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GRAMMY Rewind: Watch Lionel Richie & Michael Jackson Win Song Of The Year For "We Are The World"

Michael Jackson (L) & Lionel Richie (R) at the 1986 GRAMMYs

 

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GRAMMY Rewind: Watch Lionel Richie & Michael Jackson Win Song Of The Year For "We Are The World"

In the latest edition of GRAMMY Rewind, we revisit the night the Quincy-Jones-produced, mega-star-studded charity single won big at the 1986 GRAMMYs

GRAMMYs/Jul 3, 2020 - 07:55 pm

On Jan. 28, 1985, 35 years ago, legendary producer Quincy Jones gathered 45 of the biggest artists of the day, including Bob Dylan, Huey Lewis and the News, Stevie Wonder and Cyndi Lauper, at A&M Studios in Los Angeles to record the now-historic charity single, "We Are The World." The goal of this one-time supergroup, USA For Africa, was to raise money for famine relief in Africa; in Ethiopia alone, more than 1 million people had died due to hunger in the prior two years.

For the latest episode of GRAMMY Rewind, GRAMMY.com revisits the 28th GRAMMY Awards, held in Los Angeles in 1986, when the star-studded, seven-minute track, penned by Michael Jackson and Lionel Richie and produced by Jones, took home Song Of The Year, along with three other big wins.

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"We are so proud to be a part of an industry of people that when the world is in need of helping each other, this music industry of ours responded," Richie said to his peers as he and Jackson accepted the Song Of The Year GRAMMY. "When we called, you responded, and we thank you for that."

A cultural phenomenon and major commercial success, "We Are The World" sold more than 8 million copies in the U.S. and raised more than $75 million for famine relief in Africa. In addition to winning the GRAMMY for Song Of The Year, it also won for Record Of The Year, Best Pop Performance By A Duo Or Group With Vocal and Best Music Video. The visual for the song is a joyful journey back to the big-haired '80s, giving an inside look into the famous studio session.

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The initial idea for "We Are The World" came from singer/activist/actor Harry Belafonte, who was inspired by Band Aid's 1984 charity single, "Do They Know It's Christmas." Both singles inspired 1985's Live Aid, the first benefit concert of its size and caliber, as well as Willie Nelson's long-running Farm Aid shows.

Ultimately, "We Are The World" showed what the influence and unity of the music industry could accomplish when it comes together for a good cause and addresses the important issues of the time.

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GRAMMY Rewind: Digable Planets Share Their Hopes For The "Universal Black Family" In 1994
Digable Planets at the 1994 GRAMMYs.

Photo: Mitchell Gerber/Corbis/VCG via Getty Images

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GRAMMY Rewind: Digable Planets Share Their Hopes For The "Universal Black Family" In 1994

As jazz-rap trio Digable Planets won their first GRAMMY — for Best Rap Performance By A Duo Or Group, for "Rebirth of Slick (Cool Like That)" — the group sent an inspiring message to the Black community.

GRAMMYs/Sep 22, 2023 - 06:23 pm

They're cool like that. Back in 1994, Digable Planets took home the trophy for Best Rap Performance By A Duo Or Group for their single "Rebirth of Slick (Cool Like That)" at the 36th Annual GRAMMY Awards.

Accepting the award from presenters SWV and Salt-N-Pepa, the jazz-rap connoisseurs dedicated their win to "hip-hop music [and] Black culture in general" before sharing an entreaty for the less fortunate outside the gilded glamour of Radio City Music Hall.

"We'd like for everybody to think about the people right outside this door that's homeless as you sittin' in these $900 seats and $300 seats — they out there not eatin' at all," Ishmael "Butterfly" Butler added. "Also, we'd like to say to the universal Black family that one day we gon' recognize our true enemy and we're gonna stop attacking each other. And maybe then we'll get some changes goin' on."

As their debut single, "Rebirth of Slick" served as Digable Planets' seminal hit. That night, it beat out other four other rap classics: Cypress Hill's "Insane in the Brain," Naughty by Nature's "Hip Hop Hooray," Dr. Dre and Snoop Dogg's "Nuthin' But a G Thang" and Arrested Development's "Revolution."

