Tonight, Oct. 16, the Recording Academy celebrated the lifelong contributions of an incredibly talented, prolific group of artists and music professionals during Great Performances: GRAMMY Salute to Music Legends. Those celebrated included musical icons and 2020 Lifetime Achievement Award honorees Chicago, Roberta Flack, Isaac Hayes, Iggy Pop, John Prine, Public Enemy and Sister Rosetta Tharpe. But that's not all!

Longtime GRAMMY Awards show producer Ken Ehrlich, GRAMMY-winning film composer Philip Glass and music executive Frank Walker also received warm honors as the 2020 Trustees Award winners. Studio speaker pioneer George Augspurger was recognized with the Technical GRAMMY Award and middle school band teacher Mickey Smith Jr. won this year's Music Educator Award.

The special, hosted by the golden-voiced Jimmy Jam, also featured appearances from Brandi Carlile, Cynthia Erivo, Leslie Odom, Jr., Chris Isaak, Jason Isbell, Amanda Shires, Cyndi Lauper, Earth, Wind & Fire's Philip Bailey, Sam & Dave's Sam Moore, Yola and Laurie Anderson, who each brought the honorees' music to life with moving tribute performances. 

The stellar performances and speeches were filmed safely from multiple locations, marking the first time the GRAMMY Salute to Music Legends has not been filmed in front of a live audience. In spite of the limitations, the unforgettable music and legacies of every honoree filled the program with plenty of shimmer, excitement and emotion. As Jam said during his opening segment, "Music is a source of solace and strength." Read on for a recap of the evening:

Roberta Flack

First up to perform was Nigerian-British GRAMMY, Tony and Emmy winning actor/singer Erivo, paying musical tribute to four-time GRAMMY-winning soul icon Flack. Erivo delivered a stunning, heartwrenching serenade of 1973 GRAMMYs Record Of The Year, "The First Time Ever I Saw Your Face." The tender love song was featured in Clint Eastwood's 1971 movie, Play Misty For Me, and gave the singer a wider fanbase.

"Roberta once said, 'See every opportunity as golden and keep your eyes on the prize, yours, not anybody else's,'" Erivo said before introducing her duet partner for the next song, fellow actor/singer and Flack fan, Odom, Jr. (of Hamilton fame).

The pair then sang another of Flack's GRAMMY-winning classics, "Where Is The Love," from the 1972 duet album with Donny Hathaway. Erivo and Odom, Jr. offered soul and chemistry—socially distanced, of course—from the famous Capitol Studios in Los Angeles. in Hollywood, Calif.

"Music is everything to me," Flack said during her acceptance speech. "Thank you for letting me into your hearts, and allowing my music it be a part of you. Together we have shared life's triumphs, sorrows, joys and dreams. All of it matters, each story in each heart. Challenge yourself to never give up."

Watch: Earth, Wind & Fire To Honor Prince With Their Version Of "Adore" For "Let's Go Crazy" Tribute

Chicago

Powerhouse singer Bailey of Earth, Wind & Fire—who took home their own Lifetime Achievement Awards in 2016—delivered the third epic cover of the evening: a soulful, romantic rendition of Chicago's GRAMMY-winning "If You Leave Me Now," complete with his iconic falsetto.

He was introduced by Chicago-born actor Joe Montanya, who also presented the award to the band's surviving members.

Sister Rosetta Tharpe

Born in Arkansas in 1915 into a family of gospel singers, cotton pickers and evangelists, Tharpe was the Godmother of Rock and Roll. Like so many pioneering Black women pushed to the margins of history, her impact on rock and gospel far exceeded the recognition she received during her lifetime. In recent years, Tharpe has finally started to earn more credit for her role in shaping a global sound—she directly influenced Elvis Presley and other revered male rock figures.

GRAMMY-nominated British soul/country singer/songwriter Yola delivered a rousing vocal performance of "Up Above My Head, I Hear Music In The Air" at the legendary Ryman Auditorium in Nashville. This was followed by amazing footage of Tharpe performing "Didn't It Rain" at a Manchester train station in 1964. From a church in Ireland, Rihannon Giddens presented her award to Tharpe's granddaughter Angela McCollum.

