For the first time, The GRAMMY Museum will debut never-before-released digital Public Programs from their archive while the GRAMMY Museum in Los Angeles is closed until further notice in light of COVID-19. Billie Eilish and FINNEAS, Bob Newhart, Brandi Carlile, Greta Van Fleet, Kool & The Gang, Larkin Poe, Scarypoolparty, X Ambassadors, and Yola are the first round of artists to be featured in the digital Public Programs series. The Museum’s Public Programs digital series features intimate sit-down interviews with artists and musicians in its 200-seat Clive Davis Theater from past programs.

Since the Museum opened 12-years-ago, it has offered more than 900 Public Programs. The Museum will release a new program on www.grammymuseum.org every Monday, Wednesday and Saturday, beginning today with Scarypoolparty. The full March schedule is below.

DIGITAL PUBLIC PROGRAMS
3/18 – Scarypoolparty
3/21 – Yola
3/23 – Bob Newhart
3/25 – Larkin Poe
3/28 – X Ambassadors
3/30 – Brandi Carlile
4/1 – Billie Eilish and FINNEAS
4/4 – Greta Van Fleet
4/6 – Kool And The Gang

"At the GRAMMY Museum, we believe that music has the power to bring us together, strengthen our sense of community and drive us forward – especially in times when it feels like we are being pulled apart. We believe at its core, everything that we do is to better our community through music,” said Michael Sticka, GRAMMY Museum President. “The GRAMMY Museum’s doors may be closed, but our mission isn’t. This is about our community, nationwide, even globally. It is our privilege to share these never-before-released interviews by beloved artists with you and bring them into your homes. With these programs, we hope that people will find solace and inspiration."

The Museum will also be releasing exhibit slideshows that will feature past exhibitions every Friday, beginning this Friday, March 20 with X: 40 Years Of Punk in Los Angeles followed by next Friday, March 27 with Take Me Out To The Ball Game: Popular Music And The National Pastime. Gallery includes images of installation and artifacts, select media content featured in the exhibition, exhibit text, playlists, and captions.

Additionally, the Museum will release educational content and lesson plans via its website and digital platforms during the closure, continuing its mission of paying tribute to our musical heritage and bringing our community together through music. The Museum will be sharing daily playlists and thoughts curated by its staff, including the guest services and security team members in an effort to continue keeping all employees engaged during this closure. More educational and digital programming to be announced soon.

For more information and to watch the newly released Public Programs digital series, please go to: www.grammymuseum.org

Recording Academy And MusiCares Establish COVID-19 Relief Fund

Ska — as any lover of the genre will tell you — is far from dead.

In fact, the genre that burst forth in Jamaica at the time of the nation's independence in the early 1960s (and, crucially, is the musical seed from which reggae grew) is alive and well around the globe. Call it a fourth wave, a revival or a scene of stalwarts, but the horn-heavy, grooving and uptempo music continues to march forward — and the GRAMMY Museum is all-in on the celebration.

For several years, the GRAMMY Museum has hosted "A History Of L.A. Ska" — a discussion and performance series featuring local musicians, DJs, journalists, and others. Panelists reminisce about their early years in ska, working with legends, and the important role Southern  California has played in the development of the culture. The most recent panel was held on Nov. 7 (but more on that later).

Although born in Jamaica, ska migrated to the UK in the latter half of the '60s and, the following decade, mixed with burgeoning punk sounds to create the genre's second wave: Two Tone. Bands such as the Specials, Madness and the Selecter struck a chord with local audiences as well as those in Southern California — which saw its first ska band, the Boxboys, debut in 1979. Then by the late ‘80s, California-based bands such as the Untouchables, Fishbone, Hepcat and Let’s Go Bowling were building a distinct scene.

As the ‘90s began, Southern California was the focal point of ska's third wave. Helmed by bands like Reel Big Fish, the Aquabats and, early on, No Doubt, a new generation further enmeshed punk and ska to become faster, catchier and more memeable. While third wave groups of the era came from all corners (see New Jersey's Catch-22, Florida's Less Than Jake and Boston's Mighty Mighty Bosstones), Southern California remained a stronghold for ska music and was buoyed by a strong subculture of mods and non-racist skinheads. 

Today, Los Angeles remains a hotbed for a new generation of ska acts — many of which harken back to the sounds of the '60s. Southern California has also played host to ska legends, including Derrick Morgan (whose song "Forward March" became an independence anthem), Pat Kelly, the Pioneers and more.

