meta-scriptChicano Batman Talk Creating Visibility For 'Invisible People,' Representation Of Latinos In Media & Repping Los Angeles | GRAMMY.com
Chicano Batman Talk Creating Visibility For 'Invisible People,' Representation Of Latinos In Media & Repping Los Angeles

Chicano Batman

Photo: George Mays

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Chicano Batman Talk Creating Visibility For 'Invisible People,' Representation Of Latinos In Media & Repping Los Angeles

The beloved L.A. psych/soul rock band dive deep into their powerful, danceable fourth studio album, 'Invisible People,' identity, racism and what the West Coast city means to them

GRAMMYs/Sep 4, 2020 - 11:25 pm

There is real power in music that gets you dancing, feeling joy and thinking about critical human issues. That is exactly what Chicano Batman's music does—drawing you in with their groovy bass lines, warm and soulful vocals and all-around funky, sun-soaked instrumentation and aesthetic. With their fourth studio album, Invisible People, released May 1 on ATO Reords, they double-down on the funkiness and deliver their most powerful, rhythmic project yet.

Founded in 2008 in Los Angeles, the four-piece embodies the true beauty, creativity and diversity of the city they call home. Since the release of their self-titled debut album in 2010, the band has brought their infectious energy and vibrancy to countless shows and festivals through Southern California, the U.S. and abroad, with a (typically) active tour schedule.

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With their 2020 tour with Le Butcherettes put on hold until 2021, the group has stayed busy with virtual appearances on "The Late Show With Stephen Colbert," NPR's Tiny Desk, KEXP and more. They've also stayed engaged with their community despite quarantine, offering youth music workshop livestreams with the Young Musicians Foundation and a delicious fundraising taco at L.A.'s HomeState.

In conversation with GRAMMY.com, Bardo Martinez (lead vocals, keyboard and guitar), Carlos Arévalo (guitar), Gabriel Villa (drums) and Eduardo Arenas (bass) dive deep into the creative process and meaning behind their latest album. They get real about identity, racism and representation, and the marinization they have experienced as Latinos in the indie-rock space.

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You guys dropped the fourth Chicano Batman album, Invisible People, just back in May. What was the creative process like on this album? How long were you guys working on it?

Villa: A few years?

Arévalo: [Laughs.] A few years. Yes. That's it.

Villa: A few years. Next question. [Everyone laughs.]

Arévalo: Maybe 14 months.

Villa: We had to go on tour, so, we had to stop a little bit. We had writing sessions, but we basically started in 2018.

Arenas: In 2018, we talked about different ideas we wanted to introduce to the new record, and we did a lot of demos. At the end we chose 12 songs. Everybody kicked in on this one and helped develop it, where in the past the Bardo wrote the majority of the songs. This time Carlos was kicking in stuff, Bardo was kicking in stuff. I would join up forces with them and throw in stuff. There were all these different combinations of things that happened that we had not explored in the past.

Martinez: Recording was a big part of it, us using our home studios to record stuff and vibe that way.

Villa: Carlos, talk a little bit about that moment where you came into rehearsal and you were like, "Guys, I know we have to do this album, but wait listen!" [Everyone laughs.]

Arévalo: I had my own little idea of what I thought the record should be in terms of a theme or a direction. That's something I would keep to myself on the past records and then just have my own personal goals for my instrumentation. But this time I shared it aloud to the group. That's choppy waters you can get into because you're asking a drummer to play drums a certain way or a singer to sing a certain way. Well, it's more recommending or showing examples of like, "Hey, could we try it this way this time and see how that goes?" That was a vulnerable place to be. But I've known these guys for so many years, it was time for me to be real with them and hope for the best.

They were receptive, everybody needed a little bit of time at first to just take it in. Once we started trying out these ideas, everybody else started bringing in other stuff they'd been wanting to try before, but maybe never thought this was the project to do that. So, I got the juices flowing creatively for everyone. It was cool.

Martinez: Yeah, this record was a lot of push and pull, as it's always been with our music. It's four dudes in a band, so everybody's pushing for whatever ideas they had in their head. I mean, Carlos was pretty straight forward. He was like, "Well, we should make something we could dance to, danceable music." It was a great idea. It brought us into the late '70s and '80s in terms of aesthetics, in terms of sound—it was new territory for me. It was a lot of fun. It's a dope realm that we eventually got to.

Villa: It was definitely fun to create. The whole process was just fun, fun, fun, and a lot of communication. We learned a lot. We're always inspired and happy to be working with the team so it really, really paid off. You can hear it in the music. If you compare the Chicano Batman discography, you really hear that this album is so different from the rest. It definitely has that element of dancing—for the first time we're doing a lot of 16-notes. [Mimics fast drum beat.]

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Carlos, that idea you came in with, was it "dancing" music or something else?