Iggy Pop

Before Detroit producer/bass player Don Was presented Michigan-born punk-rock icon Pop with his Lifetime Achievement Award, he interviewed punk/metal artist Henry Rollins about the influence the "Lust For Life" singer had on him.

"You simply couldn't take your eyes off him," Rollins noted, sharing his love for Pop's wild stage presence. The influential, ever-evolving singer accepted his award with gratitude for his fans, closing with a "punk on."

Read: Channel Tres Talks Honoring Isaac Hayes On EP 'Black Moses,' Healing With Music & Being A "Ghetto Savior"

Isaac Hayes

Next up for performances was 2019 Lifetime Achievement Award winner Moore, of soul duo Sam & Dave, who paid tribute to his friend and collaborator Hayes. The legendary "Black Moses" singer/songwriter/producer first began making his musical mark at Memphis' Stax Records in the '60s, where he wrote and produced a number of hits, including "Hold On I'm Coming," "Soul Man" and other memorable, successful records for Sam & Dave.

His deep musicality, legendary baritone vocals and soulful delivery made Hayes a successful solo artist as well. And with his GRAMMY- and Oscar-winning soundtrack/score for Shaft, he became the first Black person to win an Oscar in a non-acting role.

Moore sang a lively, joyful melody of Hayes-penned hits, filled with 100 percent soul: "I Thank You," "You Don't Know," "Soul Man," "You Got Me Hummin'" and "When Something Is Wrong With My Baby."

While introducing Moore, the evening's Emmy-winning music director Greg Phillinganes stated, "Isaac once said, 'There's many hurdles, so I just keep moving, just constantly redefining myself. That's how you stay in the race.' And he proved that quote well with his amazingly long career."

Hayes' award was accepted by his son Isaac Hayes III, who spoke to the connection between artist rights and racial equality, as well as the vital importance of voting.

Philip Glass

Baltimore-born Glass, one of the two 2020 Trustees Award recipients, has been composing and performing beloved operas, film scores, concert pieces and theater works for decades. Ever the expansive composer, he's also collaborated with major singer/songwriters like David Bowie and Paul Simon.

The next musical offering was delivered by Glass' longtime friend Anderson, an avant-garde artist, who played "Gee Whiz." They co-wrote the calming, experimental song together for a show at La MaMa theater in N.Y.C., in honor of Ellen Stewart, who founded the space in 1961. She accepted the award on her friend's behalf.

Frank Walker

The second Trustees Award recipient was Walker, a pioneering A&R executive at Colombia Records, born in rural New York in 1889. During his illustrious career, he discovered country stars Hank Williams, Bessie Smith and Blind Willie Johnson. He also temporarily left retirement to help launch MGM Records and sign Williams.

To celebrate Walker's contributions the music industry, crooner Isaak delivered a rendition of Williams' melancholic breakup anthem "Your Cheatin' Heart," from at RCA Studio A in Nashville with help from some talented friends.

Explore: From Aretha Franklin To Public Enemy, Here's How Artists Have Amplified Social Justice Movements Through Music

Public Enemy

In 1990, the epic protest anthem "Fight The Power" earned Public Enemy their first GRAMMY nomination, plus five more to date, as they continue to release hard-hitting, socially conscious music to this day. During their tribute, viewers saw the track's Spike Lee-directed music video (the Oscar winner famously requested the song for his classic 1989 film, Do The Right Thing).

The group's award was presented to them by fellow New York rap hero LL Cool J. "The record shows that Public Enemy have fought the power like no other group in history. On stage and off, Public Enemy were an undeniable and fearless force," he said.

During the acceptance speeches, we heard from all four original members Flava Flav, Chuck D, Professor Griff and Terminator X, the latter of whom spoke through the beats with a mini DJ set.

Mickey Smith Jr.