The trio — Butler, Mariana "Ladybug Mecca" Vieira and Craig "Doodlebug" Irving — were also nominated for Best New Artist, an award that ultimately went to Toni Braxton.

Press play on the video above to revisit Digable Planets' big GRAMMYs win and check GRAMMY.com for more new episodes of GRAMMY Rewind.

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Cautious Clay's 'Karpeh' Is & Isn't Jazz: "Let Me Completely Deconstruct My Conception Of The Music"
Cautious Clay

Photo: Meron Menghistab

interview

Cautious Clay's 'Karpeh' Is & Isn't Jazz: "Let Me Completely Deconstruct My Conception Of The Music"

On his Blue Note Records debut 'Karpeh,' Cautious Clay treats jazz not as a genre, but as a philosophy — and uses it as a launchpad for a captivating family story.

GRAMMYs/Aug 23, 2023 - 02:27 pm

Nobody can deny Herbie Hancock is a jazz artist, but jazz cannot box him in. Ditto Quincy Jones; those bona fides are bone deep, but he's changed a dozen other genres.

Cautious Clay doesn't compare himself to those legends. But he readily cites them as lodestars — along with other genre-straddlers of Black American music, like Lionel Richie and Babyface.

Because this is a crucial lens through which to view him: he's jazz at his essence and not jazz at all, depending on how he wishes to express himself.

"I'm not really a jazz artist, but I feel like I have such a deep understanding of it as a songwriter and musician," the artist born Joshua Karpeh tells GRAMMY.com. "It's sort of inseparable from my approach to this album, and to this work with Blue Note."

Karpeh is talking about, well, KARPEH — his debut album for the illustrious label, which dropped in August. In three acts — "The Past Explained," "The Honeymoon of Exploration," and "A Bitter & Sweet Solitude," he casts his personal journey against the backdrop of his family saga.

As Cautious Clay explains, the title is a family name; his grandfather was of the Kru peoples in Liberia. "It's a family of immigrants. It's a family of, obviously, Black Americans," he notes. "I just wanted to give an experience that felt concrete and specific enough — to be able to live inside of something that was a part of my journey."

On KARPEH, Cautious Clay is joined by esteemed Blue Note colleagues: trumpeter Ambrose Akinmusire, saxophonist Immanuel Wilkins, vibraphonist Joel Ross, guitarist Julian Lage, and others.

Vocalist Arooj Aftab and bassist Kai Eckhardt — Karpeh's uncle — also enhance the proceedings. The result is another inspired entry from Blue Note's recent resurgence — one lyrically personal and aurally inviting.

Read on for an interview with Cautious Clay about his signing to Blue Note, leveling up his recording approach, and his conception of what jazz is — and isn't.

This interview has been edited for clarity.

Tell me about signing to Blue Note Records, and the overall road to KARPEH.

I kind of got connected to Don [Was, the president of Blue Note] through a relationship I had with John Mayer, who had, I guess, connected Don to my music.

Don reached out via email probably a year ago, and so we connected over email. And I had sort of been in a situation where I was like, OK, I want to do something different for this next project. We kind of met in the middle and it just made a lot of sense based on just what I wanted to do, and then what they could potentially kind of work with on my end. 

So, [I was] just recording the album in six days, and doing a lot of prep work beforehand and getting all these musicians that I really liked to be able to work on it. It was just a really cool process to be able to unpack that with Blue Note.

That's great that you and Mayer go back.

Yeah, man, we have a song. We worked on each other's music a little bit together. The song "Carry Me Away" on his [2021] album [Sob Rock] I actually worked on, and then we did a song together called "Swim Home" that I released back in 2019.

You said you wanted to "do something different." What was the germ of that something?

I felt like it could be interesting to do a more instrumental album, or something that felt a little bit more like a concept album, or more experimental. I wanted to be more experimental in my approach to the music that I love.

I wanted to call it a jazz album, but at the same time I didn't, because I felt like it wasn't; it was more of an experimental album.