Arévalo: I had started a little DJ night as an excuse to play records that I was collecting on the road with being on tour—you hit up shops in Michigan and you find amazing 45s that are just so overpriced in L.A. or that you can't even find them. I was playing once a month at bars and exploring what music has that universal appeal to people, that makes them want to get up and move or sing along. It's a cool way to experience music when you have the sound system at your behest. I was controlling the PA and it's bumping, I could control the bass. I could see what was going on from the mixer. That inspired me.

There's so many 45s that I love. I would play stuff like Talking Heads' "Naive Melody," Tom Tom Club. I'd play Prince's "Erotic City," that '80s music that had amazing songwriting appeal, but simultaneously were hit records. I feel that doesn't go hand-in-hand all the time anymore. Now, you have writers that get together to make a song sound exactly like this other song so it can be a hit and make money. It's about capitalism and it's about getting that publishing. Back then, it was more so you can make an art piece that was also danceable. It was really appealing and inspirational to me.

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When did you finish the album? Since you were working on it on and off, was there a period of time where you huddled up and finished all of it?

Arévalo: Yeah, so we started writing the record, like they said, in January 2018. And then we demoed it when we could and we started amassing demos amongst all of us. We had little sessions in between touring and we finally started recording the album in February 2019 at Barefoot Recording, which used to be called Crystal Industries. It's where Stevie Wonder recorded one of his epic '70s trilogy albums, Songs in the Key of Life, those amazing records where he found his synthesizer voice. So many hit records were made there. Sly Stone worked out of there and George Clinton. So, we made Invisible People there for two weeks and then Bardo flew to New York for another two weeks to do vocals and some overdubs. Then we had to wait a year to put it out.

Martinez: Well, it got mixed and we put all the music together. Leon Michels produced it. He definitely put his hand in the sound of it. He's an amazing producer [he's also worked with Lee Fields, Aloe Blacc, The Carters and others] and has an amazing hip-hop sensibility. He knows how to make everything knock. He definitely added some amazing vibes, and then he passed it over to [five-time GRAMMY winner] Shawn Everett who mixed it. So, that was the whole next process of, "okay, well he got the music" and we were in the dark for a week or month or so.

Once we received it, I'm telling you, for me, the summer of 2019 was lit, 'cause it was just blazing, f****ing listening, bumping that in my car. I had just moved into this house that I live in now. It was amazing. Imagine, you move into a new house and you're playing a new record. I had my friends over and it was amazing. It was perfect.

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The title track, "Invisible People" is really powerful and very pertinent to this moment we're in right now—calling out racism. Can you speak to the message behind this song and how you feel that it informs the rest of the album?

Marinez: We came up with a thesis statement, which was the title itself. Carlos was like, "How about we write a song about how the marginalization of Latinos?" "Invisible People"—for example, not being noticed in the indie music world or being on tour and feeling marginalized just entering spaces like the liquor store in Tennessee. That was one piece of it.

I started tackling different pieces in different verses, and I only have three verses. I wanted to make sure that whatever I was saying was going to be very strong and very poignant, straight to the point. I didn't have time to cut corners, so I was going to be direct with it. I wanted it to be as strong as possible because the music was set up that like that. We went into the studio and that song was [originally] a little bit faster and Leon suggested we slow it down. The instrumentation is super sparse. The beat is heavy, the bass drops on the kick in the perfect place. The music is there for the vocal to just shoot out.

I approached every verse as a different thing. My first line is, "Invisible people, we're tired of living in the dark. Everyone is trying to tear us apart." So, it's obviously pointing at some type of marginalization. It's not necessarily specific. The second line—"smoke a spliff so I could feel now"— I don't even smoke spliffs by the way, I like joints, but it was a homage to maybe Bob Marley or something I knew a lot of people were going to relate to. Something edgy, something cool. The next verse is about race, "The truth is we're all the same. The concept of race was implanted in your brain." I definitely wanted to call that out, race as a construct pretty much.

Also, just to challenge all of that because as a band, as, we're Chicano Batman. We decided to use this name, which has its own meanings as a Chicano, as an identity. I don't know if that's problematic, but it's going to challenge norms within our own community, and also in the superstructure status quo. That's the more obvious knot.

Also, anybody could be invisible in society. It wasn't "Just Latinos are invisible or just people of color." The privilege that White people have in this country is not good for them. When they walk onto the street, into the supermarket, there's a lot of psychological weight to all that history, to alter that reality which is based upon history, decades and centuries of oppression, that White people really have to deal with as well. Everybody, regardless of who you are, if you're living in a city, if you're living in society, you're a part of it. You're complicit in it. You're subjugated by it. People don't necessarily talk about it like that on Instagram. People on Instagram are just pointing fingers at each other. So, that's really not the goal of it. The goal is to be like, "Yo, the truth is we're all in this together." It's not some "We Are The World" shit. It's also, "This record is fire, we're spinning the world around you. We got this record, we're ready to tour and do it big." It's all those things wrapped into one.