The 2020 Music Educator Award recipient was Smith, a teacher and bandleader at Maplewood Middle School in Sulphur, La., where he's taught for the last 15 years. He delivered a deeply moving, motivational speech, closing with, "To everyone that's watching, you have a sound. Let us be the sound to change the world."

George Augsburger

The 2020 Technical GRAMMY Award went to Augspurger, a longtime acoustician and pioneer in studio and speaker design. After 70 years in the industry, he's still designing custom monitors and studios and teaches a class in loudspeaker design at the University of Southern California. Jam presented the award to Augsburger.

Ken Ehrlich

Ehrlich, a.k.a. the creator of the GRAMMY Moment, produced his first GRAMMYs in 1980. There, the debut GRAMMY Moment happened between Barbra Striesand and Neil Diamond, who sang "You Don't Bring Me Flowers." He's also worked on the Emmys, GRAMMY Tribute specials and other award-winning variety and award shows.

To pay honor to the man behind so much GRAMMY magic, Lauper sang an acoustic version of "Time After Time," noting that it was his favorite song of hers. 

EGOT John Legend exuberantly presented the award to Erlich, explaining how his invitation to perform "All Of Me" on the GRAMMY stage in 2014 helped make the song a hit, his only No. 1 on the Hot 100. Erlich accepted his award with a big smile.

John Prine

Beloved Illinois-born singer/songwriter Prine was set to perform during the show before we sadly lost the folk/Americana hero to COVID-19 in April. 

To honor him, Nashville power couple Isbell and Shires sang Prine's 1980 song "Storm Windows." Their love for Prine is very personal—Isbell grew up loving his music from a young age and Shires toured with him.

Carlile, meanwhile, performed "I Remember Everything," the beautiful last song he wrote. Before singing, she told a cute story about the first time they performed together and how comforting and kind he was: "He was right, you can always trust John Prine. He also told us the truth with his whole life, and he tells us the truth even today."

Carlile presented Prine's award, which was accepted by his wife, Fiona Prine, who wore an "I am a voter" T-shirt, and sat with their three sons. The family offered appreciation for the award.

Check your local PBS listings to catch the show during an upcoming rerun. PBS members can watch it online and via the PBS Video app for the next four weeks.

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The Recording Academy has partnered with leading online learning platform Coursera on GRAMMY GO, a new online initiative to offer classes tailored for music creators and industry professionals.

This partnership empowers the next generation of the music community with practical, up-to-the moment digital content that provides wisdom for both emerging and established members of the industry. Continuing the Academy’s ongoing mission to serve all music people, courses cover a variety of specializations tailored to creative and professional growth. 

GRAMMY GO on Coursera includes courses taught by Recording Academy members, featuring GRAMMY winners and nominees and offers real-life lessons learners can put to work right away.

Starting today, enrollment is open for GRAMMY GO’s first Coursera specialization, "Building Your Audience for Music Professionals," taught by Joey Harris, international music/marketing executive and CEO of Joey Harris Inc. The course features Rock & Roll Hall of Fame inductee and five-time GRAMMY winner Jimmy Jam, 10-time GRAMMY nominee Janelle Monáe and three-time GRAMMY winner and the 2024 GRAMMYs Best New Artist Victoria Monét. This foundational specialization will help participants gain the skills, knowledge and confidence to build a strong brand presence and cultivate a devoted audience within the ever-changing music industry. 

The partnership’s second course, launching later this summer, aims to strengthen the technological and audio skills of a music producer. "Music Production: Crafting An Award-Worthy Song" will be taught by Carolyn Malachi, Howard University professor and GRAMMY nominee, and will include appearances by GRAMMY winner CIRKUT, three-time GRAMMY winner Hit-Boy, artist and celebrity vocal coach Stevie Mackey, five-time GRAMMY nominee and Recording Academy CEO Harvey Mason jr., and 15-time GRAMMY winner Judith Sherman. Pre-enrollment for "Music Production: Crafting An Award-Worthy Song" opens today.

