Image courtesy of the GRAMMY Museum
GRAMMY Museum To Celebrate 50 Years Of Hip-Hop With 'Hip-Hop America: The Mixtape Exhibit' Opening Oct. 7
The new exhibit honors the 50th anniversary of hip-hop through an expansive and interactive exploration that features artifacts from legendary artists including the Notorious B.I.G., Tupac Shakur, LL Cool J, and more.
The GRAMMY Museum is celebrating the 50th anniversary of hip-hop this fall with the newly announced Hip-Hop America: The Mixtape Exhibit, an immersive, interactive, 5,000-square foot experience celebrating the multifaceted world of hip-hop and the global impact and influence of the genre and culture. Launching Saturday, Oct. 7, and running through Wednesday, Sept. 4, 2024, the exhibit will feature expansive exhibits exploring hip-hop music, dance, graffiti, fashion, business, activism, and history as well as artifacts from hip-hop pioneers like Tupac Shakur, the Notorious B.I.G., LL Cool J, and many more.
Additionally, the exhibit features a one-of-a-kind Sonic Playground, featuring five interactive stations that invite visitors of all ages to partake in DJing, rapping and sampling, all essential elements comprising hip-hop culture. Additional virtual and in-person education and community engagement programs will be announced at a later date.
Exploring the countless ways hip-hop music and culture has dominated popular culture over the last 50 years, Hip-Hop America: The Mixtape Exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project. They include:
Felicia Angeja Viator, associate professor of history, San Francisco State University, author of ‘To Live And Defy In LA: How Gangsta Rap Changed America,’ and one of the first women DJs in the Bay Area hip-hop scene
Adam Bradley, Professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of ‘The Anthology of Rap’
Jason King, Dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU
Dan Charnas, Associate Arts Professor, NYU Clive Davis Institute of Music, and author of ‘Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm’
The co-curators worked in conjunction with GRAMMY Museum Chief Curator and Vice President of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.
Hip-Hop America: The Mixtape Exhibit is an educational journey through several key themes:
Innovation: Explore how hip-hop artists have innovatively used technology, from transforming turntables into musical instruments to pioneering sampling techniques.
Sounds of Hip-Hop: Experience the diverse sounds of hip-hop in four themed studios, showcasing the evolution of production, the intersection of hip-hop and car culture, the craft of hip-hop lyrics, and the influence of R&B.
Fashion: Dive into the world of hip-hop fashion, featuring iconic clothing, jewelry and style.
Regionalism: Discover 14 hip-hop scenes across the United States, showcasing the importance of local and regional contributions.
Entrepreneurialism: Learn about the transformation of hip-hop from a back-to-school party in the Bronx to a multi-billion-dollar global industry.
Media: Discover the role of media in shaping hip-hop's development, from radio stations to pioneering shows like "Yo! MTV Raps."
Community: Explore how hip-hop has brought people together over the last 50 years, with an interactive ‘Hip-Hop America’ playlist featuring 200 songs that trace the genre's evolution.
Highlights from Hip-Hop America: The Mixtape Exhibit include:
The Notorious B.I.G.'s iconic 5001 Flavors custom red leather peacoat he wore in Junior M.A.F.I.A.'s music video "Players Anthem"
Kurtis Blow's original handwritten lyrics for his 1980 hit single, "The Breaks," the first gold-certified rap song
Tupac Shakur's handwritten essay "Give Me Liberty or Give Me Death," circa 1992
Two outfits designed by Dapper Dan, Harlem fashion icon: 1) a half-length black leather jacket worn by Melle Mel (Melvin Glover, b. 1961) in performance at the 1985 GRAMMY Awards; and a black-and-yellow leather bucket hat and jacket worn by New York hip-hop artist Busy Bee (David James Parker)
Egyptian Lover's gold Roland 808, the beat-making tool
LL Cool J's red Kangol bucket hat
Hip-Hop America: The Mixtape Exhibit is a key event taking place as the world is celebrating 50 years of hip-hop this year. The origins of hip-hop can be traced back to Aug. 11, 1973, when DJ Kool Herc DJed a birthday party inside the recreation room of an apartment building located on 1520 Sedgwick Avenue in the South Bronx, New York City. This history-making date marks the birth of hip-hop and is the reason why we're celebrating hip-hop's 50th anniversary this year. The 50th anniversary of hip-hop means artists, fans, and the music industry at-large are celebrating the momentous milestone via hip-hop concerts, exhibits, tours, documentaries, podcasts, and more around the globe across 2023.
