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GRAMMYs

Rendering of the Whitney Houston mural installation

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New Whitney Houston Mural Coming To Newark, NJ grammy-museum-experience-prudential-center-announces-plans-whitney-houston-mural

GRAMMY Museum Experience Prudential Center Announces Plans For Whitney Houston Mural

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The mosaic mural to be installed in Newark's Central Ward will consist of over 1,000 pounds of hand-cut glass
Jennifer Velez
GRAMMYs
Oct 19, 2020 - 1:13 pm

The GRAMMY Museum Experience Prudential Center, its founding partner the Prudential Financial, Inc., the City of Newark, Lincoln Park Coast Cultural District, and Newark Arts have announced plans for a mosaic mural honoring the late GRAMMY-winning icon Whitney Houston and Newark's deep musical roots. 

https://twitter.com/PruCenter/status/1318184517190836226

We are proud to announce that we will be bringing an iconic Whitney Mural to life to celebrate the city’s rich music history.

MORE INFO: https://t.co/CsrUCaoi5W#GRAMMYMuseumExp | @Prudential pic.twitter.com/bU5yekn2xj

— Prudential Center (@PruCenter) October 19, 2020

Maude Lemaire is the artist behind the mural, which will be installed a few blocks from the Prudential Center in Newark's Central Ward. A mural rendering revealed a colorful portrait of Houston. The mosaic consists of over 1,000 pounds of hand-cut glass.

“Whitney Houston’s dynamic career remains one of the most decorated in music history and her connection to and impact on the city of Newark will forever be celebrated,” said Senior Vice President, Business Operations, Prudential Center Natasha Moody in a statement. 

The mural installation will begin in mid-October, a statement said. A virtual unveiling featuring Lemaire and a live ribbon-cutting ceremony will happen in late November. 

Pat Houston, Executor of The Estate of Whitney E. Houston said the art piece in the city is meaningful in remembering the "I Will Always Love You" singer. “This Mural represents a continuation of an Iconic Legend who undoubtedly will be remembered as the greatest voice for centuries to come. Thank you Prudential Center, Prudential Financial Inc. and the City of Newark for this recognition.”

From Chicago To Sister Rosetta Tharpe, Here's Who Was Honored At The 2020 GRAMMY Salute To Music Legends

SiriusXM launches The GRAMMY Channel
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SiriusXM Launches The GRAMMY Channel recording-academy-and-siriusxm-launch-grammy-channel-2021

The Recording Academy And SiriusXM Launch The GRAMMY Channel Ahead Of The 2021 GRAMMY Awards Show

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Airing Tuesday, March 2, through Sunday, March 14, on SiriusXM, the limited-edition The GRAMMY Channel will feature music from some of this year's nominees
Recording Academy
Mar 2, 2021 - 3:38 pm

To celebrate the upcoming 63rd GRAMMY Awards, the Recording Academy and SiriusXM have announced the launch of The GRAMMY Channel, a limited-edition channel featuring a variety of music from some of this year's nominees. 

Launching Tuesday, March 2, at noon ET and running through GRAMMY night (Sunday, March 14) on SiriusXM channel 104, The GRAMMY Channel will highlight the music and artists celebrated across the GRAMMY Awards' 30 Fields, including current nominees like Beyoncé, Billie Eilish, Brittany Howard, DaBaby, Dua Lipa, Harry Styles, Justin Bieber, Megan Thee Stallion, Phoebe Bridgers, Post Malone, Roddy Ricch, Taylor Swift and more.  

Listeners can also expect to hear music from the 2021 class of Lifetime Achievement Award honorees such as Grandmaster Flash & The Furious Five, Salt-N-Pepa, Selena and Talking Heads, as well as exclusive interviews with music's biggest stars from behind the scenes at the 63rd GRAMMY Awards.  

SiriusXM's The GRAMMY Channel is available to listeners nationwide on SiriusXM radios, on the SiriusXM app and at home with Amazon Alexa, the Google Assistant or however they stream in their house. Streaming access is included for most subscribers. Go to www.siriusxm.com/ways-to-listen to learn more. 

The GRAMMY Channel leads up to the live broadcast of Music's Biggest Night on Sunday, March 14, at 8 p.m. ET / 5 p.m. PT on CBS. 

Learn more about The GRAMMY Channel on SiriusXM. 