"Whether it be through a GRAMMY Museum program, GRAMMY Camp or GRAMMY U, the GRAMMY organization is committed to helping music creators flourish, and the Recording Academy is proud to introduce our newest learning platform, GRAMMY GO, in partnership with Coursera," said Panos A. Panay, President of the Recording Academy. "A creator’s growth path is ongoing and these courses have been crafted to provide learners with the essential tools to grow in their professional and creative journeys."

"We are honored to welcome GRAMMY GO, our first entertainment partner, to the Coursera community," said Marni Baker Stein, Chief Content Officer at Coursera. "With these self-paced online specializations, aspiring music professionals all over the world have an incredible opportunity to learn directly from iconic artists and industry experts. Together with GRAMMY GO, we can empower tomorrow's pioneers of the music industry to explore their passion today."

GRAMMY GO also serves as the music community’s newest digital hub for career pathways and editorial content that provides industry insights for members of the industry; visit go.grammy.com for more. For information and enrollment, please visit the landing pages for "Building Your Audience for Music Professionals" and "Music Production: Crafting An Award-Worthy Song."

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While in a studio, Andrew Watt bounces off the walls. Just ask Mick Jagger, who once had to gently tell the 33-year-old, "Look, I can deal with this, but when you meet Ronnie and Keith, you have to dial it down a little bit."

Or ask Pearl Jam's Stone Gossard. "He really got the best out of [drummer] Matt [Cameron] just by being excited — literally jumping up and down and pumping his fist and running around," he tells GRAMMY.com.

As Watt's hot streak has burned on, reams have rightly been written about his ability to take a legacy act, reconnect them with their essence, and put a battery in their back. His efficacy can be seen at Music's Biggest Night: Ozzy Osbourne's Patient Number 9 won Best Rock Album at the 2023 GRAMMYs. At the last ceremony, the Rolling Stones were nominated for Best Rock Song, for Hackney Diamonds' opener "Angry."

On Pearl Jam's return to form, Dark Matter, due out April 19. Who was behind the desk? Take a wild guess.

"You want to see them live more than you want to listen to their albums, and they have the ability to look at each other and play and follow each other. I don't like my rock music any other way, as a listener," Watt tells GRAMMY.com. "All my favorite records are made like that — of people speeding up, slowing down, playing longer than they should."

As such, Watt had a lightbulb moment: to not record any demos, and have them write together in the room. "They're all playing different stuff, and it makes up what Pearl Jam is, and singer Eddie [Vedder] rides it like a wave."

If you're more of a pop listener, there's tons of Watt for you — he's worked with Justin Bieber ("Hit the Ground" from Purpose), Lana Del Rey ("Doin' Time" from Norman F—ing Rockwell) and much more. Read on for a breakdown of big name rockers who have worked with Andrew Watt.

Pearl Jam / Eddie Vedder

Watt didn't just produce Dark Matter; he also helmed Vedder's well-received third solo album, Earthling, from 2022. Watt plays guitar in Vedder's live backing band, known as the Earthlings — which also includes Josh Klinghoffer, who replaced John Frusciante in the Red Hot Chili Peppers for a stint.

The Rolling Stones

Dark Matter was a comeback for Pearl Jam, but Hackney Diamonds was really a comeback for the Stones. While it had a hater or two, the overwhelming consensus was that it was the Stones' best album in decades — maybe even since 1978's Some Girls.

"I hope what makes it fresh and modern comes down to the way it's mixed, with focus on low end and making sure the drums are big," Watt, who wore a different Stones shirt every day in the studio, has said about Hackney Diamonds. "But the record is recorded like a Stones album."

Where there are modern rock flourishes on Hackney Diamonds, "There's no click tracks. There's no gridding. There's no computer editing," he continued. "This s— is performed live and it speeds up and slows down. It's made to the f—ing heartbeat connection of Mick Jagger, Keith Richards, Ronnie Wood and Steve Jordan.

"And Charlie," Watt added, tipping a hat to Watts, who played on Hackney Diamonds but died before it came out. "When Charlie's on it."

Iggy Pop

Ever since he first picked up a mic and removed his shirt, the snapping junkyard dog of the Stooges has stayed relevant — as far as indie, alternative and punk music has been concerned.