"When I was first introduced to ska in Southern California, I was blown away by the level of musicianship and the love that these young talents had for the music that I grew up listening to in Jamaica,” shares Junor Francis, a moderator and veteran radio DJ/emcee who co-curates the "A History Of L.A. Ska" series with Eric Kohler. The two also host a video interview series of the same name. [Editor's note: Author Jessica Lipsky has appeared on this series.] 

"While many fans of American third wave ska were introduced to the sound in the 1990s, more casual listeners may not be aware that ska in Southern California dates back four decades," notes Kohler. "To that end, Junor and I have made it our mission to celebrate and highlight the scene’s rich history, vibrancy and uniqueness."

Part four of the series — and the most recent — featured seven panelists representing a broad swath of L.A. ska history: Hepcat drummer Greg Narvas (Hepcat), singer Karina Denike (Dance Hall Crashers, NOFX), keyboardists Matt Parker (the Donkey Show) and Paul Hampton (the Skeletones), DJ and drummer Nina Cole (the Cover Ups), drummer Oliver Charles (Ocean 11, Ben Harper & The Innocent Criminals, Gogol Bordello), and multi-instrumentalist Scott Klopfenstein (Reel Big Fish, the Littlest Man Band). The panel was moderated by Junor Francis.

The four-part series is available to view on the GRAMMY Museum's website, or you can immerse yourself in the "History Of L.A. Ska" panel by panel below:

The History Of L.A. Ska Part One (2017)

Featuring: Greg Lee, Persephone “Queen P” Laird, Joey Altruda, Brian Dixon and Luis Correa

The History Of L.A. Ska Part Two (2019)

Featuring: Angelo Moore, Chris Murray, Darrin Pfeiffer, Kip Wirtzfeld, Tazy Phyllipz

Top Rankin': The O.N. Klub & Birth Of The L.A. Ska Boom (2021)

Featuring: Jerry Miller, Chuck Askerneese, Ivan Wong,  Greg Sowders, Norwood Fishe, Greg Lee, Bill Bentley, Howard Paar, Marc Wasserman, Karena Sundaram Marcum, Laurence Fishburn

If the excitement on display during the "History Of L.A. Ska" panel sessions isn't enough to convince you of the genre's staying power, consummate emcee Junor Francis shares words of affirmation:

“After being baptized into this scene and welcomed with open arms, I realized this was absolutely the right place for me!”

Photographer Kate Simon Details Her Time With Reggae's Greats & How Bob Marley Was "Completely Possessed By The Music"

The Song Of The Year GRAMMY Award honors the best releases in the music business, and the eight nominees for the golden gramophone at the 2024 GRAMMYs come from a variety of established singer/songwriters. From dance anthems to pop bops, ballads and R&B smashes, the nominees for Song Of The Year showcase the breadth of emotions of the past year.

Before tuning into the 2024 GRAMMYs on Sunday, Feb. 4, 2024, learn more about this year's Song Of The Year nominees below.

"A&W" - Lana Del Rey

Songwriters: Jack Antonoff, Lana Del Rey & Sam Dew

The second single from her ninth studio album, Did You Know That There's a Tunnel Under Ocean Blvd, "A&W" is a refreshing addition to Lana Del Rey’s expansive discography.

Another shattered portrait of the American Dream, the seven-minute epic, oscillates from madness to exhaustion, as Del Rey described feeling burned out by being objectified and perceived as an "American whore." What begins as a psychedelic folk ballad erupts into a defiant trap number interpolated with a doo-wop standard by the four-minute mark of the chaotic number.

"I’m a princess, I’m divisive/Ask me why I’m like this/Maybe I just kinda like this," Del Rey anxiously warbles. Later, she expresses her resignation surrounding rape culture: "If I told you that I was raped/ Do you really think that anybody would think/ I didn't ask for it? I didn't ask for it/ I won't testify, I already f—ed up my story."

"Anti-Hero" - Taylor Swift

Songwriters: Jack Antonoff & Taylor Swift

"Anti-Hero" showcased a new side of Taylor Swift — a rare moment where the 33-year-old pop star confronted her flaws in the public eye.

"I really don’t think I’ve delved this far into my insecurities in this detail before," Swift said of the track in an Instagram video. "Not to sound too dark, but, like, I just struggle with the idea of not feeling like a person."