Visit the GRAMMY Museum website for more information regarding advanced ticket reservations for Hip-Hop America: The Mixtape Exhibit.
Image courtesy of the Recording Academy
GRAMMY Museum Announces 'Hip-Hop America: The Mixtape Exhibit' Programming Schedule
Presented by Google Pixel, the exhibit opens Oct. 7 celebrating the 50th anniversary of hip-hop through an expansive and interactive exploration of the global impact of the genre and culture.
The GRAMMY Museum announces its Hip-Hop America: The Mixtape Exhibit initial programming schedule consisting of in-person and virtual events to supplement the exhibit celebrating the 50th anniversary of hip-hop.
Opening Oct. 7, the 5,000-square foot installation delves deep into the multifaceted world of hip-hop through expansive exhibits on hip-hop music, dance, graffiti, fashion, business, activism, and history, providing visitors with an immersive experience that explores the profound impact and influence of hip-hop culture.
On display will be an incredible array of artifacts including the Notorious B.I.G.'s iconic red leather pea jacket, LL Cool J's red Kangol bucket hat, and more. Newly announced artifacts include Lil Wayne’s GRAMMY for Best Rap Album, The Carter III, Lil Wayne's handwritten letter from prison to his fans and his family, custom Saweetie acrylic nail sets created by her nail artist Temeka Jackson, plus exclusive interviews with MC Lyte, Cordae and other artists about their creative process.
Additionally, a Sonic Playground features five interactive stations that invite visitors of all ages to unleash their creativity through DJing, rapping and sampling and is made possible thanks to a grant from The Kenneth T. & Eileen L. Norris Foundation.
The exhibit is made possible with the generous support of Google Pixel, and several integrations within the space are powered by Google Pixel's innovative capabilities. This includes the Google Pixel Boombox Throne, an interactive photo experience.
The Rap City Experience, part of the Sonic Playground, is a freestyle interactive featuring Darian "Big Tigger" Morgan, host of BET's "Rap City: Tha Basement." Visitors can freestyle over beats by producers Hit-Boy, PERFXN and Schyler O'Neal, and trade bars with hip-hop artists Reason, Nana and Nilla Allin. As part of the museum's ongoing community and education programming, BET and Mass Appeal will screen the first two installments of their upcoming documentary Welcome to Rap City on Oct. 9. More details below.
Additionally, the GRAMMY Museum is partnering with The Debut Live to present their multi-part event series highlighting iconic hip-hop albums and the artists who created them, including DJ Khaled, Joey Bada$$, Rick Ross, T.I., and more. The intimate conversations are hosted by Billboard's Deputy Director of R&B and Hip-Hop, Carl Lamarre, in partnership with the GRAMMY Museum/Recording Academy + Soho House, and will be available to view beginning Oct. 6 exclusively on the GRAMMY Museum's streaming platform COLLECTION:live.
The exhibit launches on Sat, Oct. 7 and will run through Sept. 4, 2024. A special opening event will take place on Oct. 6 at 8 p.m. Tickets are available to purchase here. Additional programming to be announced at a later date. More information listed below.
Sat, Oct. 7:
EVENT: Careers in Music: The Nelson George Mixtape, Volume 2
WHAT: A conversation and book signing with acclaimed author, producer and director, Nelson George, as we discuss his career chronicling the birth of hip-hop in America and his work in the entertainment industry.
WHEN: 1 p.m.
WHERE: Clive Davis Theater
REGISTER: Click here.
Mon, Oct. 9:
EVENT: Careers in Music: "Welcome to Rap City" Screening
WHAT: In partnership with BET and Mass Appeal, the GRAMMY Museum is proud to host a screening of the first two installments of their new documentary "Welcome to Rap City" followed by a panel discussion featuring Rap City hosts and more.
WHEN: 12 p.m.
WHERE: Clive Davis Theater
REGISTER: Click here.
Thurs, Oct. 26:
EVENT: Backstage Pass: "Road to the Latin GRAMMYs" Mellow Man Ace
WHAT: To celebrate the 24th Annual Latin GRAMMY Awards, the GRAMMY Museum is thrilled to have Afro-Cuban rapper and Los Angeles native Mellow Man Ace discuss his career and his accomplishments as one of the pioneers of Latin rap, followed by a performance.
WHEN: 11 a.m.
WHERE: Clive Davis Theater
REGISTER: Click here.
