If you are still bummed that you were not one of the 200 lucky fans who got to be in the audience for the GRAMMY Museum's intimate conversation with K-pop wonderboys BTS on Sept. 11, there's a silver-lining in that grey cloud lingering over your head. And if you were there, you're also in luck – you get to relive the special night.

You have likely already seen the too-cute behind-the-scenes footage from the event, and now we are excited to share with you our favorite questions and answers from "A Conversation With BTS." The boys of BTS get in-depth with Scott Goldman, the museum's Artistic Director, about the creative process, breaking records, the responsibility they feel as artists, their special relationship with their fans, and more.

"That makes us think more about our responsibilities, how we should act, how we should make our music. So it makes us think more deeply about what we do, how responsible we should be about what we're doing, and the music we're making," Jungkook shares, referring to the success they have seen so far.

BTS: "Fans Gave Us The Wings That Allowed Us To Be Where We Are"

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

"Just dance," j-hope commands on his 2018 BTS solo track.

For the international sensation, that's what it's always been about: expressing himself through movement. Now, 11 years after the launch of the seven-piece group, j-hope takes a U-turn to where it all began, before his K-pop idol days, street dancing between his hometown, Gwangju, and Seoul, South Korea.

Out March 29, j-hope's new special album, Hope on the Street Vol.1, is a musical ode to dancing that boasts a "vibrant collection of six tracks spanning a diverse array of sounds and moods that showcase j-hope's musical prowess and depth." Like j-hope's global perspective of dance, the EP expands borders and sounds, featuring appearances from HYBE labelmate HUH YUNJIN of LE SSERAFIM as well as American stars Nile Rodgers and Benny Blanco.

The mini-album will also be accompanied by a docuseries of the same name, premiering on Amazon Prime Video on March 28. According to a press statement, the six-part project will "highlight j-hope's story and love for dancing as he begins a new journey."

Ahead of Hope on the Street Vol.1's arrival, take a look at how j-hope's origins inspired the project — from his enrollment in a local dance academy to songwriting with J. Cole on their 2023 single, "on the street."

Finding Purpose In Dance

Long before becoming a global superstar, j-hope (born Jung Ho-seok) first discovered his love for dancing on the playground.

"The school I went to had a dance lesson for 30 minutes in the morning. They would play a dance video, and we would copy it as exercise," j-hope recalled in a 2013 interview for the BTS Japan Fanclub magazine. "My friends around me would praise me, saying, 'You're really good!'"

Eventually, those recess workouts turned into a passion. J-hope began practicing moves at home and freestyling at local talent shows. By the sixth grade, he told his parents he was serious about it, enrolling him in Gwangju's Joy Dance Academy.

While at the Academy, j-hope also joined the underground dance crew, NEURON, building a reputation under the name "Smile Hoya." Though he hasn't participated in the troupe since his pre-BTS days, he still recognizes it as one of the most influential parts of his career.

He'll even honor the crew with Hope on the Street, which includes a track called "NEURON," featuring Gaeko and yoonmirae. He will also return to Gwangju in the closing chapter of the docuseries.

It's not the first time j-hope shouted out Gwangju, either. His 2019 collab with Becky G, "Chicken Noodle Soup," paid tribute to his beloved upbringing: "From Gwangju, one gang of you-know-what/ Geumnam Chungjang Street, that's my Harlem." (The same track also foreshadowed his latest release: "Hope on the street, now it's my own way.")

Forging A New Life In Music With BTS

J-hope continued to have a diligent mindset as a trainee at Big Hit Entertainment. But as revealed in BTS' 2018 docuseries, Burn the Stage, training and dieting became emotionally and physically tolling. At one point, j-hope even considered leaving the group.

"I couldn't do things I wanted to do," he revealed during a 2021 You Quiz on the Block segment. "To be honest, I wanted to play games. I want to go out and hang out. I wanted to stay with my family. I had to give up a lot of things from that perspective."

The stress became so intense that he bought a one-way ticket to Gwangju. But ultimately, the brotherhood and love of music he formed with BTS gave him the courage to return: "I came back because I trusted you," j-hope recounted.

And they trusted him, too: "I told [Big Hit] that we needed Jung Ho-seok. We couldn't debut without him," RM responded. Meanwhile, Jung Kook delivered a tearful speech to encourage him to stay with the band.

The longer he stayed, the more j-hope began to love other sides of music, like producing and songwriting. Now, he has become one of the main writers for the group's tracks, alongside RM and Suga, and has co-penned all of his solo projects, including Hope on the Street.

Spreading His Wings With Two Full-Length Solo Projects

After nearly 10 projects with BTS, j-hope delivered his debut mixtape, Hope World, in March 2018.

"My fantasy had always been making a music video and performing with the music I had created. I wanted to put my own story to music and share it with the world," he told Time magazine upon Hope World’s release.

It's an introduction to j-hope the artist, inviting listeners to step into Hope World, a colorful kaleidoscope of different cultures and styles — something that has also been a key part of his dance journey.

Though, j-hope still wanted to dig deeper into his artistry. He developed his sound, becoming more vulnerable in his lyricism on tracks like 2020's "Outro: Ego." By 2022, he was ready to drop his first studio album, Jack in the Box.

Where Hope World showcases j-hope's dance performance, Jack in the Box highlights "my artistry in music." But Hope on the Street paints the full image of the phenom — part musician, part dancer.

Laying The Groundwork With "On The Street," Featuring J. Cole

One of j-hope's earliest musical influences was J. Cole. The rapper inspired j-hope's stage name and the title of his mixtape, which pays homage to 2011's Cole World. In 2022, j-hope honored Cole with "Born Singer," the BTS re-write of Cole's "Born Sinner." So, a celebratory meeting was in order when they were both scheduled to perform at Lollapalooza (where j-hope made history as the first Korean soloist to headline).

"[He's] my idol," j-hope said to Variety in 2023. Since they met, he "couldn't stop thinking about how great it would be if we could make music together." He reached out to J. Cole, and "on the street" was born.

As j-hope told Variety, the "street" concept became a metaphor for life: "The street is a place where people can actually encounter and feel real lives of people: a child's innocent mind; first encounter with someone and falling in love; someone in an urgent moment;" and so much more. It's the place where he learned to love dance — and where he grew a love for music and artists like J. Cole, who called their collab "a blessing" in the behind-the-scenes footage.

And thus, "on the street" became the springboard for his forthcoming project, Hope on the Street.

Unveiling A Docuseries And A Multi-Part Project

By the tail end of 2023, each member of BTS had enlisted in mandatory military service. But even during the septet's hiatus, j-hope managed to serve up a surprise announcement of Hope on the Street on Feb. 17 with a fitting montage of dance videos.

The joint docuseries and album follows j-hope's journey of self-discovery, accompanying his former instructor, Boogaloo Kin, as they dance their way through the streets of Osaka, Seoul, Paris, New York, and his hometown while meeting other dancers.

"Hope on the Street, my roots, the most important part of my life. This is how j-hope danced. I wanted to share this story with you," he said in an interview for the documentary.

After years of breaking records and making history as a member of BTS, it was "a chance to look back on my life," he explained in another trailer. "I realized the answer was in song and dance."

Culminating j-hope's skills in both art forms, Hope on the Street is a love letter to everything that's made him who he is today — and proof he'll never forget it.

6 Takeaways From 'BTS Monuments: Beyond The 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