But I felt like calling it jazz in my mind kind felt like a free way to express, because I think of jazz much more as a philosophy than necessarily a genre.

So, it was helpful for me in my mind to be able to like, OK, let me completely deconstruct my conception of the music I make and how I can translate that music.

And then it eventually evolved into a story about my family and about American history to a certain extent in the context of my family's journey, and then also just their interpersonal relationships. That sort of made itself clear as I continued to write and I continued to delve deeper into the process.

Not that KARPEH ended up being instrumental. But instrumental records are lodestars for you? I'm sure that blurs with the Blue Note canon.

There's a lot of different stuff. There was that red album that Herbie Hancock released [in 1978, titled Sunlight] that I really liked. "I Thought It Was You" was super inspirational — sonically how they arranged a lot of that record.

Seventies jazz fusion was an overall influence. I felt inspired by the perfect meld of analog synthesizers, and then also obviously organic instruments like horns and guitars of that nature. So I wanted to create something that felt like a contemporary version of what could be a fusion record to a certain extent.

Any specific examples?

Songs like "Glass Face," for example, are pretty fusion-y, but also very just experimental in a way that doesn't feel like jazz, even.

My uncle [Kai Eckhardt] is a pretty big-time bass player, and he played on "Glass Face." I just was like, OK, dude, do your thing, and he just did this sort of chordal bass solo. Then, I did all these harmonies over top of the song.

And then, Arooj Aftab is a really good friend and musical artist; she was able to work off of that as well. So, it was an interesting journey to make a lot of these songs and sort of figure out how they all fit together.

How did you strike that balance between analog and synthesized sounds?

I recorded most of this album at a studio, which is very different for me.

I don't normally do that. I use a lot of found sounds like drums and stuff that I've either made or sampled, but I did all of the drums and bass and upright and electric guitars we'd recorded at a studio called Figure 8 in Brooklyn. That was the backbone for a lot of the music that I created for the album. 

Then, I took it back home to my home studio. After we had recorded all of the songs, I essentially had some different analog synths and things that I wanted to add into it either at the studio that I worked at or my own personal studio, which happens to also be eight blocks [away] on the same street away.

I struck a balance just mostly with it in the context of working at a very formal studio and then having an engineer and just getting sounds that I wanted that could be organic and more specific in that way. And also using some of the synths they had.

In terms of the approach, I kind of wanted it to be different. And so part of that was just being at more of a formal studio and having an engineer and overseeing the overall process outside of just being inside of my Ableton session.

Tell me more about the guests on KARPEH.

I knew Immanuel through a couple of mutual friends, and he has a certain sort of bite to his sax playing that I felt was so juxtaposed to my sax playing.

And same with Ambrose. I feel like his trumpet style couldn't be more esoteric and out, in the context of how he approaches melodies. It's almost in some ways like, Whoa, I would never play that way.

They're also soloists, and conceptually for me, the idea of being in isolation or being in bittersweet solitude was conceptually a part of the last part of the album. They as soloists have so much to offer that I feel like I can't do and I don't possess.

So, I wanted to have them a part of this album, to demonstrate that individuality within the context of what it takes to make a song.

Julian is just a beautiful and spirited man, a beautiful guitar player. I've liked his sound for a while. I think it was back in 2015 when I first heard him; he had a couple of videos on YouTube that I thought were just super gorgeous.

I feel like he just has this way of playing that's folky. Also, it's jazz in the context of his virtuosic playing style, but it's also not overbearing. I felt like as a writer and as a musician, it would be a really great connecting point for a few of the more personal songs on the record.

And then my uncle Kai as well, — he's not on Blue Note, but he used to play with John McLaughlin and run bass clinics with Victor Wooten and Marcus Miller back in the early 2000s. Dude is a real heavy hitter, and he happens to be my uncle, so it's just cool to be able to have him on the record.

Cautious Clay

Cautious Clay. Photo: Meron Menghistab

With KARPEH out, where do you want to go from here — perhaps through a Blue Note lens?

I really love a lot of the people there, and I feel like this could be the first of many. It's also a stepping stone for me as an artist.