GRAMMY Awards Radio Launches On Pandora Ahead Of The 2021 GRAMMYs Show

GRAMMYs

Lady Gaga and Bradley Cooper

Photo by VALERIE MACON/AFP/Getty Images

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Poll: What's Your Favorite Love Song? poll-whats-your-favorite-love-song

Poll: Are You Feeling The Love With Whitney Houston, Mariah Carey, Stevie Wonder Or Lady Gaga—What's Your Favorite Love Song?

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From Marvin Gaye and Tammi Terrell's "Ain't No Mountain High Enough" to Lady Gaga and Bradley Cooper's "Shallow," what song gets you in the mood for Valentine's—or Galetine's—Day?
Ana Monroy Yglesias
GRAMMYs
Feb 12, 2021 - 12:20 pm

Valentine's Day is around the corner on Feb. 14, and we hope you're feeling the love in the air.

For GRAMMY.com's latest poll, we want to know what romantic jam you'll be playing to celebrate the love you feel for your partner, yourself, your furry friends or anyone else close to your heart.

Vote for your favorite love song now in our latest poll below, which includes timeless classics from Marvin Gaye, Stevie Wonder and Al Green, as well as lovely tracks from Adele, Rihanna and Lady Gaga.

Polls

What's Your Favorite Love Song?

The Supremes Were A Dream, And Mary Wilson Dreamt It

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The Supremes

Mary Wilson (C)

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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

Clive Davis (R) and John Legend (L)

Clive Davis (R) and John Legend (L)

 

Photo Courtesy of Clive Davis

 
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2021 Pre-GRAMMY Virtual Gala Recap 2021-pre-grammy-virtual-gala-clive-davis-pandemic

2021 Pre-GRAMMY Virtual Gala: How The Annual Clive Davis Extravaganza Adapted To The Pandemic

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With its high-profile guests shushing their pets and grappling with technology, this year's virtual Pre-GRAMMY Gala created a sense of intimate beauty and captured the shared feeling of community online
Morgan Enos
MusiCares
Feb 2, 2021 - 10:03 am

Picture this pantheon: Bruce Springsteen, Carole King, John Legend, Rod Stewart, Jamie Foxx and Barry Gibb, all gathered to pay homage to music's finest executive, Clive Davis. Dynamo performances from the Rolling Stones, Aretha Franklin, Madonna, and more punctuate the gala, while everyone from Dionne Warwick to Martha Stewart watches from the sidelines.

Er, one second—that's "iPhone Dionne Warwick" and "Martha's iPhone XS Max T-Mobile." Wait, is that a Pomeranian-themed calendar behind Warwick? Did Martha Stewart just drop said iPhone in her purse without deactivating the camera first? Holy cats—does she have a marble ceiling?

Nearly a year into the COVID-19 pandemic, it goes without saying that assembling a multitude of celebrities for a Beverly Hills bash remains impossible. So, this year, Clive Davis' annual, high-profile Pre-GRAMMY Gala went virtual.

Clive Davis and Alicia Keys

Alicia Keys (L) and Clive Davis (R) | Photo Courtesy of Clive Davis

The 2021 Pre-GRAMMY Virtual Gala took place Saturday (Jan. 30), the night before the Academy initially planned to throw the 63rd GRAMMY Awards. They have rescheduled the ceremony to Sunday, March 14, due to the ongoing COVID-19 pandemic. The Virtual Gala, benefitting MusiCares, was the first of two events. The second will occur Saturday, March 13, the night before this year's GRAMMY show, and will benefit the GRAMMY Museum.

Clive Davis' annual Pre-GRAMMY bash is one of the starriest nights of the year, an opportunity to rub elbows with music industry giants and House Speaker Nancy Pelosi alike. But 2021 was no ordinary year, and this was no average gala. Swapping bespoke suits and elaborate dresses for pajamas and leisure suits, the famous guests gave viewers a personal, sometimes awkward, look into their homes and lives. Where it lost the spectacle of someone like Travis Scott bringing a crowd to its knees, this year's virtual event created a sense of intimate beauty and captured the shared feeling of community online.

Taking full advantage of the virtual experience, Davis structured the Virtual Gala around archival footage of what he believes to be the most outstanding performances of all time. (The night featured clips of Frank Sinatra, Jay-Z feat. Alicia Keys, Whitney Houston and others.)