Arenas: Piggybacking off what Bardo said about Instagram, they're probably not saying that on Instagram because White cops are too busy killing Black people and shooting them in the back. That's a reality that White privilege has led to, it's not only capitalism, but genocide. That's also what we have to live with today. Not only with religion, but with the way communities are divided, with the way we think, with our mental health as a people, with our communities and the disinvestment in them and the lack of education and resources. This is all very implicit and designed to be this way, to lack people of color of the resources while the few good resources go to the top. That's the system that we've been living under here in the United States for a very, very, very long time.

I think for me, "Invisible People" has a very open open-ended meaning, it's a very big concept, and I think it can definitely be understood differently in 10 years, in 30 more years, et cetera. But right now, to me, it speaks so much about the murder of innocent people, invisible people, who are our family members, our voices, our activists. They're actors of change in our society, the heroes. So, to me, we need to put some extra highlight on that at this moment right now.

Arévalo: For me, the idea for the song was explicitly about people of color and the struggle we've endured. I don't know how many bands GRAMMY.com has interviewed where they get pulled over by border patrol in Florida for driving in a tour van, but that's our experience. I don't know how many indie rock bands have gone through that. Dealing with stuff like that was in my mind when bringing up the idea of the song, and the lack of representation we see of Latinos in the media, you don't see us with parts of substance in movies or TV shows. It's always cliched, and it makes me sick, because we're multi-dimensional. We are more than caricatures.

So, that was part of the idea. Also, just tongue-in-cheek like, "Do you see us now? Here we are, this is our record. Will you acknowledge us yet?" Because there has been a hump of, people keep saying, "Chicano Batman is breaking through with this record, this rising band." And every time we put out a record, we're always this new band that's coming out of nowhere. So, it's a critique on that and how the status quo in the media views us.

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You've said "Color my life," which opens the album, is about experiencing nature versus being stuck in the city. Was there a specific experience, feeling or place that inspired this song?

Martinez: That's the first time somebody asked me where, what's the location. I appreciate the question. Honestly, it's Oakland. I lived in Oakland for a year and a half. That was the first thought, literally what I was thinking about when I was writing those verses. I had some lyrics that were taken out too. During the chorus, "You've got to color my life..." I had something about birds. Anyways, Oakland was definitely the place.

Do you feel now when you perform "Color my life" now, especially in a virtual setting like on the NPR's Tiny Desk, do you feel it has taken on new meaning?

Martinez: I'll be honest, it's hard for me to connect with the virtual stuff. It's difficult. I'm a little numbed by the whole virtual reality experience. But what's the new meaning? I just went to the forest recently, to Mammoth for four days with my family. I needed to do that. Honestly, it's been a long time since I've actually gone camping or anything that because of doing the music thing and touring. This pandemic has given me the opportunity to do some of that. I want to do it more often because it's the most freeing thing, just to be out in nature, it's fantastic.

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"L.A. is what I carry with me all the time... It's what I try to represent in my music, at least respective to the instrument that I play and the swagger I input and the way I want people to move. We want them to feel that this is the way L.A. moves you, when we're in Germany, Brazil or France. It doesn't matter where, it's rooted in L.A. and L.A. is international because our roots are deep." -Eduardo Arenas

As a Los Angeles band, what does the city mean to all of you?

Arévalo: It's a forever home for me. My dad immigrated from El Salvador and lived in an apartment complex in Hollywood and went to Hollywood High, which I can't even imagine—what a dichotomy that must have been. My mom is third generation Mexican-American, so her family's been here since the '20s and they all have roots and stories that come from L.A. It's always been a big part of who I am and where I come from. I still have family that lives out there and also family that lives in L.A. It's an important part of my identity.

Villa: For me, L.A. feels like home. I come from very far away. I was born and raised in Colombia and I've traveled around the world. I had the opportunity and was so lucky to able to go to Europe and live there before coming to the United States. I lived over there for many years. Coming to L.A. straight from Toulouse, France was a big cultural shock for me, learning all these new set of laws and lifestyles. And there's a lot of things I probably will never understand, like the freeway, but L.A. is special, it has so much, it's a place for everyone. I feel it's a big blender and that's something that I like about this city. When I was in France and went to Paris and rode the Metro and saw all these different cultures together, I was like, "This is good. I want to live in a city this."

And I ended up living in L.A., and you have the same feeling just like riding on a Metro in Paris. It's like a dream and every day I'm learning something new. There's a lot going on here in terms of opportunities and work, especially music and media. It's crazy. I'm super glad and lucky to have found my brothers here. The band has embraced me as a Chicano, as a brother, and that's the world for me. Yes, I feel home.

Arenas: I'm born and raised in L.A., I'm from the generation of kids that used to walk to the market and get a gallon of milk and a pack of tortillas. That's how I grew up. I used to sell flowers in the street on Mother's Day and Valentine's Day. We used to sell fruit and vegetables that we'd get, extras from the produce market in downtown L.A. and resell them on the streets. L.A. is me.

I grew up with Hollywood movies and TV shows, all this '80s and '90s action stuff—the vanity that comes with that. And the vision of wanting to be something else that also comes with that. Like Carlos was saying, there's no representation of Latinos on TV, especially when you're growing up in the '80s and '90s, only dumbasses or a donkey mother****ers. Or some, "arriba, arriba" type shit, which we tossed around as culture when we were kids because we don't know better. But, in a lot of places in the country, they still perceive it like that.