Sat, Dec. 2:
EVENT: Love Your Amazing Self
WHAT: An interactive family program featuring hip-hop musician, meditation teacher and author, Ofosu Jones-Quartey, reading from his latest book Love Your Amazing Self followed by a performance. Support for this program was provided through funding from Councilman Curren Price Jr. and the New 9th.
WHEN: 11 a.m.
WHERE: Clive Davis Theater
REGISTER: Click here.
October 2023 - June 2024
WHAT: Hip-Hop Education Workshops
WHAT: In Celebration of the 50 years of hip-hop from its origin to where the genre is today. Highlighting the golden age of hip-hop, these lessons will provide students with a deeper understanding of the struggles and triumphs of the genre.
WHEN: 2023-2024 School Year
WHERE: Clive Davis Theater
REGISTER: Click here.
For more information regarding advanced ticket reservations for the exhibit, please visit www.grammymuseum.org.
Photo: Russell Einhorn/Liaison
GRAMMY Rewind: Coolio Calls For A United "Hip-Hop Nation" After "Gangsta's Paradise" Wins In 1996
The East Coast rapper took home the GRAMMY for Best Rap Solo Performance for his No. 1 hit "Gangsta's Paradise."
Coolio was living in the "Gangsta's Paradise" of his own creation when the 1996 GRAMMY Awards rolled around. The year before, the ode to hip-hop culture had not only become a global No. 1 hit for the rapper, but also the best-selling song of 1995 in the U.S. And that February night in Los Angeles' Shrine Auditorium, the track won Coolio his first GRAMMY, for Best Rap Solo Performance.
Receiving the trophy from Salt-N-Pepa and Mary J. Blige (clad in head-to-toe leopard print), the rapper emerged from backstage with his overjoyed entourage in tow, and started out his acceptance speech by claiming his GRAMMY "for the whole hip-hop nation."
"West Coast, East Coast, worldwide — united we stand, divided we fall. Recognize," he continued before going on to thank God, his then-fiancée Josefa Salinas and his kids, as well as Stevie Wonder, Quincy Jones, his collaborator L.V., Michelle Pfeiffer (who starred in the song's music video) and others.
Coolio then ended his remarks on a serious note, acknowledging, "We've had a lil' problem lately in high schools and I only got one ting to say to all my Black and Latino brothers out there fightin': Ain't no gangsters living in paradise."
During the telecast, Coolio also took to the stage to perform "Gangsta's Paradise," which had earned a second nomination for Record of the Year. (That major award ultimately went to Seal's "Kiss From a Rose," along with Song of the Year.)
Sadly, the gangsta rap pioneer died in September 2022 at age 59 after suffering an accidental overdose laced with fentanyl. Press play on the video above to revisit Coolio's GRAMMYs win and check GRAMMY.com for more new episodes of GRAMMY Rewind.
Photo: Courtesy of Armani White
Hip-Hop Re:Defined: Armani White Gives Lil Wayne's "A Milli" A Fresh, Personal Twist
Philly-born newcomer Armani White personalizes Lil Wayne's GRAMMY-winning 2008 smash "A Milli" by shouting out his hometown in the lyrics.
Lil Wayne had already hit a new high point when he released "A Milli" in the winter of 2008. "Lollipop," the single that directly preceded "A Milli," had scored the rap legend his first hat trick by hitting No. 1 on the Billboard Hot 100, Hot R&B/Hip-Hop Songs and Hot Rap Songs charts.
With "A Milli," the rapper born Dwayne Carter Jr. continued his chart-topping success by capturing yet another No. 1 on the latter two tallies and winning him the GRAMMY for Best Rap Solo Performance at the 2009 ceremony. The modern classic also heralded Wayne's blockbuster album Tha Carter III, which became the final album of the decade to sell more than a million copies in its opening week.
In this new episode of Hip-Hop Re:Defined, rising rap star Armani White tackles Wayne's noughties smash, with the Philadelphia-born newcomer building his flow over the same stuttering sample of A Tribe Called Quest's "I Left My Wallet in El Segundo" as the original.
"A millionaire/ I'm a West Philly millionaire, tougher than Nigerian hair/ My criteria compared to your career just isn't fair," White raps, personalizing the lyrics with a shout-out to his hometown while still echoing Weezy's trademark cadence.
Press play on the video above to watch White rip through "A Milli," and check back to GRAMMY.com for more new episodes of Hip-Hop Re:Defined.
Photo: Jason Koerner/Getty Images
Lil Yachty Wants You To Be "Ready For Everything" At The Field Trip Tour
As Lil Yachty hits the road for his 42-date global tour, the rapper details how he'll be bringing his trippy album 'Let's Start Here' to life — and why he feels like his seven-year career is only just getting started.