The self-loathing synth-pop anthem — with its cheeky chorus — catapulted "Anti Hero" into virality. With its ubiquitous meaning, the song topped charts and became a staple of pop radio. Now, it’s enjoying the highest praise as a contender for Song Of The Year. 

"Butterfly" - Jon Batiste

Songwriters: Jon Batiste & Dan Wilson

Beyond its sound, what makes Jon Batiste’s "Butterfly" so stunning is the story behind it. The touching jazz-soul fusion track is an iteration of the lullabies Batiste penned while his wife Suleika Jaouad was hospitalized during her cancer treatment.

"It’s just such a personal narrative song in relation to my life and what my family has gone through and my wife and all of the things she’s been able to overcome," the 36-year-old GRAMMY winner told PEOPLE.

"Butterfly" is featured on Batiste's latest album, World Music Radio. Like much of his discography, "Butterfly" is inherently uplifting but there’s an underlying yearning for freedom. "Butterfly in the air/ Where you can fly anywhere/ A sight beyond compare," Batiste croons over stripped-down keys.

"Dance The Night" (From Barbie The Album) - Dua Lipa 

Songwriters: Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt

With the release of her pop-funk epic Future Nostalgia during the COVID-19 pandemic, Dua Lipa proved she could master the art of escapism. On "Dance The Night," a thrilling dance-pop number from the star-studded Barbie soundtrack, she channels that same inspiration with a side of glitter and glam.

"Greta said that the whole film was inspired by disco. There’s a lot of very glittery and pop moments in it," the 28-year-old singer said of how the track fits into the movie in an interview with Dazed.

Over a sleek synth, the pop star reflects the unwavering joy Barbie outwardly emanates while she’s crumbling inside: "Even when the tears are flowin' like diamonds on my face/I'll still keep the party goin', not one hair out of place (yes, I can)."

"Flowers" - Miley Cyrus

Songwriters: Miley Cyrus, Gregory Aldae Hein & Michael Pollack

Miley Cyrus has perfected the art of reinventing herself. With the post-breakup number "Flowers," she reclaimed her independence and took a hard turn from gritty rock back into pop music. "I can take myself dancing, yeah/ I can hold my own hand/ Yeah, I can love me better than you can," she belts over a disco-pop beat.

While the 30-year-old musician wouldn’t share if "Flowers" was indeed about her ex-husband Liam Hemsworth, the song became an empowering earworm from a more refined version of the longtime musician.

"The song is a little fake it till you make it," she said of "Flowers" in an interview with British Vogue. "Which I’m a big fan of." It turns out she made it with a nomination for Song Of The Year at the 2024 GRAMMY Awards.

"Kill Bill" - SZA

Songwriters: Rob Bisel, Carter Lang & Solána Rowe

On the psychedelic R&B groove of "Kill Bill," which references the legendary Quentin Tarantino film, SZA dreams up her own unfiltered revenge fantasy. "I might kill my ex / Not the best idea / His new girlfriend's next / How'd I get here?" she ponders over an airy melody.

The song stands out on the R&B singer’s latest album, SOS, for not only its cheeky wordplay but for how visceral she portrayed the devastation of a breakup. 

Despite its popularity, the 34-year-old singer initially thought one of the other songs on her 23-track album would have topped the charts. "It's always a song that I don't give a f— about that's just super easy, not the s— that I put so much heart and energy into. 'Kill Bill' was super easy — one take, one night," the singer told Billboard of "Kill Bill’s" success.

"Vampire" - Olivia Rodrigo

Songwriters: Daniel Nigro & Olivia Rodrigo

Like her explosive debut "Drivers License," Olivia Rodrigo opted for a swelling power ballad for the lead single of her sophomore album Guts. On "Vampire," the singer/songwriter recalls a parasitic relationship with a swelling power ballad that erupts into a booming guitar breakdown. "Bloodsucker, famef—er/ Bleedin' me dry, like a goddamn vampire," she sings with a bitter lilt.

While many speculated the song was about a toxic relationship, Rodrigo claimed it’s more nuanced than that. "It’s more about my regret and kind of beating myself up for doing something that I knew wasn’t gonna turn out great and kind of just taking ownership of that and dealing with those feelings," she told Sirius XM Hits 1.

Regardless, the 20-year-old artist turned something bitter into something sweet by landing a Song Of The Year nomination.