L.A. is what I carry with me all the time, even when I lived in Brazil and Panama. It's what I try to represent in my music, at least respective to the instrument that I play and the swagger I input and the way I want people to move. We want them to feel that this is the way L.A. moves you, when we're in Germany, Brazil or France. It doesn't matter where, it's rooted in L.A. and L.A. is international because our roots are deep. Our roots go way back, they're not just bounded to the streets and these grids and these traffic lights, they go down really deep to communities in Mexico, at least for me. I think that's what I can offer.

Martinez: I grew up in La Mirada, Calif., it's a suburb [in L.A. County]. My dad came to Santa Ana, Calif. with his grandma in the late '60s. My mom came to Orange County in the early '80s from Cartagena, Colombia. They established the family. I was the first one to come out and there's only two of us. We moved to La Mirada and lived in some apartments over there for a while, and then they bought a house. Parks and beaches were part of my family's recreational activities. I look at L.A. as a massive region as a county, not just a city.

And to be honest, I'm infatuated by its natural beauty, these hills, the mountains, the wildlife, the ocean. I think of things like, "Wow, I can see the sunset over the oceans horizon because I'm facing directly west" in Redondo Beach. And conversely, the sun sets over the mountains when I'm in Long Beach because I'm facing south. After so many years I can visualize the panorama from various points in relation to the map. Although I navigate L.A.s streets and highways, I'd rather be on a bike, traveling at the speed of my own will, heading in whatever direction without so much regard to traffic or signals. I guess I try to feel the region I live in, as opposed to think of it in the confines of the names and boundaries, that actually don't exist.

What key things do you think are necessary for L.A. to become a place where all of its residents are celebrated and able to thrive?

Martinez: I think it's necessary for people to open their minds, drop the judgement. I feel like traveling definitely helped me see and feel things differently.

"For me, I'd say that following your heart can work!... I'm still marching to the beat of my own drum, because that's what I know how to do, and that's what makes whatever I do unique." -Bardo Martinez

It's been a decade since the band's debut—what have you learned about yourself as artists and as humans since then?

Martinez: For me, I'd say that following your heart can work! I've pursued music for aesthetic reasons, never really thinking about the markers of success, not to say those aren't necessary.

And I'm still marching to the beat of my own drum, because that's what I know how to do, and that's what makes whatever I do unique.

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10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams
(L-R) boygenius, Taylor Swift and Jack Antonoff at the 2024 GRAMMYs.

Photo: Kevin Mazur/Getty Images for The Recording Academy

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10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

The 66th Annual GRAMMY Awards wrote another monumental chapter in music history with returns from legends like Celine Dion and wins by a promising new generation of artists like Victoria Monét.

GRAMMYs/Feb 5, 2024 - 08:35 pm

Just like that, another GRAMMYs has come and gone — but the 2024 telecast brought many moments that will be immortalized in pop culture history.

It was the evening of legends, as Billy Joel and Tracy Chapman returned to the stage for the first time in decades and Joni Mitchell made her debut with a performance of her 1966 classic, "Both Sides, Now." Stevie Wonder and Celine Dion honored greats, both those we've lost and those who are dominating today. And Meryl Streep had two memorable moments at the show, making a fashionably late entrance and getting a hilarious GRAMMY lesson from Mark Ronson.

But it was the younger generation of artists who ultimately dominated the show. Boygenius — the supergroup of Phoebe Bridgers, Lucy Dacus, and Julien Baker — won numerous awards in the Rock, Metal & Alternative Music Field. Billie Eilish and SZA scooped up a couple more golden gramophones, respectively, and Best New Artist winner Victoria Monét celebrated three wins in total, also winning Best R&B Album and Best Engineered Album, Non-Classical.

Taylor Swift built on the momentum of her colossal year with more GRAMMY records and an unexpected announcement of her next studio album.

Check out the full list of winners here, and take a look at our top 10 highlights from another show-stopping installment of the GRAMMYs below.

Boygenius Run To Accept Their First GRAMMY Award

Boygenius won the first trophy of their careers during the Premiere Ceremony, and they were so ecstatic they sprinted through the crowds to get to the stage.

"Oh my God, I want to throw up," Lucy Dacus said as the group accepted their Best Rock Performance trophy for "Not Strong Enough."

Even though the trio was over the moon, they weren't entirely shocked by their win: "We were delusional enough as kids to think this would happen to us one day," she continued. Phoebe Bridgers would sing at a local Guitar Center "in hopes of getting discovered," while Julien Baker dreamed of performing in stadiums as she played in multiple bands, and Dacus has been perfecting her acceptance speech for years.

Their hard work was manifested three times over, as the trio also won Best Rock Song for "Not Strong Enough" and Best Alternative Music Album for the record.

