Less than one week before they attend the 62nd Annual GRAMMY Awards as first-time nominees, and less than three weeks before they play their first show of 2020—at the Mahindra Blues Festival in Mumbai—American roots/rock sister duo Larkin Poe stopped by the GRAMMY Museum for an intimate conversation and performance. 

After an introduction from host Scott Goldman, during which he noted that their currently nominated Best Contemporary Blues Album, Venom & Faith, is the fifth release for the duo—an impressive feat for the young two artists—Rebecca and Megan Lovell took the stage before a sold-out crowd donning T-shirts showing their respect for the great B.B. King and Ray Wylie Hubbard. 

During the hour-long conversation, the duo—hailing from Nashville, Tenn., by way of Calhoun, Ga.—took the audience on a journey from their childhood musical beginnings, which includes a story about meeting Elvis Costello, to recording their latest album, receiving a GRAMMY nomination and working together as sisters.

"I think we’ve unraveled over the years that our relationship as sisters is the everything of our band," says Rebecca Lovell. "We have been a lot of things to each other for many years. … Best friends into musical partners into bandmates into business owners into producers into still all the while being sisters and needing to have respect and understanding between the two of us."

Following the conversation, Rebecca and Megan Lovell performed a fiery set of songs for the audience, with only a kick drum and electric guitar (played by Rebecca Lovell) and a lap steel guitar played by Megan Lovell. Among the songs performed were "Bleach Blonde Bottle Blues" from Venom & Faith and a cover of the rock and roll classic "Black Betty."

If you’re still wondering who this dynamic GRAMMY-nominated duo is, keep reading for 11 things we learned about Larkin Poe during their GRAMMY Museum program.

"Good And Gone" is Rebecca Lovell’s favorite song off Venom & Faith

The idea for the introspective stripped-down ballad "Good And Gone" was inspired by an idea started by Megan Lovell.

"I love to sing with Rebecca, but I really consider my lap steel more of my voice than my actual voice," she said. "We really wanted to have a song where I was singing along with her on a lap steel so it’s just her vocal and then my lap steel. So, I wrote this riff and then she sang along on top of it and that’s where the whole idea came from. 

"I am, I think, a very heavy-handed frontperson in that I kind of write the majority of the songs and can be fairly hard-headed when it comes to the material that we perform," said Rebecca Lovell, "but Megan brought that song completely finished and it’s my favorite song on the record."

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/BBu89yiXzCw' frameborder='0' allowfullscreen></iframe></div>

Their Tip o’ The Hat video series largely inspired Venom & Faith

Their viral YouTube video series Tip o’ The Hat—wherein they perform covers of songs that have inspired them—is largely what inspired the stripped-down approach they took on Venom & Faith. 

"We love just sitting in the bedroom, just the two of us playing," said Megan. "So, we wanted to bring some of that energy to the record as well."

“As artists, you are what you consume,” continued Rebecca later on in the conversation. "The more that you listen, the more you learn. When you actually go out and try to embody someone else’s work you learn so much in doing that. So, I think this Tip o’ the Hat started out really selfish for us because I think we realized that, as sisters, together we were stagnating musically. She would go home and practice her lap steel or I would go home and practice guitar riffs, but learning something together and trying to make it sound like Larkin Poe, we learned so much by doing that with Tip o’ the Hat again and again. That had a direct impact on the way that we approached making our record."

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/o7rDXhrlFAQ' frameborder='0' allowfullscreen></iframe></div>

Ozzy Osbourne is Rebecca Lovell’s favorite singer
Growing up, classic rock was heavily played in the Lovell household—from Black Sabbath and Blue Öyster Cult to Allman Brothers Band, Alison Krauss and Crosby, Stills and Nash. "Ozzy’s my favorite singer of just about all time," said Rebecca.

The Lovell sisters first learned to play the violin

Before Rebecca was fretting away on an electric guitar and Megan was shredding on her lap steel, the two were practicing classical musicians. 

"We started out in violin when she was 3 and I was 4," said Megan. "God bless our mother. She drove us to those lessons and listened to [us play]."

"Our violins were literally cardboard because they didn’t make them small enough," recalled Rebecca. "They sounded so bad."

MerleFest introduced Larkin Poe to bluegrass

It wasn’t until their first official bluegrass festival that Larkin Poe decided to switch gears, switch instruments and take up a new genre. 

"As classical musicians, you grow up reading off the page," said Rebecca. "Going to a bluegrass festival and having our eyes opened to the glory of improvisation, we had never seen that before. And the joy that these people had onstage…."

"It was intoxicating for us," said Megan. 

