY nominee Hunter Hayes.
  • 6:00 p.m. – Business & Performance Latin GRAMMY Cultural Foundation® Panel: Tips on attaining success artistically and otherwise.

Wednesday, March 10

  • 2:00 p.m. – Afternoon with H.E.R.: Insights on being a music professional featuring GRAMMY winner H.E.R.
  • 3:00 p.m. – Afternoon with Michael League (Snarky Puppy): Insights on being a music professional featuring GRAMMY winner Michael League of Snarky Puppy.
  • 4:00 p.m. – The Art of Tech, Performance & Business: Career tips in music and beyond with GRAMMY Camp faculty members.
  • 5:00 p.m. – Afternoon with TBA Artist: Insights on being a music professional.
  • 6:00 p.m. – Young Professionals in Music: Musicians on the road featuring GRAMMY In The Schools program alumni.

Thursday, March 11​

  • 2:00 p.m. – Inside Look: Audio Recording: Explore elements of producing recorded music with multi-GRAMMY winner Derek “MixedByAli” Ali.
  • 3:00 p.m. – Women in the Business of Music: Insights on being a music professional working at a record label with women from Fearless Records.
  • 4:00 p.m. – School Feature, Los Angeles County High School for the Arts (CA): Preparing for a school performance on the GRAMMY telecast while maintaining a rigorous academic schedule.
  • 5:00 p.m. – School Feature, Maplewood Middle School (LA): Skills learned in music that are effective in other subjects.
  • 6:00 p.m. – The Art and Science of Recording, Songwriting & Performing: Insights on being a music professional with multi-GRAMMY winner Manny Marroquin and multi-GRAMMY nominee Charlie Puth.

GRAMMY Museum Announces "Live From The Vault" Digital Series In Partnership With Iron Mountain

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Olivia Rodrigo

Olivia Rodrigo

Photo: Erica Hernandez

News
GRAMMY Museum’s February Takeover Lineup grammy-museum-announces-february-spotlight-saturdays

GRAMMY Museum Announces February’s Spotlight Saturdays Series Takeover With Interscope Geffen A&M

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Spotlight Saturdays is part of the GRAMMY Museum’s public programs digital series on their official streaming service, COLLECTION:live, which features intimate sit-down interviews and performances
Morgan Enos
GRAMMY Museum
Feb 5, 2021 - 12:44 pm

The GRAMMY Museum’s roll with fresh, dynamic digital content continues unabated. The Museum has annouced more special guests for its stellar Spotlight Series program series, which features fascinating quarantine-safe virtual interviews and performances. The January edition featured a takeover by Republic Records where Kiana Ledé, BENEE, Conan Gray, Duckwrth and Jeremy Zucker performed.

Now, take a look at the lineup for February:

2/6 – Olivia Rodrigo
2/13 – J.I.
2/20 – Mereba
2/27 – Gracie Abrams

Rodrigo, whose smash single "Driver’s License" has amassed more than 107 million global streams, will kick things off. Then, the breakout rapper J.I., who has over 85 million views on YouTube for his single "Need Me," will follow.

R&B-soul wunderkind Mereba, who earned her first GRAMMY nomination in 2020 for Best Rap Album as part of the Dreamville Records collab album, Revenge of the Dreamers III, will take the third Saturday’s performance. Abrams, a bedroom-pop visionary crowned a 2020 breakout female musicians by British Vogue, will close out the month.

Watch the Spotlight Saturdays February Series Takeover By Interscope Geffen A&M exclusively via COLLECTION:live on watch.grammymuseum.org.

GRAMMY Museum Launches Spotlight Saturdays Featuring Up-And-Coming Artists

The Supremes

Mary Wilson (C)

Bettmann/Getty Images

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Remembering The Supremes’ Mary Wilson remembering-mary-wilson-of-the-supremes

The Supremes Were A Dream, And Mary Wilson Dreamt It

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The pop-soul vocal legends’ co-founder was the last original Supreme in the group—and the most devout believer in their original promise
Morgan Enos
GRAMMYs
Feb 9, 2021 - 6:13 pm

The Supremes were still in high school when their star began to rise, and at the dawn of 1962, their co-founder, Mary Wilson, sat in a modern literature class pondering her relationship to others. For her final exam, she had to write an essay with a psychological bent. While addressing her chaotic childhood, Wilson inadvertently summed up her dynamic with the other Supremes—the wounded Florence Ballard and the dogged Diana Ross.

"I have developed a protective shell, which whenever I feel I may face a conflict, I draw into. Why? Is it because I subconsciously feel I might be snatched again?" Wilson wrote in her 1986 autobiography Dreamgirl: My Life As A Supreme. "I try to cover up my deficiency by developing a pleasing personality. Actually, underneath this, I am still a young and frightened girl."