Throughout, Davis acted as a tour guide through past live and televised performances from rock, folk and soul artists of the 20th and 21st centuries. A baby-faced Bob Dylan strums his signature song, "Blowin' in the Wind." The Queen of Soul, Aretha Franklin, brings Barack and Michelle Obama to near-tears at the Kennedy Center in 2015 with "(You Make Me Feel Like) A Natural Woman." (The tune's co-writer, Carole King, can hardly contain herself in the crowd.)

"This performance speaks to why I want to do this event tonight," Davis said of the Franklin performance. "Even through your computer screen, if you don't have goosebumps, you should check carefully for a pulse."

Davis later calls Houston's 1994 set, a medley of "I Loves You Porgy," "I Am Telling You I'm Not Going" and "I Have Nothing," "the greatest television performance for any artist."

And while Davis' annual Pre-GRAMMY Gala is typically a place where artists shine, the virtual audience was the main attraction this year. Anyone with an internet connection can watch old rock 'n' roll footage; it's a different, surreal experience to watch Joni Mitchell, George Benson and Herbie Hancock as they watch it. Ditto Carl Bernstein, who helped break the Watergate scandal, and "CNN Tonight" anchor Don Lemon.

If there's one silver lining of the Zoom era, it's that we can be a fly in the wall in celebrities' homes. As such, the Gala's format delivered the lion's share of its fun. Martha Stewart picked at the charcuterie in her kitchen, where her enviable pan collection hung from the ceiling. One of the most magnificent harmonic thinkers of the 20th and 21st centuries, Hancock smiled in front of a series of laser-beam screensavers. "Will you shut up?" Rod Stewart chided his yapping dog with a smile during his interview. "I'm talking to Clive Davis!"

Clive Davis and Bruce Springsteen

Bruce Springsteen (L) and Clive Davis (R) | Photo Courtesy of Clive Davis

Despite the fact we're still housebound, the online Gala’s tenor was one of brighter days ahead. "Perhaps the most uplifting and optimistic song you've ever written is 'Land of Hope and Dreams,'" Davis told Springsteen at one point, citing his late-'90s cut released on Wrecking Ball (2012).

"Are you despondent about the nation's future and the American promise? Or are you as hopeful as you were when you wrote about those 'big wheels rolling through fields where sunlight streams'?" he asked.

"The American dream itself is [an] aspiration," Springsteen replied from the Colts Neck, New Jersey, studio where he and the E Street Band recently slugged out their 2020 album, Letter to You. "The distance between American reality and the American Dream, we are always trying to close, whether you're an artist or a politician … I remain hopeful even in the midst of the great difficulties we are going through at this moment that the nation can reunite and find its better angels and move forward, you know? I have to believe that."
 

Clive Davis and Barry Gibb

Barry Gibb (L) and Clive Davis (R) | Photo Courtesy of Clive Davis

For celebrities and everyday folks alike, the past year has taken a toll on all of us. As such, an extra glint of humility shone through these interviews.

"I've never taken anything for granted, and you've never taken anything for granted," Davis told Barry Gibb. (The latter is having a banner 2020 and 2021 with the HBO doc on the Bee Gees, How Can You Mend a Broken Heart, and his duets album with Americana artists, Greenfields: The Gibb Brothers Songbook, Vol. 1.) "To see this album debut at the top of the charts is thrilling for me as a fan, and it's got to be thrilling for you as the architect."

"It's shocking; there's no question about that," Gibb replied. "It's the first No. 1 in 40 years, and that's something extremely special that I can't put into words … It was all like a dream, and the whole thing came like a vision, including the title."

As expected for a whopping five-hour event, some of the celebs tapped out early, leaving their bewildered pets blinking at the camera. Joni Mitchell, however, was a trooper, observing the telecast stoically while her creamsicle-colored cat pranced around for attention.

Seeing Mitchell happy, healthy and hilarious is bittersweet. In 2015, she suffered an aneurysm; in 2020, she still struggled to walk because of it. Yet at the end of the night, there she was, pajama-clad, munching popcorn and cracking jokes. Throughout the broadcast, Mitchell regally sipped white wine with both hands. (Here's to your next 77 years, Joni.)

While this year's Pre-GRAMMY Gala may have missed the usual hobnobbing and rapport, that bug revealed itself to be a feature. Of course, as always, the point was the music, but housebound legends and their assemblage of furry friends stole the show for once. With vaccines rolling out worldwide, music will be back to business as usual in no time."

And just like every year, this year's (virtual) Pre-GRAMMY Gala was unique and unrepeatable—and it hit different as a result.

2021 GRAMMYs: Complete Nominees List

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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.