"We went to that bluegrass festival, [and then] literally quit all our lessons," added Rebecca. "Our mom was pissed but she got on board. Then we got banjos and mandolins and guitars and about six months later we were like, ‘we’re playing a bluegrass gig.’ So, we went to Signal Mountain, Tennessee and we brought sheet music onstage with us. We were so nervous, and we thought that we’d forget how to do our thing that we’d been practicing wholeheartedly for weeks."

Jerry Douglas inspired Megan Lovell to pick up the dobro

After trying her hand at the mandolin, banjo and guitar, neither of the instruments felt right in Megan’s hands, until she discovered the dobro. 

"I started playing [dobro] at age 13 or 14," she recalled. “I saw it being played, and I was like, that’s it, that’s what I want to play. We grew up listening to Alison Krauss featuring Jerry Douglas, so I think that I had been hearing that sound for a long time, but I didn’t know what it was. So, when I saw it, I was immediately connected."

Larkin Poe met Elvis Costello as teenagers

In one of the most endearing stories of the evening, Larkin Poe recalled meeting Elvis Costello onstage at MerleFest, and how they didn’t know it was him at first. 

“A couple years later, we were asked to perform [at MerleFest], and so we were playing on the Cabin Stage, which is about the size of a postage stamp,” recalled Rebecca. “Elvis was headlining the festival, but again, the beauty of the bluegrass festival—they have a super jam. So, at the time, because we were fearless children, we were getting up with everybody that we could. Somebody would start playing a song that we knew, and we would get on stage and try to take part. So, Elvis was singing a gospel tune that we knew, and we went over and crowded around him, not knowing who he was, and just started singing harmony. … So, we made really good friends and he’s become an incredible champion and mentor for us over the years.”

To this day, Costello is the first person Rebecca Lovell sends demos of new songs to. When Rebecca decided it was time to plug in and switch to an electric guitar, she went out and bought a Fender Jazzmaster, a decision that was also inspired by Costello.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/Qdk7k1dfydE' frameborder='0' allowfullscreen></iframe></div>

Keith Urban taught them how to perform on arena stages

For most of 2018, Larkin Poe were the guests on Urban’s tour. For the duo, it was like getting a first-class education in how to perform before an arena-sized audience. 

“We went out on the road with Keith Urban and that was our first time doing a tour of arenas,” said Megan. “He has such a command of an audience and he really connects with people, it’s incredible to watch, so I think we learned a lot from him on how to perform on a large stage like that. And it was perfect. It was leading right into opening for Bob Seger, and so we knew what it felt like to play on a stage like that and interact with an audience of that size. I feel like we made leaps and bounds that year."

Larkin Poe have never spent more than two weeks apart

In their nearly three decades of life, the sisters have never spent more than two weeks apart from each other. 

“It’s a crazy number, and it’s absolutely true,” said Rebecca. “I would never trade that for anything. If at any point in time music got in between Megan and I, which it never could because we share it so intimately with each other, it would go away because we’ve been able to see the world together and be very fulfilled and work hard together and have exciting things happen.”

Rebecca and Megan first toured with their older sister Jessica

Playing together as a family for so many years has given Megan and Rebecca an unmatched ability to perfectly harmonize together. 

"We have an older sister Jessica, and initially we toured with her as our lead singer," said Rebecca. "Megan was always the low third and I was always the high third to make the chord. So even now—it happens with frightening regularity—we’ll be in the car singing a song with the radio and then we turn the radio off and we’re still singing the song and each of us will automatically split to the harmony parts without there being a melody. Getting to sing with each other, it’s very effortless and there is something to the texture of the vocal and the way that we say our words the same way."

They consider blues and roots to be the "source music of the South"

When it comes to their Southern roots and family history, both play a large role in the storytelling that’s present in their songs, and their name. They named their band after their great great great great grandfather Larkin Poe. 

"For me, as a songwriter, we grew up hearing a lot of stories about the generations that led to us," said Rebecca. "There’s a lot of very dramatic stories about our father’s side of the family during the Great Depression, living in Alabama, poverty-stricken, these people that were struggling so hard to just make ends meet and live, and I think finding a medium in which to tell some of those stories about our family, and in that way rooting yourself in your culture and where you come from and trying to continue to represent and preserve that story and the vibe of what it means to be a Lovell and a Miller and a Poe…that that has meaning to us because it connects to the generation that led to us."

Receiving a GRAMMY nomination means the most to their parents

When asked how it feels to be nominated for a GRAMMY Award, the sister duo pointed to the fact that, above how important it is to them, what it means to their parents is on a whole other level.