Five years later in 1967, during a period where Ballard left the group in a tailspin, and Motown president Berry Gordy rebranded them Diana Ross and the Supremes, Wilson realized she was the last to hold onto the image of the group as a holistic triad. "I saw nine years of work and love and happiness fade away," she wrote. "The Supremes still stood in my mind as a dream from childhood, a wonderful dream that had come true. I believed The Supremes would last forever. Now I knew that even dreams that come true can change."

"With one look at Flo," she added, "I knew that dreams don’t die; people just stop dreaming."

Wilson went on to neither be a household name like Ross nor a tragic figure like Ballard, who wrestled with addiction until her 1976 death at only 32. Instead, she was the group’s nucleus, acting as a buffer between Ballard and Ross and soldiering on in their absences as the last original member. After The Supremes called it a day in 1977, she entered an inspiring second act, touring extensively, authoring books, stumping for artists’ trademark rights, and collaborating with the GRAMMY Museum on the Legends Of Motown: Celebrating The Supremes exhibit.

Tragically, two days after eagerly announcing new music on YouTube, Wilson died unexpectedly at her home in Henderson, Nevada on Feb. 8. She was 76. "I was extremely shocked and saddened to hear of the passing of a major member of the Motown family, Mary Wilson of the Supremes," Gordy said in a statement. "I was always proud of Mary. She was quite a star in her own right and over the years continued to work hard to boost the legacy of the Supremes. Mary Wilson was extremely special to me. She was a trailblazer, a diva and will be deeply missed."

Wilson’s journey to that burning, yearning dream—one of young infatuation on a Biblical scale—began on March 6, 1944, when she was born to a butcher father and homemaker mother in the sleepy town of Greenville, Mississippi. Hers was a long-delayed birth. "A little past midnight, I was finally born," she wrote in Dreamgirl. "I now wonder if my first appearance in life was somehow indicative of the path my life would later take. Even at my birth, I was a fence-sitter."

The family relocated from Saint Louis to Chicago before Wilson moved in with her aunt and uncle, Ivory "I.V." and John L. Pippin, who led her to believe they were her parents. When Wilson was six, she traumatically learned I.V. was, in fact, not her mother. "My whole world had been turned upside down," she wrote. "I'd trusted these people, and they had lied to me." Three years later, her father, Sam, lost his leg in a factory accident.

In 1956, with her birth parents in tow, Wilson moved to the Brewster Projects, a complex of government-owned apartment buildings. Despite the jarring change—and prevalent gang violence—Wilson viewed her new climes rosily. "It was quite crowded compared to suburbia, but I loved it," she wrote. "You had to learn to get along with all kinds of people." While auditioning to sing in a school talent show, a hurled insult from a classmate resulted in punches from Wilson.

"I was not a fighter," she wrote, "but I would fight to be part of a group."

One of the characters Wilson ran into in the projects was a young Diane Ross—she’d change it to "Diana" later. But she more immediately took to another neighbor, Florence Ballard, who she describes as a Hollywood-style beauty even then. After bonding over a shared love of singing—Ballard sang a mean "Ave Maria"—in early 1959, Milton Jenkins of the all-male vocal group The Primes approached her to form a female counterpart.

"Between her gasps for breath, I could see she was grinning from ear to ear," Wilson wrote. "She grabbed my arm and asked excitedly, ‘Mary, do you want to be in a singing group with me and two other girls—’ 'Yes!'  I replied before she even finished the question. It didn't occur to me to ask what the group was about, or who was in it, or anything." During a jittery rehearsal at The Primes’ bachelor pad, Wilson found herself next to Ballard, Ross, and a fourth girl, Betty McGlown. Their voices fell together effortlessly and gracefully. The Primettes were born.

With Jenkins as their manager, The Primettes pounded the pavement in local clubs until a series of connections—from Smokey Robinson to Gordy, who let them sing and clap on Mary Wells and Marvin Gaye recordings—led them to Hitsville, U.S.A.

Asked to come up with a new name, they pored over a list of them, suggestive of regality and class—The Royal-Tones, The Jewelettes. But the name Ballard settled on for the group telegraphed something else entirely: divinity.

As word of the Supremes extended outside town, Wilson noticed their similarities and differences more acutely. Ballard, who had survived a sexual assault by an acquaintance, had begun to psychologically fray. Meanwhile, Ross was pure quantum ambition.

"Flo, a Cancerian; Diane, an Aries; and me, a Pisces—three completely different, insecure people," Wilson explained. "What each of us saw in the other two were the parts of herself she lacked or couldn’t assert or tried to deny: Flo’s earthiness, my nice-guy demeanor, and Diane’s aggressive charm. We accidentally discovered that three separate, incomplete young girls combined to create one great woman. That was the Supremes."