Fans first got to know Lil Yachty for his catchy, sing-songy tunes like "One Night" and "Minnesota," rap songs that sound like the rapper's once-signature red braids: bright and attention-getting. But as the man who once dubbed himself the "king of the teens" has now become a father in his (gasp!) mid-20s, his musical horizons have expanded.
While Lil Boat is still making catchy tracks (see his minute-and-a-half long earworm "Poland," released last fall), his latest album is something else entirely. Inspired by big statement LPs like Pink Floyd's 1973 classic Dark Side of the Moon, Lil Yachty's Let's Start Here is a psychedelic record created with members of Chairlift and MGMT, as well as Mac DeMarco, Alex G and a handful of other out-of-the-norm collaborators. While the style change may have been unexpected for many, it came out exactly as Yachty envisioned it.
"It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong," he says. "I'm grateful for the response. It's nice to have people resonate with a body of work that you've worked so hard on and you care so deeply about."
Yachty's most recent release, a four-song single pack featuring the swirling "TESLA," brings him back to a more traditional hip-hop style — by Lil Boat standards, anyway. But even with the four new tracks sprinkled throughout the set list, he's still determined to share the sound and vibe of Let's Start Here with his listeners.
The Field Trip Tour, which Lil Yachty kicked off in Washington, D.C. on Sept. 21, brings the album's trippy vision to the stage. The rapper recruited an all-women band for his latest trek, which includes Lea Grace Swinson and Romana R. Saintil on vocals, Monica Carter on drums, Téja Veal on bass, Quenequia Graves on guitar, and Kennedy Avery Smith on keys.
"My life is surrounded by women," Yachty explains. "I feel like they are the most important aspect to this world and that they don't get enough credit or shine — especially Black women."
GRAMMY.com caught up with Yachty as he was on his way to rehearsal to chat about the tour, the album, and what he learned from four old British guys.
You made your band auditions public by announcing them on social media, which is not the usual way of going about these things. When you had the auditions, what was it like? How many people showed up?
Hundreds of women came from all over. People sent in auditions online. It was so fun to hear so much music and see talent and meet so many different personalities. I felt like Simon Cowell.
Other than musical ability, what were you looking for?
It was nothing more than talent. There would be multiple people with extreme talent, so then it became your own creative spunk: what did you do that made me say, "Oh, okay. I like this. I like this"? I wanted a badass group.
What was behind the decision to put the call out for women only?
My life is surrounded by women — my two assistants, my mother as a manager, a lot of my friends are women. Women really help me throughout my day.
I just think that women are so powerful. I feel like they rule the world. They are the most important aspect to this world and they don't get enough credit or shine, especially black women. So that was my aura behind it. I just wanted to showcase that women can shred just as good as men.
Is the band going to be performing on your older rap material as well, in addition to the album cuts?
No. I'm not a big fan of rendition rap songs. I think the feeling is in the beat, the feeling is in the instrumentation. When you have to reconstruct it, the bounce gets lost a bit.
Tell me about the rehearsal process once you selected the band members. What was that like?
They're all so talented, so they all learned it very quick. I gave [the music] to them early, and gave them the stems. When it was day one, they all knew the songs. Even my new guitarist that came in later than everyone, she came in knowing the music.
The rehearsal project for this tour was a little different, because I'm reconstructing the whole album. I'm moving everything around and changing all the transitions and trying to make it trippy. So it's a process of me figuring out how I want to do things. But they're so talented and so smart, all I have to do is tell them what I want, and they'll do it instantly.
Like yesterday, I wanted a solo on the end of a song called "The Alchemist." Because at the end of [the album version] is this [singer Brittany] Fousheé breakdown and she's singing in a falsetto. But I took her vocals off and I wanted a solo. And [a band member] was working through it yesterday and it wasn't quite there. But I'm on the way to rehearsal now, and I know when I walk in this room, it'll be done. It'll be crazy. So they all take it very serious and they care, and I love them so much.
The festival shows you've done so far have had everyone in Bantu knot hairstyles, sometimes with face paint. Is that going to be the look for this tour?
No, I don't think so.
What was the thinking behind that look?
I was getting really deep into the world of '70s bands, '60s bands. Just unison: moving as one, looking like one, feeling like one. A family, a group, a team. You see us, we're all together.
When you play rap shows, so much of what you're doing is keeping a high-energy mood—getting the crowd going, starting mosh pits. With the new songs, it's about a diversity of feelings. What was that like for you as a band leader?
