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GRAMMYs

Prince

Photo: Kevin Mazur/WireImage.com

News
Remembering Prince prince-dies-57

Prince dies at 57

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Seven-time GRAMMY-winning R&B titan dies at 57
THE GRAMMYs
GRAMMYs
May 15, 2017 - 2:36 am

Prince's GRAMMY memories

Seven-time GRAMMY-winning pop music icon Prince died April 21. He was 57. A cause of death has not yet been announced. He had cancelled or postponed recent shows due to flu-like symptoms. Last week, Prince's plane was forced to make an emergency landing in Illinois when he fell ill on the flight.

The artist born Prince Rogers Nelson, who was later known worldwide by just his first name and then by only a symbol, became one of the giants of pop music in the '80s by tying together the prevailing strands of R&B, funk, pop, and rock into a singular sound that made him among a handful of artists who shaped the music of that decade. He became a cottage industry, not only selling millions of his own albums, but also starring in a film vehicle, Purple Rain — whose soundtrack ruled the airwaves in 1984 — and also writing Top 10 hits for artists as diverse as Chaka Kahn, the Bangles and Sinead O'Connor. He continued to chart hits through the '90s, and released his most recent album, HITnRUN: Phase Two, in 2015.

Prince charted five No. 1 Billboard Hot 100 hits: "When Doves Cry" (1984), "Let's Go Crazy" (1984), "Kiss" (1986), "Batdance" (from Batman, 1989), and "Cream" (1991).

He evolved musically with every album, managing to find new avenues of musical expression even as he remained among the most popular artists on the planet. He also evolved behind the scenes, eventually having a falling out with his label over creative differences that led him to record his final Warner Bros. albums not under his name, but rather a "love" symbol. He would ultimately re-sign with Warner Bros. for 2014's PlectrumElectrum.

Prince earned seven GRAMMY Awards and 37 nominations over his career. Among his wins were two for Purple Rain, Best Rock Performance By A Duo Or Group With Vocal and Best Album Of Original Score Written For A Motion Picture Or Television Special, as well as for Best Rhythm & Blues Song for Khan's "I Feel For You," all of which were for 1984. "Kiss" won Best R&B Performance By A Duo Or Group With Vocal for 1986. Both Purple Rain and Sign 'O' The Times were nominated for Album Of The Year. The 1982 album 1999 and Purple Rain were inducted into the GRAMMY Hall Of Fame in 2008 and 2011, respectively. He also won the Music (Original Song Score) Oscar in 1984 for Purple Rain and was inducted into the Rock and Roll Hall of Fame in 2004.

"Today, we remember and celebrate Prince as one of the most uniquely gifted artists of all time," said Recording Academy President/CEO Neil Portnow. "He redefined and forever changed our musical landscape."

Fans holding up phones at a concert

Photo: Noam Galai/Getty Images

Feature
Should mobile phones be banned from concerts? adele-alicia-keys-jack-white-phone-use-concerts

Adele, Alicia Keys, Jack White on phone use at concerts

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With pending technology that would disable smartphone usage at concerts, what side of the fence do you sit on?
Roy Trakin
GRAMMYs
May 15, 2017 - 2:36 am

As Adele ascends to the stage in the middle of Staples Center in Los Angeles for the first of her eight sold-out summer shows, she has them at "Hello." And by "them," I mean the hundreds of mobile devices being held aloft to capture her grand entrance, fit for a queen in her glittering black gown.

"I'll probably never watch it again," admitted a young fan pointing and shooting next to me, "but I will post it on Instagram and Snapchat just to say, 'I was there.'"

Another smartphone-yielding fan, who was taking selfies before the concert, casually insists she'd rather experience the show live than watch it on her screen. But by concert's end, she still raises her device aloft to capture the climactic, show-stopping "Rolling In The Deep."

Though Adele made headlines for admonishing a fan for filming at an earlier stop on her current tour, by the time she reached Los Angeles she was shamelessly mugging for those in the front row, jokingly pleading with her trademarked cackle, "I know you're taking a picture, but I'm talking to you in real life."

Yes, performance video has come a long way since Elvis Presley was filmed from the waist up, teenage girls screamed for the Beatles on "The Ed Sullivan Show" and MTV put a man on the moon.

These days, thanks to mobile devices boasting high-quality video and still cameras, every concert offers a chance for fans to digitally capture their favorite stars and share the footage instantly on social media. Artists performing seem helpless in the wake of a sea of upraised phones, which, depending on the observer, are either a profound nuisance to the concert-going experience or an inevitable outcome of our oversharing age.

Like everything else in our virtual universe, holding up an iPhone or Android at a concert is a way of putting an artificial distance between the observer and the observed, an intermediation that seemingly goes against the very spirit of the longed-for spontaneity of the rock and roll, EDM, pop, or hip-hop experience.

"It's here to stay," says William Morris Endeavor executive Marc Geiger, regarding devices being used by fans at concerts. "It's a very necessary annoyance, but also serves as both marketing and promotion. Everyone wants to share the content on social media to show that they were there. It's a bit like the new T-shirt."