But aside from bright spots like 2016's Josh Homme-produced Post Pop Depression, his late-career output has felt occasionally indulgent and enervated. The 11 songs on 2023's eclectic Watt-produced Every Loser, on the other hand, slap you in the face in 11 different ways.

"We would jam and make tracks and send them to Iggy, and he would like 'em and write to them or wouldn't like them and we'd do something else," Watt told Billboard. "It was very low pressure. We just kept making music until we felt like we had an album." (And as with Pearl Jam and Vedder's Earthlings band, Watt has rocked out onstage with Pop.

Ozzy Osbourne

You dropped your crown, O Prince of Darkness. When he hooked up with Watt, the original Black Sabbath frontman hadn't released any solo music since 2010's Scream; in 2017, Sabbath finally said goodbye after 49 years and 10 (!) singers.

On 2020's Ordinary Man and 2022's Patient Number 9, Watt reenergized Ozzy; even when he sounds his age, Ozz sounds resolute, defiant, spitting in the face of the Reaper. (A bittersweet aside: the late Taylor Hawkins appears on Patient Number 9, which was written and recorded in just four days.)

Maroon 5

Yeah, yeah, they're more of a pop-rock band, but they have guitars, bass and drums. (And if you're the type of rock fan who's neutral or hostile to the 5, you shouldn't be; Songs About Jane slaps.)

At any rate, Watt co-produced "Can't Leave You Alone," featuring Juice WRLD, from 2021's Jordi. Critics disparaged the album, but showed Watt's facility straddling the pop and rock worlds.

5 Seconds of Summer

When it comes to Andrew Watt, the Sydney pop-rockers — slightly more on the rock end than Maroon 5 and their ilk — are repeat customers. He produced a number of tracks for 5 Seconds of Summer, which spanned 2018's Youngblood, 2020's Calm and 2022's 5SOS5.

Regarding the former: Watt has cited Youngblood as one of the defining recording experiences of his life.

"I had started working with 5 Seconds of Summer, and a lot of people looked at them as a boy band, but they're not," Watt told Guitar Player. "They're all incredible musicians. They can all play every instrument. They love rock music. They can harmonize like skyrockets in flight. They just were making the wrong kind of music."

So Watt showed 5 Seconds of Summer a number of mainstays of the rock era, like Tears for Fears and the Police. The rest, as they say, is history.

Elton John

A year after Britney Spears was unshackled from her highly controversial conservatorship, it was time for a victory lap with the God of Glitter. What resulted was a curious little bauble, which became a megahit: "Hold Me Closer," a spin on "Tiny Dancer," "The One" and "Don't Go Breaking My Heart" that briefly launched Spears back into the stratosphere.

"Britney came in and she knew what she wanted to do," Watt recalled to The L.A. Times. "We sped up the song a little bit and she sang the verses in her falsetto, which harkens back to 'Toxic.' She was having a blast."

Blink-182

Watt has also worked with pop/punk heroes Blink-182 — but not after Tom DeLonge made his grand return. He produced "I Really Wish I Hated You" from 2019's Nine, back when Matt Skiba was in the band.

Where in the rock world will this tender-aged superproducer strike next? Watt knows.

Songbook: The Rolling Stones' Seven-Decade Journey To Hackney Diamonds

When Beyoncé announced her upcoming album, Cowboy Carter, with the drop of two distinctly country tracks, she broke both genre and barriers. Not only did Queen Bey continue to prove she can do just about anything, but she joined a long tradition of country music crossover albums.

Country music is, like all genres, a construct, designed by marketing companies around the advent of widely-disseminated recorded music, to sell albums. But in the roughly 100 intervening years, genre has dictated much about the who and how of music making.

In the racially segregated America of the 1920s, music was no exception. Marketing companies began to distinguish between "race records" (blues, R&B, and gospel) intended for Black audiences and hillbilly music (country and Western), sold to white listeners. The decision still echoes through music genre stereotypes today.