Killer Mike Makes A Clean Sweep

Killer Mike had the largest GRAMMY night of his career, winning all three of the Rap Categories for which he was nominated: Best Rap Performance and Best Rap Song for "SCIENTISTS & ENGINEERS," and Best Rap Album for MICHAEL.

"I'm from the Southeast, like DJ Paul, and I'm a Black man in America. As a kid, I had a dream to become a part of music, and that 9-year-old is very excited right now," he cheered. "I want to thank everyone who dares to believe art can change the world."

Minutes after his sweep, the LAPD detained the Run the Jewels rapper. However, he was released and still able to celebrate his achievements, Killer Mike's lawyer told Variety.

Miley Cyrus Finally Receives Her "Flowers"

Miley Cyrus entered the GRAMMYs with six nominations for her eighth studio album, Endless Summer Vacation. After she won Best Pop Solo Performance for "Flowers," she delivered a jubilant performance in celebration. "Started to cry, but then remembered, I just won my first GRAMMY!" she exclaimed at the song's bridge, throwing her hands in the air and joyfully jumping around the stage.

Cyrus' excitement brought a tangible energy to the performance, making for one of the night's most dynamic — and apparently one of Oprah Winfrey's favorites, as the camera caught the mogul dancing and singing along.

"Flowers" earned Cyrus a second GRAMMY later in the night, when the No. 1 hit was awarded Record Of The Year. 

Tracy Chapman Makes A Rare Appearance

Luke Combs breathed a second life into Tracy Chapman's "Fast Car" when he released a cover of the track in April 2023. He quickly climbed to the top of the Billboard charts and received a nomination for Best Country Solo Performance at this year's show. Of course, it called for a special celebration — one that was meaningful for both Combs and GRAMMYs viewers.

Chapman joined the country star on stage for her first televised performance since 2015, trading off verses with Combs as he adoringly mouthed the words. The duet also marked Chapman's first appearance on the GRAMMY stage in 20 years, as she last performed "Give Me One Reason" at the 2004 GRAMMYs. (It also marked her second time singing "Fast Car" on the GRAMMYs stage; she performed it in 1989, the same year the song won Best Pop Vocal Performance, Female and Chapman took home three awards total, including Best New Artist.)

Naturally, Chapman's return earned a standing ovation from the crowd. As Combs fittingly put it in an Instagram post thanking the Recording Academy for the opportunity, it was a "truly remarkable moment."

Read More: 2024 GRAMMY Nominations: See The Full Winners & Nominees List

Joni Mitchell Takes The GRAMMY Stage For The First Time At 80

In one of the most emotional parts of the night, Joni Mitchell performed on the GRAMMYs stage for the first time in her nearly 60-year career.

Accompanied by Brandi Carlile — who referred to Mitchell as "the matriarch of imagination" before the performance — Lucius, SistaStrings, Allison Russell, Blake Mills, and Jacob Collier, Mitchell sang a touching rendition of "Both Sides Now."

"Joni is one of the most influential and emotionally generous creators in human history," Carlile  added in her introduction. "Joni just turned 80, my friends, but we all know she's timeless!"

Mitchell also won her 10th golden gramophone at the 2024 GRAMMYs, as her live album Joni Mitchell at Newport was awarded Best Folk Album at the Premiere Ceremony.

Stevie Wonder Salutes The Late Tony Bennett, Duetted By His Hologram

Another heartfelt moment came during this year's In Memoriam segment, when Stevie Wonder memorialized his friend, Tony Bennett, who passed away from Alzheimer's disease in 2023.

"Tony, I'm going to miss you forever. I love you always, and God bless that He allowed us to have you in this time and space in our lives," Wonder proclaimed. Thanks to a hologram of Bennett, the two singers could duet "For Once in My Life" one last time.

This year's tribute also saw Annie Lennox covering Sinéad O'Connor's "Nothing Compares 2 U," Jon Batiste's medley of Bill Withers' hits, and Fantasia's reimagining of Tina Turner's "Proud Mary."

Meryl Streep Gets Educated On Album Vs. Record And Single

Meryl Streep joined Mark Ronson — who happens to be her son-in-law — to announce the Record Of The Year winner, which sparked a funny interaction between the two when Streep thought she was announcing Album Of The Year.

"A record is an album!" Streep confidently declared, only for Ronson to give a quick 101 on the difference between Record, Song, and Album Of The Year.

"It's a really important award, and it's an award that recognizes everything that goes into making a great record — the producers, the recording engineer, and the artist, and all their contributions," Ronson explained of Record Of The Year.

"It's the Everything Award! It's the best," Streep smiled.

Celine Dion Surprises The World With A Special Cameo

Before the GRAMMYs commenced, producer Ben Winston told viewers they would be in for a treat because of a surprise presenter for the final award of the night, Album Of The Year. "They are an absolute global icon. I think jaws will drop to the floor. People will be on their feet," he shared.

It was none other than Celine Dion, who has largely been out of the limelight after her stiff person syndrome diagnosis.

"When I say that I'm happy to be here, I really mean it with my heart," Dion said. "It gives me great joy to present a GRAMMY award that two legends, Diana Ross and Sting, presented to me 27 years ago."