"Our poor parents have had to have their two daughters, for the last decade and change, running around the world with very little example of the fact that we had success," said Rebecca. "Our family has been incredibly supportive of what we’ve decided to do, and they come to our shows and they’re very proud, but to have gotten this GRAMMY nod, for them I think, even beyond what it means for us, what it means for our folks, it makes me want to tear up and cry because really that’s when you feel the power of it."

As for mom and dad Lovell, they’ll be cheering their daughters on from Staples Center when they attend the GRAMMY Awards with Rebecca and Megan this Sunday.

Henry Mancini had a gift for melodies of an ethereal, almost supernatural beauty.  

His prolific discography — albums of jazzy orchestral pop, dozens of film and television soundtracks — established him as a cultural icon and transformed the role that melody and song played in the art of movie narrative. Once you encounter a Henry Mancini tune, it’s almost impossible not to start humming it.

A composer, arranger, conductor and pianist of tireless discipline, Mancini won a staggering 20 GRAMMY Awards and was nominated 72 times. All of his wins — including the first-ever golden gramophone for Album Of The Year at the inaugural 1959 GRAMMYs — will be on display at the GRAMMY Museum to honor his centennial birthday, April 16. 

To mark what would be his centennial birthday, Mancini's children will travel to Abruzzo, Italy — where Mancini’s parents migrated from. And on June 23, the Hollywood Bowl Orchestra will present a program of his music with a gallery of guest stars including singer Monica Mancini, the maestro’s daughter. Out June 21, The Henry Mancini 100th Sessions – Henry Has Company will feature a new recording of "Peter Gunn" conducted by Quincy Jones and featuring John Williams, Herbie Hancock and Arturo Sandoval.

Although Mancini died in 1994 at age 70, his compositions remain timeless and ever-relevant. Read on for 10 essential Henry Mancini compositions to cherish and rediscover.  

"Peter Gunn" (1958)

In 1958, Mancini was looking for work and used his old Universal studio pass to enter the lot and visit the barber shop. It was outside the store that he met writer/director Blake Edwards and got the chance to write the music for a new television show about private detective Peter Gunn. 

Seeped in West Coast Jazz, Mancini’s main theme sounds brash and exciting to this day – its propulsive beat and wailing brass section evoking an aura of cool suspense. The "Peter Gunn" assignment cemented his reputation as a cutting-edge composer, and the accompanying album (The Music From Peter Gunn) won GRAMMYs in the Album Of The Year and Best Arrangement categories.

"Mr. Lucky" (1959)

Half of the "Peter Gunn" fan mail was addressed to Mancini. As a result, CBS offered Blake Edwards a second television show, as long as the composer was part of the package. Edwards created "Mr. Lucky," a stylish series about the owner of a floating casino off the California coast. 

1959 was an exhausting year for Mancini, as he was scoring two shows at the same time on a weekly basis. Still, his music flowed with elegance and ease. The "Mr. Lucky" ambiance allowed him to explore Latin rhythms, and the strings on his wonderful main theme shimmer with a hint of yearning. It won GRAMMY Awards in 1960 for Best Arrangement and Best Performance by an Orchestra.

"Lujon" (1961)

As part of his contract with RCA Victor, Mancini was committed to recording a number of albums featuring original compositions in the same velvety jazz-pop idiom from his television work. "Lujon" is the standout track from Mr. Lucky Goes Latin, a collection of Latin-themed miniatures that luxuriate in a mood of plush languor.

 Inspired by the complex harmonics of French composer Maurice Ravel, "Lujon" steers safely away from lounge exotica thanks to the refined qualities of the melody and arrangement.

"Moon River" (1961)

Performed on a harmonica, the main melody of "Moon River" is nostalgic to the bone, but also life affirming. A majestic string section makes the music swoon, like gliding on air. And the harmonies in the vocal chorus add gravitas — a touch of humanity. 

It took Mancini half an hour to write "Moon River," but the Breakfast at Tiffany’s anthem made him a global superstar. Among the many artists who covered the song, pop crooner Andy Williams turned it into his personal anthem. Mancini won an Academy Award for Best Original Song, and GRAMMY Awards for Record Of The Year, Song Record Of The Year and Best Arrangement. The album soundtrack earned two additional gramophones.

Theme from Hatari! (1962)

After two failed attempts with different composers, legendary director Howard Hawks invited Mancini to write the score for Hatari! — the wildly episodic but oddly endearing safari film he had shot in Tanganyika with John Wayne. Mancini jumped at the opportunity, and Hawks gave him a few boxes from the trip that contained African percussive instruments, a thumb piano and a tape of Masai tribal chants. Two chords from that chant, together with a slightly detuned upright piano formed the basis for the movie’s main theme. 