But Black people have always been a part of country music, a message that's gained recognition in recent years — in part because of advocacy work by those like Rhiannon Giddens, who plays banjo and viola on "Texas Hold 'Em," one of two singles Beyoncé released in advance of Cowboy Carter.

And since rigid genre rules' inception, many artists from Lil Nas X to Bruce Springsteen have periodically dabbled in or even crossed over to country music.

In honor of Beyoncé's foray, here are eight times musicians from other genres tried out country music.

Ray Charles — Modern Sounds in Country and Western Music (1962)

In 1962, the soul music pioneer crossed the genre divide to cut a swingin' two-volume, 14-track revue of country and western music.

Part history lesson and part demonstration of Charles' unparalleled musicianship, Modern Sounds in Country and Western Music covers country songs by major country artists of the era, including Hank Williams, Don Gibson, and Eddy Arnold. An instant success, the record topped album sales charts and was Charles' first atop the Billboard Hot 200 charts.

Ringo Starr — Beaucoups of Blues (1970)

The Beatles' drummer loves country music. Ringo Starr cut this album, which sounds like something you'd two-step the night away to at a honky tonk, as his second solo project. He was inspired by pedal steel guitar player and producer Pete Drake, who worked on George Harrison's All Things Must Pass.

With Drake's help, Starr draws out a classic honky tonk sound — pedal steel, country fiddle, and bar room piano — to round out the album.

Beaucoups includes a textbook country heartbreak song, "Fastest Growing Heartache in the West," a bluesy ramblin' man ballad, "$15 Draw," and a surprisingly sweet love song to a sex worker, "Woman Of The Night."

The Pointer Sisters — Fairytale (1974)

Remembered for their R&B hits like "I'm So Excited" and "Jump (For My Love)", the Pointer Sisters dropped "Fairytale," a classic country heartbreak song into the middle of their second studio album, That's A Plenty.

Full of honky tonk pedal steel and fiddle, the track earned the band a GRAMMY award for Country and Western Vocal Performance Group or Duo in 1975, beating out Willie Nelson, Kris Kristofferson, Bobby Bare, and the Statler Brothers; they were the first, and to date, only Black women to receive the award.

The same year the song came out, the Pointer Sisters also became the first Black group to play the Grand Ole Opry, arriving to find a group of protesters holding signs with messages like 'Keep country, country!'

Tina Turner — Tina Turns the Country On! (1974)

Also in 1974, Tina Turner cut her first solo album, Tina Turns the Country On!, while she was still performing with then-husband Ike Turner as the Ike & Tina Turner Revue.

Containing the seeds of the powerful, riveting voice she'd fully let loose in her long solo career after separating from her abusive husband, the album presents a stripped down, mellow Turner.

She covers songs like Kris Kristofferson's "Help Me Make It Through The Night" and Bob Dylan's "Tonight I'll Be Staying Here With You," and delivers a soaring rendition of Dolly Parton's "There Will Always Be Music."

Turner was nominated for a GRAMMY award for the album, but in Best R&B Vocal Performance, Female, category.

The Beastie Boys — Country Mike's Greatest Hits (1999)

This Beastie Boys cut only a few hundred copies (most reports say 300) of this spoof country album — reputedly conceived of as a Christmas present for friends and family, and never officially released.

Presenting the supposed greatest hits of a slightly dodgy, enigmatic character – Country Mike, who shares a name with band member "Mike D" Diamond — the album sounds like vintage steel guitar country. Think Hank Williams and Jimmy Rodgers with a dash of musical oddballs Louden Wainwright III and David Allen Coe's humor and funk.

Country Mike appears just briefly in the liner notes of the band's anthology album, The Sounds of Silence, (which also includes two of the album's tracks: "Railroad Blues" and "Country Mike's Theme"), as part of an alternate universe wherein Mike temporarily lost his memory when he was hit on the head.

"The psychologists told us that if we didn't play along with Mike's fantasy, he could be in grave danger," the notes read. "This song ('Railroad Blues') is one of the many that we made during that tragic period of time."