Indeed, several companies have materialized to edit fan-filmed footage into a visual wiki. The Beastie Boys were among the first to turn crowdsourced video into product with their 2006 concert film, Awesome; I F***in' Shot That, in which they handed out camcorders to 50 audience members at a sold-out Madison Square Garden show and combined the footage into a documentary, which showed at the Sundance Film Festival and South by Southwest before being released on DVD.

Outlisten emerged in 2012, asking users to upload footage from the show to a central location, where they could sync it to a high-quality audio track recorded directly from the soundboard, enabling the band, rather than the record label, to own — and sell — the results. The company is apparently now inactive, but other similar applications such as CrowdSync, FanFootage and Vidrack have since popped up to fill the void.

On the other side of the coin, Silicon Valley-based Yondr creates "phone-free" zones at concerts and other entertainment events. In these spaces, phones are sealed in a lockable pouch that stays with the user inside the phone-free zone. The phone unlocks once you leave the zone, so it is in reach in case of an emergency. Alicia Keys is one artist who has tapped Yondr in a bid to keep her concerts distraction-free.

Even for a grizzled rock and roll veteran like Loverboy guitarist Paul Dean, creating the "distraction" of taking smartphone video at a concert is hard to resist.

"There's no way to stop it," says Dean. "Imagine a free show on the beach, with 300,000 fans and their iPhones. Second, I do it all the time. I may even watch it once or twice after. Though usually, I go, 'What was I thinking? This sounds terrible.'"

In fact, the best use of mobile devices at Adele's Aug. 5 show didn't involve recording at all, but occurred when she asked everyone to hold up their phone, forming a glittering backdrop to her rendition of Bob Dylan's "Make You Feel My Love."

Meanwhile, just as fans consider it their constitutional right to shoot artists in concert, Apple is reportedly working on a patent to block the use of iPhones at concerts. The technology involves an infrared signal being sent from the stage, which would effectively disable devices from being able to film. If implemented, such technology would radically alter the modern concert-going experience and dry the well of fan-filmed video and photos on social media.

Artist manager Ian Montone opposes the attempt to combat the practice: "I don't like any technology that restricts freedom of choice, even if it's behavior I find largely obnoxious."

While Montone notes his client Jack White "politely" asks his audience to refrain from recording him in concert, and though he himself finds the practice "annoying and distracting to others," he does see the preservation side of the argument.

"Every show now seems to be well-documented and living on YouTube, which is interesting from a historical perspective," he says.

Other artists have their own deterrents in place. Prince, who was a noted internet disrupter, placed a notice of "Purple Rules" before a surprise show at New York's City Winery in August 2013, informing the audience that photography, videos and phones would be prohibited. Prince's security physically removed phones from fans trying to record, ushering them out of the theater if they didn't comply.

She & Him's Zooey Deschanel and M. Ward have posted a sign outside venues where they perform, announcing, "At the request of Matt and Zooey, we ask that people not use their cell phones to take pictures and video, but instead enjoy the show they have put together in 3-D." The duo even went so far as to have security guards shine flashlights in the eyes of concertgoers who didn't comply.

The Yeah Yeah Yeahs have posted their own plea at venues: "Please do not watch the show through a screen on your smart device/camera. Put that s*** away as a courtesy to the person behind you and to Nick [Zinner], Karen [O] and Brian [Chase]."

London-based punk rockers the Savages have implored fans to "silence your phones," insisting, "our goal is to discover better ways of living and experiencing music. We believe that the use of phones to film and take pictures during a gig prevents all of us from totally immersing ourselves. Let's make this evening special."

The now-defunct Black Crowes, largely celebrated as a people's band, refused to allow cameras into their shows, though, like the Grateful Dead or Phish, still actively encouraged people to record audio.

Even the affable Flight Of The Conchords, during their July 27 comeback gig at the Greek Theatre in Los Angeles, gently admonished their fans: "We say the same thing to you as we do to our sexual partners. Please stop filming." Though that message still didn't prevent their classic reunion with manager Murray and super fan Mel from appearing on an Instagram feed.

And that's one of the problems with the potential banning of smartphones in concert: the chance a historical moment will pass us by, and won't be captured for posterity.

Not all performers are opposed to being filmed by their audience, however. Matthew Iwanusa, frontman for Brooklyn-based indie-rock band Caveman, says, "I'm not totally against it, to be honest. If you're playing on a lower stage and someone in the front row is shoving a phone in your face, I guess that could be annoying, but … I think fans being able to post live pictures and videos helps the bands out a lot."

Iwanusa even admits to occasionally filming other bands performing. "It's nice to have good memories of good shows. Or good memories of bad shows."

(Roy Trakin is currently a senior news editor at All Access, a past contributor to a number of legendary rock magazines [remember those?] and a die-hard Cantonese Chinese food fanatic [love crispy noodles, duck sauce and hot mustard].)