I feel really connected to the relationship I have, and our ability to put this out. It's hard to say what exactly the future holds, but I am genuinely excited for this album. I feel excited to be able to put out something so personal and so connected to everything that sort of made me, in a very concrete way.

From what I understand, this is a one-time thing, but it could potentially be two. It depends, obviously. I'm very open-minded about it. I'd love to keep the good relationship open and see where things go.

I really have enjoyed the process and I feel like this next year is going to be something interesting. So, we'll see.

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GRAMMY Rewind: Watch Eminem Show Love To Detroit And Rihanna During His Best Rap Album Win In 2011
Eminem at the 2011 GRAMMYs.

Photo: Michael Caulfield/WireImage

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GRAMMY Rewind: Watch Eminem Show Love To Detroit And Rihanna During His Best Rap Album Win In 2011

To celebrate the 50th anniversary of hip-hop, relive the moment Eminem took home a Best Rap Album gramophone for his iconic album, 'Recovery.'

GRAMMYs/Aug 18, 2023 - 05:00 pm

Despite being at the top of the rap game, Eminem's personal life has been far from steady. In 2009, the Detroit native exposed his struggle with addiction (and an eventual stint in rehab) on his LP, Relapse. One year later, he dropped one of the most iconic albums of his career, Recovery, which is lauded for its vulnerability and accountability — and became a prime influence to the current generation of introspective rappers, including hit-makers like Machine Gun Kelly and NF.

In honor of hip-hop's 50th anniversary, revisit the evening Eminem won Best Rap Album for Recovery at the 2011 GRAMMYs. It marked his second win in a row in the category, as Relapse had won the year prior.

"Okay, this is crazy," Eminem said as he took the stage. After thanking all of those involved with the album, he gave a special shout-out to his "Love The Way You Lie" collaborator. "I want to thank Rihanna, too, for helping propel the album to where it's at right now."

Eminem went on to thank Interscope Records, Dr. Dre, his Aftermath Entertainment family, and his fans. Last but not least, Eminem had to give a shout out to his hometown: "What up, Detroit! Stand up!" he cheered.

To date, Eminem has won 15 GRAMMYs, six of which were for Best Rap Album. And though he and Rihanna didn't win any GRAMMYs together for their first collaboration

Press play on the video above to watch Eminem's complete acceptance speech for Best Rap Album at the 2011 GRAMMYs, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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GRAMMY Rewind: Young MC Receives A Surprise Visit From Flavor Flav After "Bust A Move" Wins In 1990
Young MC at the 1990 GRAMMYs.

Photo: Ron Galella, Ltd./Ron Galella Collection via Getty Images

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GRAMMY Rewind: Young MC Receives A Surprise Visit From Flavor Flav After "Bust A Move" Wins In 1990

As Young MC fired off a hoard of thank yous while accepting his Best Rap Performance GRAMMY, he had a special — and unexpected — congratulations from one of his peers, Flavor Flav.

GRAMMYs/Aug 11, 2023 - 05:00 pm

As GRAMMY.com celebrates 50 years of hip-hop, it would only be right to celebrate one of the very first winners of the Best Rap Performance category, Young MC.

In this episode of GRAMMY Rewind, we turn back the clock to 1990 — the second year the category was presented — when the New York-based rapper took home his first gramophone for his classic hit  "Bust A Move."

"I'm going to try not to drop this," Young MC joked at the beginning of his speech. "I'd like to thank God and my family first, because without them, I wouldn't be here. I wouldn't be doing what I'm doing."

He went on to thank various members of his team, including his attorney, managers, Island Records, publicists, and more. But right in the middle of his speech, Young MC was interrupted for a special congratulations from fellow rap star Flavor Flav — one that of course ended with his signature "Yeah, boy!"

"And I'd like to thank Flavor Flav for breaking up the monotony of my acceptance speech," Young MC quipped before shouting out a few more of his colleagues and fans. "Peace, and I'm out of here!"

Press play on the video above to watch Young MC's complete acceptance speech for Best Rap Performance at the 1990 GRAMMY Awards, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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