"What Was I Made For?" [From The Motion Picture "Barbie"] - Billie Eilish

Songwriters: Billie Eilish O'Connell & Finneas O'Connell

Not only was the Barbie movie a massive hit, its soundtrack was, too, thanks to a slew of chart-topping artists including Dua Lipa, HAIM and Sam Smith. So it’s no surprise that Billie Eilish made that list as well, and delivered a gutting ballad that soundtracked one of the most heartbreaking moments of the film.

The wistful single, which arrives at the devastating realization that you’re not real and are instead meant to be consumed, aptly embodies the narrative arc of the box office smash. "Looked so alive, turns out I'm not real/ Just something you paid for/ What was I made for," the 21-year-old musician sings with a heartbreaking lilt. 

While writing the sobering number, Eilish tried to embody the essence of the life-sized doll herself. "I was purely inspired by this movie and this character and the way I thought she would feel, and wrote about that," she told Zane Lowe of Apple Music. 

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 4, 2024, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.

2024 GRAMMY Nominations: See The Full Nominees List

Throughout the past year, Miley Cyrus, Billie Eilish, Olivia Rodrigo and Taylor Swift delivered inescapable pop anthems, while Victoria Monét and SZA proved that R&B deserves a place in the spotlight. Jon Batiste continued to evolve his artistry, while indie supergroup boygenius made an anticipated comeback.

With so many standout moments, the golden gramophone Record Of The Year — which is awarded to the artist and the producer(s), recording engineer(s) and/or mixer(s) and mastering engineer(s) — is shaping up to be a thrilling contest at the 2024 GRAMMYs, officially known as the 66th GRAMMY Awards.

Before tuning into the 2024 GRAMMYs on Feb. 4, 2024, learn more about this year's Record Of The Year nominees below.

Jon Batiste - "Worship" 

Jon Batiste has been revered for his refreshing take on jazz, but the multi-instrumentalist showed that his talents stretch beyond the genre on his seventh album, World Music Radio.

Album highlight "Worship" encapsulates the LP’s message of unification and community by fusing various global sounds. The song is quite the joyride, beginning with bellowing organs before a choir joins with a glorious harmony and finally explodes with a Latin samba party. "We are born the same / Return to that place" Batiste repeats throughout the song, driving home his inclusive mission.

"Worship" is a joyous anthem and, following his Album Of The Year win at the 2023 GRAMMYs for We Are, it’s clear the five-time GRAMMY winner is keeping the celebration going.

boygenius -"Not Strong Enough"  

Nearly five years after boygenius released their debut self-titled EP, the trio of Julien Baker, Phoebe Bridgers and Lucy Dacus returned again with a full-length, The Record. 

The LP beautifully captured just how well the women rockers work together, and their chemistry is best seen in "Not Strong Enough." The single’s lush harmonies and feather-light guitars are a contrast to the candid lyricism, which attempts to juggle insecurities and having a God complex. 

"The two wolves inside us can be self-hatred and self-aggrandizing," Bridgers explained to Rolling Stone. "Being like, ‘I’m not strong enough to show up for you. I can’t be the partner that you want me to be.’ But also being like, ‘I’m too f—ed up. I’m unknowable in some deep way!’"

"Not Strong Enough" marks a career milestone for boygenius, as it's the group’s first nomination for Record Of The Year.

Miley Cyrus - "Flowers"  

A truly great pop star knows how to make a break-up anthem for the ages. Miley Cyrus already had a few under her belt, but she kicked off the year with her strongest offering to date.

"Flowers" was suggested to be inspired by Cyrus’ divorce from Liam Hemsworth, but the song’s messaging goes well beyond the singer’s personal life. Many can relate to having to pick up the pieces of a broken heart, but Cyrus’ confident vocals paired with the soaring disco-inspired melody reassure that self-love is the ultimate healer.

"The chorus was originally: ‘I can buy myself flowers, write my name in the sand, but I can’t love me better than you can,’" the singer told British Vogue of the song’s original lyrics. "It used to be more, like, 1950s. The saddest song. Like: ‘Sure, I can be my own lover, but you’re so much better.’" 

The subtle decision to flip the "can’t" into a "can" showcases the brilliance of Cyrus’ songwriting, which ultimately makes the meaning of "Flowers" that much more empowering.

Billie Eilish & FINNEAS - "What Was I Made For?" 