Mancini’s sparse arrangement and melancholy melody conspired to create one of the most gorgeous themes in the history of film.

"Days of Wine and Roses" (1962)

Throughout the decades, Mancini provided musical accompaniment to Blake Edwards’ filmography, which switched from slapstick comedy to stark melodrama. There is a perverse beauty to the theme of Days of Wine and Roses — a movie about a couple of lifelong alcoholics — as the lush choral arrangement seems to glorify the innocence of better times. 

It won an Academy Award for Best Original Song — Mancini’s second Oscar in a row — and three GRAMMYs: Record Of The Year, Song Of The Year and Best Background Arrangement.

"The Pink Panther Theme" (1963)

Directed by Edwards and starring Peter Sellers as part of an ensemble cast, the original Pink Panther was a frothy caper comedy that had none of the manic touches of comedic genius that Sellers would exhibit in subsequent entries of the franchise. It was Mancini’s ineffable main theme that carried the movie through.

Jazzy and mischievous, Mancini wrote the melody with the light-as-a-feather playing of tenor saxophonist Plas Johnson in mind. It won GRAMMYs in three categories: Best Instrumental Arrangement, Best Instrumental Compositions (Other Than Jazz), and Best Instrumental Performance – Non-Jazz.

Charade (1963)

Mancini’s gift for cosmopolitan tunes and jazzy arrangements found the perfect vehicle in the score for Stanley Donen’s Charade — a droll Hitchcockian thriller shot in Paris and starring Cary Grant and Audrey Hepburn. 

The main theme is a waltz in A minor, and opens with pulsating percussion. When the central melody appears, it evokes a melancholy reflection and a certain thirst for the kind of globetrotting adventure that the film delivers in spades. It was Johnny Mercer’s favorite Mancini melody, and he wrote exquisite lyrics for it. 

The best version probably belongs to jazz singer Johnny Hartman, who released it as the opening track of his 1964 album I Just Dropped By To Say Hello.

Two For The Road (1967)

Friends and family remember Mancini as a humble craftsman who ignored the trappings of fame and focused on the discipline of work. In 1967, after Audrey Hepburn cabled to ask him about writing the music for the Stanley Donen film Two For The Road, Mancini agreed, but was taken aback when the director rejected his initial theme. Leaving his ego aside, he returned to the drawing board and delivered a lovely new melody – and a spiraling piano pattern seeped in old fashioned tenderness.

"Theme from The Molly Maguires" (1970)

Even though Mancini enjoyed most accolades during the ‘60s, his protean level of inspiration never wavered. In 1970, he was brought in to rescue the soundtrack of Martin Ritt’s gritty secret societies drama The Molly Maguires, about Irish-American miners rebelling against their mistreatment in 19th century Pennsylvania. 

The main theme makes time stand still: a sparse arrangement that begins with a solitary harp, until a recorder ushers in a haunting, Irish-inspired melody. The score reflected a more restrained Mancini, but was still intensely emotional.

Jeff Goldblum's Musical Influences: How Frank Sinatra, "Moon River" & More Jazz Greats Inspired The Actor-Turned-Musician

"Oh no, I’m going to start crying again," says La Santa Cecilia singer La Marisoul during a touching scene in Alma Bohemia, the documentary directed by Carlos Pérez honoring the Los Angeles band’s 15 year anniversary. 

As it turns out, there are many reasons to be emotional about this film — and the very existence of La Santa Cecilia in the contemporary Latin music landscape. Fittingly, Alma Bohemia was received enthusiastically by the capacity audience during an exclusive screening on April 3 at the GRAMMY Museum’s Clive Davis Theater in Los Angeles. 

Formed by La Marisoul (real name is Marisol Hernández), bassist Alex Bendaña, accordionist and requinto player José "Pepe" Carlos and percussionist Miguel "Oso" Ramírez, La Santa Cecilia was for years one of the best kept secrets in the Los Angeles music scene.  As close friends and musicians, they won over audiences with an organic, down-to-earth sound and a lovely songbook that draws from traditional formats such as bolero, ranchera and nueva canción.

Alma Bohemia follows the making of La Santa’s 2023 album, Cuatro Copas Bohemia en la Finca Altozano. A celebration of the band’s longevity, the session also functions as a subtle, yet powerful musical experiment. It was recorded at the Finca Altozano in Baja California, where the band members stayed as guests of celebrated chef Javier Plascencia — a longtime fan.