Dion is referring to her Album Of The Year win at the 39th GRAMMY Awards in 1997, when her smash LP Falling Into You won the honor. 

Taylor Swift Breaks The Record For Most AOTY Wins

It was a historic night for Taylor Swift in more ways than one.

She began the evening by winning her 13th GRAMMY for Best Pop Vocal Album for Midnights. To commemorate the milestone (13 is her lucky number), Swift announced her 11th studio album, The Tortured Poets Department, arriving on April 19.

She ended the evening with a coveted fourth Album Of The Year win, which made Swift the artist with the most AOTY nods in GRAMMY history.

"I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song or crack the code to a bridge that I love or when I'm shot listing a music video or when I'm rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show," she said. "The award is the work. All I want to do is keep being able to do this."

Billy Joel Serves Double GRAMMY Duty

After Swift's momentous win, Billy Joel ended the ceremony with a feel-good performance of his 1980 single, "You May Be Right." Along with being a rousing show closer, it was also his second performance of the night; Joel performed his newest offering, "Turn the Lights Back On," before Album Of The Year was announced.

Joel's performances included three firsts: It was the debut live rendition of "Turn the Lights Back On," his first release since 2007, and the performances marked his first time playing on the GRAMMYs stage in more than two decades. It was a fitting finale for a history-making show, one that beautifully celebrated icons of the past, present and future.

A Timeline Of Taylor Swift's GRAMMYs History, From Skipping Senior Prom To Setting A Record With 'Midnights'

Here's What Happened At The Black Music Collective’s Recording Academy Honors 2024 GRAMMY Event Celebrating Mariah Carey & Lenny Kravitz
Mariah Carey accepts the Global Impact Award during the Recording Academy Honors presented by the Black Music Collective

Photo: ROBYN BECK/AFP via Getty Images

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Here's What Happened At The Black Music Collective’s Recording Academy Honors 2024 GRAMMY Event Celebrating Mariah Carey & Lenny Kravitz

The power of staying true to yourself was at the center of the 2024 GRAMMY Week event. Honorees Mariah Carey and Lenny Kravitz were lauded by colleagues and performers, including Stevie Wonder, Quavo, Babyface and Andra Day.

GRAMMYs/Feb 3, 2024 - 08:34 pm

On a wet but buzzing Thursday evening ahead of the 2024 GRAMMYs, leading lights in the music industry gathered for the third annual Recording Academy Honors Presented By The Black Music Collective. Along the event's black carpet, stars and industry insiders were showing out — taking photos, reconnecting with friends and collaborators, and chatting with the press. 

The official 2024 GRAMMY Week event was held Feb. 1 — the first day of Black History Month — at the Fairmont Century Plaza in Los Angeles and was sponsored by Amazon Music and City National Bank. Each year, BMC presents its Global Impact Award to legendary musicians advancing the culture, and 2024’s honorees Lenny Kravitz and Mariah Carey, loomed over the entire evening before they'd even arrived.

Flava Flav, sporting his patented clock necklace, was also hyped about the evening. "It means everything to be at the GRAMMYs tonight. This is big," Flav told GRAMMY.com. The rapper then spoke about the two transcendent stars being honored. "I feel real big about the honorees. Mariah Carey, always been proud of her and I love her songs…Lenny Kravitz is my dude. That’s my man. So congratulations Lenny!" 

The significance of the event was felt from the first foot set on the black carpet. Afrobeats star Fireboy DML weighed in on the importance of the night. "I’m honored. It feels good. It’s always important to be in spaces like this," Fireboy told GRAMMY.com, adding that he's excited about his upcoming fourth album. "It’s important for the culture." 

As attendees inside the jam-packed ballroom room eagerly awaited the main guests of the night, Recording Academy CEO Harvey Mason Jr. spoke about the momentum being built through Black Music Collective. 

"[Last year] I spoke how great it was to be holding the second annual BMC event. To me it meant we established a new tradition. And now the tradition proudly continues," Mason Jr. told the audience, emphasizing how the influence of Black culture can be found in all corners of the world and across musical genres. 

A performance by Nigerian superstar Davido, a first-time GRAMMY nominee, spoke to the power of musical diversity in the Academy and BMC. Although the crowd had sat down with their appetizers, many stood up to vibe out as Davido performed his nominated song, "Unavailable."

By the time Andra Day, adorned in a bright red leather coat, got to the end of her rendition of "Strange Fruit" with support from trumpeter Keyon Harrold, everyone in the ballroom was on their feet. It was a great moment for Day, whose cover of Billie Holiday’s 1939 cry for justice hammered home the connection between Black artists across different genres and across time.

Gabby Samone garnered the second standing ovation of the night for her take on Nina Simone’s "Four Women." Simone has had a number of major cosigns as her star has grown brighter, and her fans include Jennifer Hudson and none other than Mariah Carey. Samone's performance was followed by a powerful song from Erica Campbell, whose I Love You is nominated for Best Gospel Album this year.