The Barbie movie was arguably this year’s biggest pop culture phenomenon, so of course the soundtrack had equally big names. But among the midst of fast-paced and glittery pop songs, Billie Eilish’s contribution tugged at heartstrings. The seven-time GRAMMY winner teamed with her brother and go-to collaborator FINNEAS for "What Was I Made For?"

It’s a tender, melancholic ballad that ties in the movie’s themes of autonomy and balancing feminism in a patriarchal world, with Eilish still holding on to hope: "I don’t know how to feel / But someday I might." The song reflects a universal experience for many women, including Eilish herself — although she didn’t realize it at first. 

​​"I was purely inspired by this movie and this character and the way I thought she would feel and wrote about that," Eilish told Zane Lowe for Apple Music 1. "Over the next couple days, I was listening and [realized] I was writing for myself and I don’t even know it." That relatability is one of the beauties of music, for listeners and artists alike.

Victoria Monét - "On My Mama"  

Victoria Monét has a long songwriting history, penning hits for the likes of Brandy, BLACKPINK, Chloe x Halle and longtime friend Ariana Grande. And while she’s released solo music in the past, her debut album Jaguar II cements her place within R&B’s new crop of stars. Third single "On My Mama" took the scene by storm, bringing together millennials and Gen Z’s shared love of ‘00s nostalgia. 

Sampling Chalie Boy’s 2009 song "I Look Good" and lined with Monét’s signature horns, the song is a celebration of Black southern culture. As Monét described it on "The Ebro Show" on Apple Music 1, "It’s an anthem for affirmations, positive self-talk, manifestations, living in abundance, [and] speaking things into existence."

Olivia Rodrigo - "Vampire" 

What makes Olivia Rodrigo a captivating artist is her honesty. Her ability to capture her generation’s emotional nature is why 2021’s debut album Sour took pop music by storm (and also made her a three-time GRAMMY winner). And she’s continued the movement with "Vampire", the lead single from her sophomore album, Guts. 

The song is a red herring of sorts, beginning with melancholic piano keys that often kickstart the singer’s tunes. But rather than shed tears, she unleashes the fury of a woman scorned, dishing out insults to a manipulative ex-lover that ripped her heart out. "Bloodsucker, famef—er / Bleedin' me dry, like a goddamn vampire" she seethes on the chorus. The best revenge is always served cold.

Taylor Swift - "Anti-Hero" 

Taylor Swift has grown to be even more self-aware as her status ascends. She knows being a pop superstar comes with its challenges, and “Anti-Hero” reveals the woman behind the glitzy veil. Inspired by her nightmares, the chart-topping smash from tTaylor Swift has become even more self aware as her status ascends. She knows being a pop superstar comes with its challenges, and "Anti-Hero" reveals the woman behind the glitzy veil.

Inspired by her nightmares, the chart-topping smash from the 12-time GRAMMY winner’s tenth album Midnights is a personal journal into feelings of self-doubt and anxiety. But in natural Swift fashion, the dark lyricism is anchored by hopeful pop synths courtesy of longtime collaborator and co-producer Jack Antonoff. The video heightens the song’s themes, as Swift confronts various versions of her former selves.

"We all hate things about ​​ourselves, and it's all of those aspects of the things we dislike and like about ourselves that we have to come to terms with if we're going to be this person," Swift shared with fans on Instagram. That refreshing honesty is what makes "Anti-Hero" one of the singer’s most successful songs to date.

SZA - "Kill Bill"  

Leave it to SZA to make murder sound so sweet. On SOS standout single "Kill Bill," the singer takes a page from director Quentin Tarantino by nodding to his 2003 film, as she lives out her vengeful fantasies. 

The GRAMMY winner’s raging jealousy landed "Kill Bill" atop the Billboard Hot 100, making it her first-ever solo No.1 hit. SZA brought the fatal single to life with a cinematic music video, which pays homage to Kill Bill with fierce action scenes and  an appearance from Vivica A. Fox, who starred as a Deadly Viper and Thurman's enemy Vernita Green in the film.

"I've never raged the way that I should have. This is my villain era, and I'm very comfortable with that," the singer shared with Glamour about her album’s themes. "It is in the way I say no. It's in the f–ked up things that I don't apologize for." And with lyrics like "I did all of this sober" on "Kill Bill," you have no choice but to believe her.

2024 GRAMMY Nominations: See The Full Nominees List

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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