Argentine producer Sebastián Krys — the band’s longtime collaborator — calls this his Alan Lomax experiment. The album was recorded live on tape with a variety of strategically placed microphones capturing hints of ambient sonics — a sweet afternoon breeze, the clinking of glasses, the musicians’ banter, the soft sounds that accompany stillness. 

From the very beginning, the making of Cuatro Copas mirrors the band’s bohemian cosmovision: A communal approach where the quartet — together with carefully selected guest stars — get together to share the magic of creation, the unity of like-minded souls, homemade food, and more than a couple of drinks. In effect, the bottles of mezcal and never ending rounds of toasting quickly become a running joke throughout the documentary.

La Marisoul’s fragile lament is enveloped in spiraling lines of mournful electric guitars with soulful understatement on the track "Almohada." Guest artists liven things up, with Oaxacan sister duo Dueto Dos Rosas adding urgency to "Pescadores de Ensenada," while son jarocho master Patricio Hidalgo ventures into a lilting (yet hopeful) "Yo Vengo A Ofrecer Mi Corazón," the ‘90s Argentine rock anthem by Fito Páez.

Visibly delighted to be part of the bohemia, 60-year-old ranchera diva Aida Cuevas steals the show with her rousing rendition of "Cuatro Copas," the José Alfredo Jiménez classic. "Viva México!" she exclaims as the entire group sits around a bonfire at night, forging the past and future of Mexican American music into one.

Read more: La Santa Cecilia Perform "Someday, Someday New"

Following the screening, the band sat down for a Q&A session hosted by journalist Betto Arcos. Sitting on the first row, a visibly moved young woman from El Salvador thanked the band for helping her to cope with the complex web of feelings entailed in migrating from Latin America. La Santa’s songs, she said, reminded her of the loving abuelita who stayed behind.

"We love the old boleros and rancheras," said La Marisoul. "We became musicians by playing many of those songs in small clubs and quinceañeras. It’s a repertoire that we love, and I don’t think that will ever change."

Carlos touched on his experience being a member of Santa Cecilia for about seven years before he was able to secure legal status in the U.S. When the band started to get concert bookings in Texas, they would take long detours on their drives to avoid the possibility of being stopped by the authorities. Carlos thanked his wife Ana for the emotional support she provided during those difficult years.

Ramírez took the opportunity to acknowledge producer Krys for being an early champion of the band. "He had a vision, and he made us better," he said, flashing forward to a recent edition of the Vive Latino festival. "There were about 12,000 people to see us," he said. "And they were singing along to our tunes."

"The band is just an excuse to hang out with your friends," added La Marisoul just before La Santa performed two live songs. Her voice sounded luminous and defiant in the theater’s intimate space, always the protagonist in the group’s delicately layered arrangements.

"The first time I got to see the finished documentary, I felt proud of all the work we’ve done together," said producer Krys from his Los Angeles studio the day after the screening. "On the other hand, there’s a lot of work ahead of us. I believe La Santa Cecilia deserves wider exposure. They should be up there among the greatest artists in Latin music."

Martha Reeves Takes L.A.: The "Queen Of Motown" Shares Memories Of Smokey Robinson, Her Solo Career & Finally Receiving A Hollywood Star

Following a two-year hiatus, the GRAMMY Museum and Recording Academy are reinstating the GRAMMY Hall Of Fame on its 50th anniversary. The momentous event will be celebrated with an inaugural gala and concert on Tuesday, May 21, at the NOVO Theater in Los Angeles; tickets and performers for the event will be announced at a later date. As part of the return, 10 recordings, including four albums and six singles, will be newly inducted into the GRAMMY Hall Of Fame later this year.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. Inductees are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final ratification by the Recording Academy's National Board of Trustees. There are currently 1,152 inducted recordings in the GRAMMY Hall Of Fame. View the full list GRAMMY Hall Of Fame past inductees.

This year, the GRAMMY Museum’s GRAMMY Hall Of Fame Gala will be the first of what will become an annual event, and includes a red carpet and VIP reception on the newly opened Ray Charles Terrace at the GRAMMY Museum, followed by a one-of-a-kind concert at the NOVO Theater in Downtown Los Angeles.

The inaugural gala and concert is produced by longtime executive producer of the GRAMMY Awards, Ken Ehrlich, along with Chantel Sausedo and Ron Basile and will feature musical direction by globally renowned producer and keyboardist Greg Phillinganes. For sponsorship opportunities, reach out to halloffame@grammymuseum.org.

Keep watching this space for more exciting news about the GRAMMY Hall Of Fame!

2024 GRAMMYs: See The Full Winners & Nominees List

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