A set from DJ Mannie Fresh, Kravitz took the stage to receive the first BMC Global Impact Award of the night. Introduced by mentee H.E.R, she talked about "American Woman’s" genre-bending influence on her own career and Kravitz's own influence from childhood. "The fashion, the confidence, the badass walk, and the killer vocals made me at six years old say to my dad ‘I wanna play guitar.’ ‘I wanna be a rockstar.’ ‘I wanna be like Lenny Kravitz,’" H.E.R. said. 

She then listed off some of Kravitz’s other accomplishments including working on "Rustin," the new Netflix film about critical civil rights architect Bayard Rustin, as well as Kravitz’s work in philanthropy through his Let Love Rule Foundation. 

Once the din died down, Kravitz took a trip back to childhood, too. He shared how, when he went to go see the Jackson 5 with his family, and was so hooked that he dreamed of becoming part of the storied troupe. "I fantasized that I was their long lost brother and turned the Jackson 5 into the Jackson 6," he said.

Kravitz also spoke the various genres of music that helped mold him, drawn from many different corners. From his "grandfather’s block in Bed-Stuy, Brooklyn," where he "witnessed the birth of hip-hop," to being shaped by legends like Jimi Hendrix, Marvin Gaye and Nina Simone. He also shouted out his godmother, the late great actress Cicely Tyson. 

In a particularly cool mashup of genre and generation, Quavo provided vocals to "Fly Away," flanked by P-funk all star George Clinton, Earth, Wind & Fire bassist Verdine White, and Red Hot Chili Peppers drummer Chad Smith. At the end of the performance, Kravitz went over to each performer and hugged them.

After a brief intermission, record producer and BMC Chair Rico Love shouted out leadership, including the Recording Academy board of trustees and Ryan Butler, Vice President of DEI. Love spoke about Black Music Collective as a space where everyone can feel at home. "The life of a creator is so hard. And lonely. That’s why it’s valuable to build community," he emphasized. 

Black Music Collective’s scholarship program, in collaboration with Amazon Music, Love said, will once again support HBCU students who aspire to be in the next generation of music industry power players. In 2023, scholarships were awarded to students at Florida A&M University, Texas Southern University, Norfolk State University, among others. Love recalls the mentors he had when he was coming up and is glad BMC is also paying it forward. 

Last night’s program found one of the few people on the planet that even Mariah Carey might be star struck by. Before the pop legend received her Global Impact Award, Stevie Wonder appeared and sat down over a keyboard. 

"Very excited to be here to celebrate someone that has been a friend and I’ve been a fan of since the very beginning of hearing her voice," he said, before serenading Carey with "I Just Called to Say I Love You," ending the rendition with "I love you, I love you, you are my hero."

Mariah Carey was seemingly surprised and star-struck herself. Once she overcame the awe, Carey detailed the pressure she faced early in her career to avoid leaning into Black music. "When I first started in the music business, I was often told to ‘conform’ to certain expectations. I was not encouraged to focus on my love for Black music," she told the crowd.

Later, some of Carey’s other friends and collaborators performed, including Babyface, who once sang backing vocals on Carey’s "Melt Away." (Carey then returned the favor by singing on "Every Time I Close My Eyes.") Another Carey collaborator, Busta Rhymes, performed crowd favorite "I Know What You Want" and offered sincere thanks to Carey for her boldness and desire to "run with the wolves." Tori Kelly also sang "Vision of Love" during this segment and earlier in the night, gospel legend Yolanda Adams performed "Make It Happen." The third annual Recording Academy Honors/BMC event certainly did make it happen, as attendees flooded out of the ballroom and into the streets pumped with pride.

2024 GRAMMYs: See The Full Nominees And Winners List

Head to live.GRAMMY.com all year long to watch all the GRAMMY performances, acceptance speeches, the GRAMMY Live From The Red Carpet livestream special, the full Premiere Ceremony livestream, and even more exclusive, never-before-seen content from the 2024 GRAMMYs.

2024 GRAMMYs To Pay Tribute to Tony Bennett, Sinead O'Connor, Clarence Avant & Tina Turner With In Memoriam Segment
(Clockwise from top-left:) Annie Lennox, Fantasia Barrino, Jon Batiste, Lisa Coleman and Wendy Melvoin, Stevie Wonder.

Photo: Courtesy of artists

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2024 GRAMMYs To Pay Tribute to Tony Bennett, Sinead O'Connor, Clarence Avant & Tina Turner With In Memoriam Segment

The GRAMMY Awards segment will feature performances by Stevie Wonder in tribute to Tony Bennett; Jon Batiste honoring Clarence Avant; Annie Lennox for Sinead O'Connor; and Fantasia Barrino remembering Tina Turner, airing live on Sunday Feb. 4.

GRAMMYs/Feb 2, 2024 - 10:34 pm

The 2024 GRAMMYs will feature a special In Memoriam segment to honor the lives of some of the incredible individuals that the music world lost this year with performances by GRAMMY-winning and -nominated artists. 