Cyndi Lauper — Detour (2016)

The "Girls Just Want To Have Fun" singer enjoyed herself thoroughly by deviating from her typical style with 2016's Detour.

Road tripping into country music land, Lauper covered country songs of the 1950s and 1960s, including Marty Robbins' "Begging You," Patsy Montana's "I Want to be a Cowboy's Sweetheart" and Dolly Parton's "Hard Candy Christmas" with guest appearances by Willie Nelson, Alison Krauss, Emmylou Harris, and Vince Gill.

Jaret Ray Reddick — Just Woke Up (2022)

It might be hard to imagine the Bowling for Soup frontman, known for teenage pop-punk angst hits like "Girl all the Bad Guys Want" and "Punk Rock 101" crooning country ballads.

But in 2022, under the name Jaret Ray Reddick, he cut his solo debut, Just Woke Up. Drawing inspiration from Reddick's native Texas, the steel guitar and twang driven album features duets with Uncle Cracker, Cody Canada, Frank Turner, and Stephen Egerton.

Self-effacing and personable as ever, Reddick heads off questions about the viability of his country music with the album's first track, "Way More Country," acknowledging the questions listeners might have:

"I sing in a punk rock band/ And I know every word to that Eminem song "Stan"/ And I've got about a hundred and ten tattoos / But I'm way more country than you."

Bing Crosby — "Pistol Packin' Mama" (Single, 1943)

Legendary crooner of classic Christmas Carols and American standards, Bing Crosby decided to try his hand at country music with his cover of Al Dexter's "Pistol Packin' Mama," the first country song to appear on Billboard's charts.

The song, which tells the story of a man begging his woman not to shoot him when she discovers him out on the town fooling around, has since also been covered by Willie Nelson, Hoyt Axton, and John Prine.

How Beyoncé Is Honoring Black Music History With "Texas Hold Em," 'Renaissance' & More

Ludwig Göransson's captivating composition for Oppenheimer has triumphed in the Best Original Score category at the 2024 Oscars.

Göransson's victory represents his exceptional talent and innovative approach to film scoring, as one of the youngest composers to ever receive the Best Original Score Oscar. It marks his second win in the category — he took home his first Oscar in 2019 for Black Panther. Göransson's work on Oppenheimer also won at the 2024 GRAMMYs for Best Score Soundtrack For Visual Media (Includes Film And Television).

Göransson's work stood out among the competition, going up against the scores of American Fiction, Indiana Jones and the Dial of Destiny, Killers of the Flower Moon, and Poor Things. His ability to convey deep emotional narratives and complex historical contexts through his scores has established him as one of the most innovative and sought-after composers in Hollywood.

Göransson's composition for Oppenheimer serves as the heartbeat of the movie, underpinning the film's exploration of the moral complexities and monumental impact of J. Robert Oppenheimer's work on the atomic bomb. Through his music, Göransson invites audiences into the internal and external conflicts faced by the "father of the atomic bomb," providing a sonic backdrop that is as thought-provoking as it is visceral.

Read more: Watch: Ludwig Göransson Discusses His GRAMMY Win For 'Oppenheimer' At The 2024 GRAMMYs 

The award was presented by fellow GRAMMY winners, Ariana Grande and Cynthia Erivo, who will star together in the Wizard of Oz big screen adaptation of the musical Wicked as Glinda and Elphaba respectively, premiering on the silver screen later this year. Speaking to the power of music to leave an indelible mark on the viewer through film, Grande said, "a great film score can leave a handprint on our hearts forever. It can ignite wonder and astonishment, make us feel sadness and longing and even transport us to new worlds." 

Göransson achieved just that. In his acceptance speech, Göransson thanked his colleagues,  and stars of the film for contributions to his distinctive vision. "Christopher Nolan, it was your idea to use a violin in the score and it allowed me to work and collaborate with my wonderful wife and acclaimed violinist, Serena Göransson," he said.

Göransson ended his speech by acknowledging his parents, "Thank you for giving me guitars and drum machines and not buying me video games." 

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