I'll tell you, it was not easy. I've been in this industry for seven years, and my shows have been high-energy for seven years. So the first time I went on a stage and performed Let's Start Here, I felt like, "Oh wow, they hate me. Do they hate this?" Plus I have in-ears, so I can't hear the crowd cheering. I don't perform with in-ears when I do rap shows.
It took me some time to get used to the switch. Tyler, the Creator once had a talk with me and explained to me that, it's not that they don't f— with you, it's that they're taking it in. They're comprehending you. They're processing and enjoying it. That clicked in me and I got a better understanding of what's going on.
What is it like in the same show to go from the Let's Start Here material to the rap stuff?
It's a relief, because that's going to my world. It's super easy for me. It's like flipping the switch and taking it to the moon.
Now that it's been the better part of a year since Let's Start Here came out, how are you feeling about it? What sense do you have of the reaction to it?
Since before it came out, when I was making it, I always felt so strongly because it was something that I felt inside. It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong.
I'm grateful for the response. It's nice. It's not what you do it for, but it is extra credit. It's nice to get that love and to have people resonate with a body of work that you've worked so hard on and you care so deeply about.
Have you felt peoples' reactions change over the past few months?
Well, this is the first time when people are like, "Man, that album changed my life" or "It took me to a different place." People love my music — always have — but this reaction is, "Man, this album, man, it really took me there."
It did what it was supposed to do, which was transcend people. If you are on that side of the world and you're into that type of stuff, it did its job, its course — the same course as Dark Side of the Moon, which is to take you on a journey, an experience.
What was it about Dark Side that grabbed you?
Everything. The cover, the sounds, the transitions, the vocals, the lyrics, the age of Pink Floyd when they made it. I could go on. I got into deep fascination. It was so many things. It's just pure talent.
I've read that you studied Pink Floyd quite a bit, watching interviews and documentaries. What were some of the things you learned from that process and brought to Let's Start Here?
So many things. The most important element was that I wanted to create a body of work that felt cohesive and that transcended people, and that was a fun experience that could take you away from life.
I was curious about the song ":(failure:(," where you give a speech about failing. What were your inspirations for that?
At first I wanted [":(failure:("] to be a poem, and I wanted my friend to say it. We tried it out, but his voice was so f—ing deep. And his poem was so dark — it was about death and s—. I was like, Damn, n—, lighten up. But then I was just like, you know what, I'll do it, and I'll speak about something very near and dear to me, which was failure. I felt like it would resonate with people more.
Sometimes I feel like I'm growing so fast and getting so old, and maturing and evolving so quickly, and so many opportunities come into my life. You go on tour, and then you start working on an album, and you run out of time to do certain things. It's like, "Are we going to be together? If not, I have other things to do."
I think that's where it comes from. I don't have all day to play around. Too many things to do. Then it transpires to feel like I'm running out of time.
I love "drive ME crazy!" I was wondering if there are any particular male/female duets that you looked at as a model when designing that song.
Fleetwood Mac. Again, with all the inspirations for these songs, I still did my twist on them. So I don't want people to go and be like, "Oh, that sounds nothing like a Fleetwood Mac song." I wasn't trying to copy a Fleetwood Mac song. It just inspired me to make a song in that feeling, in that world.
When you began your career, you were the "king of the teens." Now you're a father in your mid-twenties. Who's your audience these days? Is it the people who were teens when you started your career, who are now in their 20s like you, or is it a new crop of teenagers?
I think now it's from the 12-year-olds to the 40-year-olds. My last festival, I had 50-year-olds in my show. That was so amazing. In the front row, there was an 11-year-old asking for my sneakers, and then in the back, it was 50- and 60-year-olds. It was crazy. The age demographic is insane.
Whenever I'm leaving somewhere, I like to have the window down and see people. [At my last festival] these 60-year-olds were leaving. They're like, "Man, your album, we love it. That show was so great." And that's awesome, because I love [that my music can] touch everyone.
You've been opening your recent shows with "the BLACK seminole." What does that phrase mean to you? How does it relate to the sound of the song and the rest of the lyrics?
It's saying, "I'm a warrior, I am a king, I am a sex symbol, I am everything good and bad with man, and I'm Black, unapologetically." That's what it's about.
Any final thoughts about the tour?
Just that it's an experience. You're not walking into a rinky-dink [show with] some DJ. This is going to be a show.
I feel like it's the start of my career. I just want people to come in with an open mindset. Not expecting anything, ready for everything.