The Supremes

Mary Wilson (C)

Bettmann/Getty Images

News
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

GRAMMYs

Ronald Bell

Photo courtesy of Tia Sinclair Bell

News
Kool & The Gang's Ronald Bell Dies At 68 ronald-khalis-bell-co-founder-soul-funk-greats-kool-gang-dies-68

Ronald "Khalis" Bell, Co-Founder Of Soul-Funk Greats Kool & The Gang, Dies At 68

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Khalis wrote and produced a number of the '70s band's famous tracks, such as “Celebration,” “Cherish,” “Jungle Boogie,” “Summer Madness” and “Open Sesame” 
GRAMMYs
Sep 9, 2020 - 3:33 pm

Ronald "Khalis" Bell, co-founder of soul-funk greats Kool & The Gang, died the morning of Wednesday, Sept. 9, according to his label publicist, Sujata Murthy. He was 68.

Kool & The Gang won the Album of the Year GRAMMY Award in 1979 at the 21st GRAMMY Awards for their inclusion on the Saturday Night Fever soundtrack.

They were nominated two other times—at the 17th GRAMMY Awards for Best R&B Instrumental Performance for their album Light Of Worlds and again at the 28th GRAMMY Awards for Best Inspirational Performance for "You Are The One."

Formed in 1964, Kool & The Gang came together when Khalis and his brother, Robert "Kool" Bell, teamed up with their neighborhood friends Spike Mickens, Dennis Thomas, Ricky Westfield, George Brown and Charles Smith. Originally calling themselves the Jazziacs, together they forged a moving mix of jazz, soul and funk. They'd try out a number of different names—The New Dimensions, The Soul Town Band, Kool & the Flames—before settling on Kool & The Gang. 

Khalis, who was self-taught, wrote and produced a number of the band's famous tracks, such as “Celebration,” “Cherish,” “Jungle Boogie,” “Summer Madness” and “Open Sesame.” 

They are also one of the most sampled artists of all time; the horns from their 1973 funky jam "Jungle Boogie" horns can be heard on over a hundred other songs, including rap classics like Luniz's "I Got 5 On It" and the Beastie Boys' "Hey Ladies."

In addition to songwriting and producing for Kool & the Gang, Khalis was heavily involved in developing new acts, having produced The Fugees' (then called Tranzlator Crew) 1994 debut record, Blunted On Reality. 

2019 marked the band's official 50th anniversary. "It's a blessing to be around for 50 years; some groups can't make it for 50 days. We did 50 years, that's an accomplishment," founding member Robert "Kool" Bell said at the GRAMMY Museum last year. 

Kool & The Gang On 50 Years, The Joy Of "Celebration" & Songwriters Hall Of Fame

Prince

Prince

Photo: Kevin Winter/Getty Images

News
Prince Estate Releases Timely "Baltimore" Video prince-estate-releases-baltimore-video-handwritten-note-against-intolerance-honor

Prince Estate Releases "Baltimore" Video & Handwritten Note Against Intolerance To Honor Freddie Gray & George Floyd

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On what would have been Prince's birthday, his estate unveils the lyric video for the 2015 song addressing Gray's death in police custody
Nate Hertweck
GRAMMYs
Jun 8, 2020 - 12:48 pm

The Prince estate released a powerful lyric video for the late GRAMMY winners' 2015 song, "Baltimore," on Sunday. The video arrives on what would have been Prince's birthday and amidst nationwide protests against racial injustice and police brutality in the wake of the George Floyd's death at the hands of Minneapolis police on May 25.

Prince recorded "Baltimore" on April 30, 2015, at Paisley Park Studios after Baltimore's Freddie Gray died at age 25 of a severe spinal chord injury while in police custody earlier that month. “With everything going on there this week, I had a lot I needed to get out,” Prince said at the time. 

"Baltimore" addresses Gray by name, along with Michael Brown, who was fatally shot at age 28 by a white police officer in Ferguson, Mo. on Aug. 9, 2014, with the lyrics,“Does anybody hear us pray?/For Michael Brown or Freddie Gray/ Peace is more than the absence of war.”

“The system is broken. It’s going to take the young people to fix it this time. We need new ideas, new life...” -Prince

The estate also posted a handwritten note by Prince where he speaks out against intolerance. It reads, “Nothing more ugly in the whole wide world than intolerance [between] black, white, red, yellow, boy or girl. Intolerance.”

https://twitter.com/prince/status/1269495956720046080

Prince dedicated his life to speaking out against injustice, advocating for black excellence, and spreading the message of "Love 4 One Another." In this note that he kept in his personal archives, he wrote a message that still resonates today. #Prince #Love4OneAnother pic.twitter.com/thTv9cukBV

— Prince (@prince) June 7, 2020

The Justice Department made the announcement in 2017 that the six arresting police officers would face no federal charges in Gray's death. The four Minneapolis police officers involved in George Floyd's death have all been charged. 

Want To Support Protesters And Black Lives Matter Groups? Here’s How

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