Stevie Wonder will take the stage to pay homage to the legendary Tony Bennett, celebrating Bennett's remarkable contributions to music and devotion to the Great American Songbook.

Annie Lennox will perform in tribute to Irish icon Sinead O’Connor. Joining her for this heartfelt homage will be Wendy Melvoin and Lisa Coleman

Jon Batiste is set to honor Clarence Avant, the "Godfather of Black Music," with a performance dedicated to the influential figure's impact on music and culture. Lenny Kravitz, one of this year's Global Impact Award recipients, will also play a significant role in this segment, both participating and introducing the tribute, linking two generations of music icons.

In a tribute to the Queen of Rock 'n' Roll, Tina Turner, Fantasia Barrino will perform, capturing the spirit and energy of Turner's music. Oprah Winfrey will also be part of this segment, introducing the performance, and adding a layer of gravitas to the tribute to one of music's most powerful voices.

In addition to the In Memoriam segment, the 2024 GRAMMYs will feature breathtaking performances from the leading artists in music today. Performers at the 2024 GRAMMYs include Billie Eilish, Billy Joel, Burna Boy, Dua Lipa, Joni Mitchell, Luke Combs, Olivia Rodrigo, SZA, Travis Scott, and U2

Several confirmed GRAMMY performers will make GRAMMY history at the 2024 GRAMMYs this weekend: Mitchell will make her GRAMMY performance debut, while U2 will deliver the first-ever broadcast performance from Sphere in Las Vegas. Click here to see the full list of performers and presenters at the 2024 GRAMMYs.

Trevor Noah, the two-time GRAMMY-nominated comedian, actor, author, podcast host, and former "The Daily Show" host, returns to host the 2024 GRAMMYs for the fourth consecutive year; he is currently nominated at the 2024 GRAMMYs in the Best Comedy Album Category for his 2022 Netflix comedy special, I Wish You Would

Learn More: 2024 GRAMMY Nominations: See The Full Nominees List

2024 GRAMMYs: Explore More & Meet The Nominees

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+. Prior to the Telecast, the 2024 GRAMMYs Premiere Ceremony will broadcast live from the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com

On GRAMMY Sunday, fans can access exclusive behind-the-scenes GRAMMY Awards content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com

The 66th GRAMMY Awards are produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers. 

Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand in the United States. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs in the U.S. only.

Stay tuned for more updates as we approach Music's Biggest Night!

How To Watch The 2024 GRAMMYs Live: GRAMMY Nominations Announcement, Air Date, Red Carpet, Streaming Channel & More

GRAMMY Rewind: Lizzo Thanks Prince For His Influence After "About Damn Time" Wins Record Of The Year In 2023
Lizzo at the 2023 GRAMMYs

Photo: Kevin Mazur/Getty Images for The Recording Academy

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GRAMMY Rewind: Lizzo Thanks Prince For His Influence After "About Damn Time" Wins Record Of The Year In 2023

Watch Lizzo describe how Prince’s empowering sound led her to “dedicate my life to positive music” during her Record Of The Year acceptance speech for “About Damn Time” at the 2023 GRAMMYs.

GRAMMYs/Jan 19, 2024 - 06:00 pm

Since the start of her career, four-time GRAMMY winner Lizzo has been making music that radiates positive energy. Her Record Of The Year win for "About Damn Time" at the 2023 GRAMMYs proved that being true to yourself and kind to one another always wins.

Travel back to revisit the moment Lizzo won her award in the coveted category in this episode of GRAMMY Rewind. 

"Um, huh?" Lizzo exclaimed at the start of her acceptance speech. "Let me tell you something. Me and Adele are having a good time, just enjoying ourselves and rooting for our friends. So, this is an amazing night. This is so unexpected."

Lizzo kicked off her GRAMMY acceptance speech by acknowledging Prince's influence on her sound. "When we lost Prince, I decided to dedicate my life to making positive music," she said. "This was at a time when positive music and feel-good music wasn't mainstream at that point and I felt very misunderstood. I felt on the outside looking in. But I stayed true to myself because I wanted to make the world a better place so I had to be that change."

As tracks like "Good as Hell" and "Truth Hurts" scaled the charts, she noticed more body positivity and self-love anthems from other artists. "I'm just so proud to be a part of it," she cheered.

Most importantly, Lizzo credited staying true to herself despite the pushback for her win. "I promise that you will attract people in your life who believe in you and support you," she said in front of a tearful audience that included Beyoncé and Taylor Swift in standing ovation, before giving a shout-out to her team, family, partner and producers on the record, Blake Slatkin and Ricky Reed

Watch the video above for Lizzo's complete acceptance speech for Record Of The Year at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind, and be sure to tune into the 2024 GRAMMYs on Sunday, Feb. 4, airing live on the CBS Television Network (8-11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) and streaming on Paramount+ (live and on-demand for Paramount+ with SHOWTIME subscribers, or on-demand for Paramount+ Essential subscribers the day after the special airs).

10 Must-See Moments From The 2023 GRAMMYs