"I saw the group as something bigger and more important than any one of us," she declared elsewhere in the book. "I was content to play on the team."

If the Supremes were a collective dream, the Supremes’ string of 1960s hits—most of them written by Motown's powerhouse Holland-Dozier-Holland songwriting and production team—have a dreamlike quality. These are universal songs you hear at cookouts and supermarkets and in Ubers; thus, they tend to drift between life stages and experiences. And of their twelve No. 1 hits, Wilson appeared on each.

The group received two GRAMMY nominations—one for Best R&B Recording for "Baby Love," the other for Best Contemporary Rock & Roll Performance for "Stop! In the Name of Love." (In 1999, "Where Did Our Love Go" and "You Keep Me Hangin’ On" were added to the GRAMMY Hall of Fame, and in 2001, "Stop! In the Name of Love" followed suit.)

After Ballard left the band in 1967, Cindy Birdsong of Patti LaBelle & the Blue Belles took her place, and they continued as Diana Ross and the Supremes. In 1970, Diana Ross left the band to start a solo career, leaving Wilson as the final original member amid a succession of replacement singers and shifting band names, like "The New Supremes." They never recaptured the commercial success they once enjoyed.

However, Wilson remained their North Star, touring tirelessly, practicing yoga, and authoring Dreamgirl and its 1990 sequel, Supreme Faith: Someday We’ll Be Together. Her legacy also involves musicians’ rights; after non-founding members of the Supremes toured under the band name, she campaigned on behalf of artists’ trademark ownership. Wilson also fought for higher pay for musicians on streaming sites through her support of the Music Modernization Act. Her 2019 coffee-table book Supreme Glamour homed in on the iconic group's fashion, compiling images of their famous gowns.

Last Saturday, she appeared on YouTube with a blazing grin, vivaciously announcing new music through Universal Music Group, hoping it would come out before her March 6 birthday. Then, in her sleep, she slipped away.

But her dream remains, as long as there are listeners to make it their own.

GRAMMY Museum Announces Reopening Of "Motown: The Sound Of Young America" Exhibit

Zinfandel and Roussanne

Zinfandel and Roussane

Photo courtesy of GRAMMY Museum

News
GRAMMY Museum Announces Wine Partnership grammy-museum-trattore-farms-special-wine-vintage

GRAMMY Museum And Trattore Farms Team Up For Special Wine Vintage To Commemorate COLLECTION.live’s Launch

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GRAMMY Museum offers a luscious Zinfandel and Roussanne in celebration of its new streaming service
Morgan Enos
GRAMMY Museum
Feb 8, 2021 - 10:43 am

The GRAMMY Museum launched its dynamic, official streaming service, COLLECTION:live in 2020. Now, you can enjoy exclusive, exquisite wine while enjoying stunning footage from music’s past and present.

In partnership with the Geyserville, California winery Trattore Farms, GRAMMY Museum offers an exceptional vintage in commemoration of COLLECTION:live’s launch. If you order by March 5, your shipment is guaranteed to arrive before the 63rd GRAMMY Awards, which airs on March 14.

The first wine is a beautiful 100 percent Zinfandel grown and produced in Dry Creek Valley, Sonoma County. It opens with a bouquet of cranberry, ripe strawberries and hints of persimmon, complemented by flavors of boysenberry and allspice. This wine is a rich, deep color with a silky smooth and opulent finish. It pairs well with charcuterie, beef bourguignon, pasta with meatballs, pizza and tacos, to name a few. Click here to order the COLLECTION:live Zinfandel.

The second is an elegant and luscious Rhone white wine that is 100 percent Roussanne. It opens with Asian pear and honeydew aromatics on the nose. On the palate is citrus, honeycomb and butterscotch with a subtle vanilla and baking spice finish. Enjoy this wine with pâté, creamy cheeses, lobster with butter, chicken piccata or Indian and Thai foods with green and yellow curries. We love this with lemon desserts, too! Click here to order the COLLECTION:live Roussanne.

What was GRAMMY Museum board chair Tim Bucher’s vision for these wines? "I wanted to create two special wines representing the special terroir of my estate vineyards that would benefit the incredible work of the GRAMMY Museum," he tells GRAMMY.com.

"Wine is like music in that it tugs on our deepest sensory systems and brings out a unique passion in people," he continues. "Which is why I felt this wine/music combo would be a perfect fit for supporters of the GRAMMY Museum and music appreciators everywhere!"

GRAMMY Museum Announces February’s Spotlight Saturdays Series Takeover With Interscope Geffen A&M

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy.