With the 2024 GRAMMYs just around the corner, the Recording Academy’s #GRAMMYsNextGen program (once known as #GRAMMYsNextUp) has unveiled its latest class of ambassadors and advisors.

These #GRAMMYsNextGen movers and shakers work in solidarity with the Recording Academy, to inspire a new generation of musicians and music people.

The #GRAMMYsNextGen 2024 Class consists of 22 individuals working to forge the future of the music industry. Across a class of 10 Executive Ambassadors, three Executive Advisors, eight Producer Ambassadors, and one Producer Advisor, you’ll find some of the best and brightest.

As part of the program, all involved will attend a power brunch during 2024 GRAMMY Week to celebrate, establish rapport with their peers in the field, and learn more about Recording Academy membership from Kelley Purcell, Vice President of Membership & Industry Relations. 

2024 #GRAMMYsNextGen Executive Ambassadors:

Abe Batshon

Abe Batshon, the visionary Founder and CEO of Beatstars, has been a transformative executive in the music tech industry. Under his leadership, Beatstars has evolved into a premier platform that forges connections among global music creators. This innovative network has not only incubated GRAMMY-winning talent and numerous Billboard Hot 100 hits, but has also revolutionized content monetization, distributing more than $250 million to its vibrant creative community. Batshon's pioneering vision demonstrates his unwavering commitment to nurturing and empowering artists. His insights resonate through his influential podcast, "Pay The Creators," where he shares his wisdom and experiences as he continues to inspire and empower the future of music creation.

Rob Abelow

Rob Abelow, founder of Where Music's Going, has become the voice of music's future. His forward-thinking newsletter and growth agency bring together new tools, technology & insights to build more sustainable audiences. Leveraging his rich history as an artist manager, label owner, and music tech innovator, Rob specializes in deepening artist-fan relationships. His expertise has catalyzed self-reliant artists to Top 40 albums and billions of streams. Now, Abelow now helps visionary artist teams and music tech companies change the way the game is played.

Eddie Fourcell

Beginning his career as an intern at Island Def Jam, Eddie "A&R Eddie" Fourcell is an A&R Executive at Prescription Songs and also served as head A&R for Mary J. Blige’s MJB INC. In 2022, Eddie signed Philly-bred singer/songwriter/producer Fridayy to Prescription Songs and helped land DJ Khaled’s "God Did," which would introduce the highly sought-after vocalist to the world as the only new artist alongside hip-hop royalty Jay-Z, Lil Wayne, Rick Ross and John Legend. In 2023, Eddie contributed to a number of GRAMMY nominations including Song Of The Year for "God Did" and Mary J. Blige’s "Good Morning Gorgeous," which would go on to be a career first nomination in the Album Of The Year category for the nine-time GRAMMY-winning legend.

Rachelle Jean-Louis

Rachelle Jean-Louis is a multi-talented executive: manager, A&R, creative and music supervisor for film & TV. As manager to prolific singer/songwriter Victoria Monét, she has steadily guided Monét's solo career to an impressive seven GRAMMY nominations this year, including those for Best New Artist and Record Of The Year, while also serving as co-executive producer of Monét's critically-acclaimed debut album JAGUAR II. She also represents viral powerhouse vocalist Saint Harison of Apple Music's 2023 Up Next Class and Amazon Music's 2024 Artists to Watch. 

Heran Mamo

Heran Mamo is an Ethiopian American music journalist currently working as an R&B/hip-rop reporter at Billboard. She specializes in pop, hip-hop, R&B and Afrobeats music coverage and believes in amplifying the voices of underserved communities within the industry. Heran has written cover stories about The Weeknd, Burna Boy, SZA, Ice Spice and Metro Boomin; moderated panels at AFRICON in LA, SXSW in Austin, Texas and Reeperbahn Festival in Hamburg, Germany; and made TV appearances on "Good Morning America," "CBS News" and "Entertainment Tonight."

Federico Morris

As Director of A&R at Range Media Partners, Federico Morris works across Range Media Partners' record label, publishing and music management divisions. His recent signings include fast-rising artists Dylan Gossett (co-management) and Presley Regier (label). Since making his musical debut in June of 2023, Dylan Gossett has released an RIAA Gold-Certified single, opened a stadium show for Morgan Wallen, and played in arenas supporting artists like Noah Kahan. Presley Regier, a rising producer and musician, is direct support for Tate McRae's 2024 summer arena tour. Prior to Range, Morris managed GRAMMY-winning, multi-platinum hitmakers Starboy and Outtatown. He also served as Publishing A&R at Electric Feel Entertainment, where he signed multi-platinum producer Callan Wong and worked closely with hitmakers Carter Lang, Nick Mira, Starboy, Westen Weiss, Teo Halm and more, placing his writers on songs by artists ranging from BTS to Future to Omar Apollo.

Amal Noor

Amal Noor is a multifaceted hyper-creative strategist with a dual executive and entrepreneurial background. She specializes in artist development, integrated marketing, creative partnerships, brand strategy, and world-building. Hailing from both the Netherlands and England, and as a second-generation immigrant from Somalia, she moved to the U.S. solo to pursue the American Dream. Six and a half years later, as the proud owner of about:blank Management, home to Teezo Touchdown and Aliyah’s Interlude, Amal has cemented her place as one of the most promising music industry executives of the next generation.

Craig L. Posey

Craig L. Posey is an accomplished artist manager and seasoned music and entertainment executive, boasting a distinguished career spanning more than 10 years. Renowned for expertise in management, creative marketing, and live events within the dynamic realm of the music and entertainment industry. He has a proven track record of collaboration with esteemed clients such as YouTube Shorts, Complex, Pandora, Footlocker, Microsoft, and Gibson, among others. Posey is presently excelling as the community manager for the innovative music tech platform Vydia, while concurrently steering the career of two-time GRAMMY-nominated R&B artist Kenyon Dixon.

Ben Schecter

Ben Schecter, originally from Oakland, California, rose from an UCLA intern to Manager at The Revels Group and Co-Founder at Coup D’Etat Recordings in three years. He has curated successful partnerships and events with The Recording Academy, Amazon Music, Nike, The Black Music Action Coalition and more, as well as while his client roster has grown, boasting more than one billion cumulative streams to date. In 2023, Ben co-founded the distribution and label division of Coup D’Etat Recordings. Ben has been instrumental in working alongside Revel’s founder, Jamil Davis, to build their BLACK: Future. Now program.\

V-Live

Vladimir Samedi — a.k.a. V-Live — is a superstar entertainment and tech executive paving the way for the future of music, film/TV and tech. His ability and talents have led him to diamond records, executive production for viral campaigns, TV shows and managing culture’s top talent. Merging music and technology, he is also a founding partner of Integral Studio, a digital marketing agency that enables artists to engage, analyze and monetize audiences intelligently. Since then, has also become a partner for SymphonyOS a SaaS platform that helps creators streamline their digital marketing strategies more effectively and has directly been responsible for sourcing and securing outside capital for their current fundraising efforts.

2024 #GRAMMYsNextGen Executive Advisors

David Ali

David Ali is the Founder and CEO of Above Ground Entertainment, a full-service management and entertainment company based in Los Angeles, which boasts Kehlani, Larry June, Tee Grizzley, and Destin Conrad. Above Ground was established in 2008 as an event promotion and management company before growing into a talent management company in 2010.

Ashley Calhoun

Ashley Calhoun is the President + Head of Creative of PULSE Music Group, which comprises PULSE Music Publishing, PULSE Records and PULSE Management. Calhoun has been with the company since 2015, where she has built a publishing roster that includes Brent Faiyaz, Kehlani, FNZ, Starrah, OG Parker, Flo Milli, and Cordae, to name a few. Her management roster includes producers Tyler Johnson (co-management with Nathaniel Cochrane), G. Ry, and Rahki.

Alaysia Sierra

Alaysia Sierra, a 30-year-old L.A. native, stands as a prominent figure in the music industry. With a deep-seated passion for R&B, they serve as the Head of R&B at Spotify, following their previous role as the Global Head of R&B at Apple Music. Starting with humble beginnings in college radio, Alaysia eventually went on to leading global R&B efforts and propelling the talents of artists like Summer Walker, GIVEON, Victoria Monét, Tems, and many more, during their time with Apple Music. Since joining Spotify in July 2022, Alaysia’s tenure has been marked by their commitment, advocacy for marginalized voices, and enthusiasm for the R&B genre.

2024 #GRAMMYsNextGen Producer Ambassadors:

Cash Cobain

Cash Cobain is a two-fold rapper and producer who is the originator of the style "sample drill," a sound that has completely transformed the identity of drill in NYC by introducing 90's R&B, 2000's pop, and even gospel to the genre. Previously, Cash set this musical trend in Brooklyn alongside his production work with Shawny Binladen, including their notable, genre-bending collaborations like "Yellow Tears", "Faith" & "Georgia". Cash's reach goes beyond NYC, with his style of reinventing samples crossing the pond to the UK on the production for Central Cee's track "Duppy Drill" (50m+ streams). Although Cash is renowned for his production, he is simultaneously an innovative and cutting-edge rapper, as exhibited through his 2022 collaborative project with Chow Lee, 2 Slizzy 2 Sexy, their energetic On The Radar freestyle, and the viral track "SLIZZY LIKE", a clever combo of Jersey Club over a chop of Stevie Wonder, creating a standalone sound like no other.

Nik Dean

Nik Dean is a multi-platinum producer from Vienna, Austria known for his captivating drums and melodies. Over the past few years, Nik has worked with the likes of Travis Scott ("SKITZO"), Tory Lanez ("The Color Violet," "Stupid Again"), Gunna ("25K Jacket"), Anuel AA ("Conversacion Con Dios"), EST Gee & Jack Harlow ("Backstage Passes") and many more.

Hit Girl

Hit Girl, a Philippine native, moved to Canada when she was 6 years old. She is the first female producer signed to Internet Money Records and has worked with artists such as Yeat, Lil Uzi Vert, and Kyle Rich. Her favorite genres to make are underground hip hop & electronic music.

Nascent

Christopher Ruelas, better known as "Nascent," is a Mexican-American producer and artist. Born and raised in Chicago, Nascent has worked with the likes of SZA, Brent Faiyaz, The Weeknd, Lil Baby, Kanye West, Chance The Rapper, G-Herbo, Saba, Jordan Ward, and more. Nascent is a GRAMMY-winning producer for Best Melodic Rap performance for "Hurricane" by Kanye West & The Weeknd featuring Lil Baby. Nascent is currently nominated for two GRAMMY Awards at the 66th GRAMMY Awards for his work on SZA's album SOS.

Trinity

TRINITY is an L.A.-based producer/songwriter who draws from life experience to create inspired anthems and timeless records. With over 100 million streams across a variety of musical genres, TRINITY has cemented her place as a diverse creator. She follows a long line of independent women in music who have paved their own lane. TRINITY attributes much of her success to healthy relationships. She respects music as a beautiful exchange of creative gifts and looks forward to sharing something new every day.

Wallis Lane

Wallis Lane is a multi-platinum, 10-time GRAMMY-nominated producer duo consisting of brothers Paimon “Farsi” Jahanbin and Nima “Nizzy” Jahanbin, who have become the go-to beat making machine for rap royalty. Credits with Travis Scott, Kanye West, Post Malone, Jack Harlow, NBA Youngboy, Migos, and Drake jump off the page but the duo have become a formidable voice in 2020’s rap because their swampy beats exude enough character to complement the larger-than-life superstars they work with.

Tommy Parker

Tommy Parker is an artist, producer and songwriter, hailing from San Bernardino and Pittsburgh. Known for his signature vocals and unique piano, Tommy has been playing piano and singing since he was 10. Over his career, he has produced for Drake ("Drew a Picasso,") J. Cole ("Interlude"), Janet Jackson ("Made for Now" and "Unbreakable"), Ariana Grande ("Love Language," "Leave Me Lonely" and "Worst Behavior"), Lil Uzi Vert ("Days Come and Go"), Young Thug ("Stressed"), Chris Brown ("Sleep at Night" and "On Some New Shit)" and many others. Set to make his artist debut in 2024 with his The Parkers project, Tommy has also recently entered the film and TV space, composing on the score for Netflix’s critically acclaimed film They Cloned Tyrone and contributing to "Anthem" off of the Creed 3 soundtrack. 

Loshendrix

Loshendrix is a Los Angeles-based producer who has worked with artists such as NLE Choppa, Kehlani, Childish Gambino, Camila Cabello, and Brent Faiyaz. His songwriting, engineering, and multi-instrumental skills impact hip-hop, R&B, and pop with a distinct and driving dynamic of his own, which he coined "New Age Vintage." He co-produced and co-wrote “Good Days” by SZA, which went No. 1 on Spotify and Apple Music.

2024 #GRAMMYsNextGen Producer Ambassadors: Producer Advisors

Deputy

GRAMMY-nominated music producer and songwriter Deputy stands at the forefront of the music industry, recognized for his transformative contributions to chart-topping hits, including Rihanna's certified platinum hit single, "B^^^^ Better Have My Money,” which she performed as the opening song for her 2023 Super Bowl halftime performance. Deputy’s production on Victoria Monét’s hit song, "On My Mama," earned him GRAMMY nominations for Record Of The Year and Best R&B Song, contributing to the project’s Best R&B Album nomination. The song reached No. 1 on the Billboard R&B charts, landed as one of the Top 10 songs of 2023 according to Rolling Stone, and amassed more than 20 million views on YouTube — all feats underscoring Deputy's talent and influence on the industry and culture at large. 

2024 GRAMMY Nominations: See The Full Nominees List

Held during 2024 GRAMMY Week, the third annual #GRAMMYsNextGen Party, presented by Mastercard and Dyson, was as much an extensive art exhibition as it was an exploration of sight and sound. The initiative celebrates the leading creators and professionals shaping the future of music.

Partygoers could be seen from three blocks away as they converged onto GRAMMY House in DTLA. Held on Fri, Feb. 2, two nights ahead of the 66th GRAMMY Awards, excitement for the ceremony was felt in every corner of Rolling Greens' massive campus of warehouse and outdoor garden spaces. 

A far cry from DTLA’s warehouses, the Arts District venue featured eye-catching and tasteful details, including bell-shaped straw shades hanging over lightbulbs and an urban greenhouse. The setting was perfect for GRAMMY House exhibitions, including a cylindrical centerpiece displaying a timeline of landmark moments from the Latin GRAMMYs.

Guest activations included Mastercard’s ultra-chic secret garden bar space, a Dyson showroom with hair styling salon, as well as a Sonos sound interview and photo room.

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Attendees showcased their skills in front of the camera at several#GRAMMYsNextGen photo areas. From TikTok’s most-followed creator, Khaby Lame, to singer/songwriter Lucky Daye and Mali-Koa and Leo Stannard of dance duo AR/CO to miniature charmer Kayden Alexander Koshelev, influencer Clawdeena (who was dressed like a futuristic devil), to actor Michael Epps and "American Idol" finalist Haven Madison, #GRAMMYsNextGen has an intimate relationship with the lens. 

Music permeated the various spaces of Rolling Greens, adjusting to the moods of the activations and settings of the campus. Inside Mastercard’s delightful Secret Garden — perhaps the most sophisticated and comfortable spot in the party — DJs spun groovy dance tunes. Adding to the charm of the space, everything inside the Secret Garden was sustainably sourced, going to be repurposed or made from recycled materials. A short video on a loop showed Mastercard’s eco-forward initiatives, and the approachable staff on-site were there to answer any questions on the program that guests had.    

But #GRAMMYsNextGen was all about the photos. If you didn’t know how to pose before attending #GRAMMYsNextGen, you would have picked up a lot of pointers by the end of the night. From floral backdrops to street art, a neon boombox to a giant gold GRAMMY, a disco ball sculpture to a "plant-based" GRAMMY, each installation meant another snap of the phone camera.

Over the course of three hours, Yasmin and Cyanide Beats provided the music in one of the larger rooms. They ranged from high-energy thumpers to throwback favorites from the ‘90s, among them the perennial "Milkshake" from Kelis and Missy Elliott’s "Work It." 

In the evening, Nigerian rapper Blaqbonez took to the stage for a live performance. Oozing with confidence and clad in leather, Blaqbonez’ irresistible magnetism pulled the audience in, encouraging them to chant along with "Like Ice Spice." He responded to their amped-up reactions with the winning sense of humor for which he is known. 

First-time GRAMMY nominee Romy, who is up for Best Dance/Electronic Recording for "Strong," a collaboration with multiple GRAMMY nominee Fred Again… took control of the decks playing her signature brand of emotive bangers. Smiling nonstop and singing along to her selections, she had the whole dancefloor moving!

2024 GRAMMYs: See The Full Winners & Nominees List

When Code Orange's Jami Morgan came to work with Steve Albini, he knew that he and the band had to be prepared. They knew what they wanted to do, in which order, and "it went as good as any process we've ever had — probably the best," he glowed.

And a big part of that was that Albini —  a legendary musician and creator of now-iconic indie, punk and alternative records —  didn't consider himself any sort of impresario. 

"The man wears a garbage man suit to work every day," Morgan previously told GRAMMY.com while promoting Code Orange's The Above. "It reminds him he's doing a trade… I f—ing loved him. I thought he was the greatest guy."

The masterful The Above was released in 2023, decades into Albini's astonishing legacy both onstage and in the studio. The twisted mastermind behind Big Black and Shellac, and man behind the board for innumerable off-center classics, Steve Albini passed away on the evening of May 7 following a heart attack suffered at his Chicago recording studio, the hallowed Electrical Audio. He was 61. The first Shellac album since 2014, To All Trains, is due May 17.

Albini stuck to his stubborn principles (especially in regard to the music industry), inimitable aesthetics and workaday self-perception until the end. Tributes highlighting his ethos, attitude and vision have been flowing in from all corners of the indie community. The revered label Secretly Canadian called Albini "a wizard who would hate being called a wizard, but who surely made magic."

David Grubbs of Gastr Del Sol called him "a brilliant, infinitely generous person, absolutely one-of-a-kind, and so inspiring to see him change over time and own up to things he outgrew" — meaning old, provocative statements and lyrics.

And mononymous bassist Stin of the bludgeoning noise rock band Chat Pile declared, "No singular artist's body of work has had an impact on me more than that of Steve Albini."

To wade through Albini's entire legacy, and discography, would take a lifetime — and happy hunting, as so much great indie, noise rock, punk, and so much more passed across his desk. Here are five of those albums.

Pixies - Surfer Rosa (1988)

Your mileage may vary on who lit the match for the alternative boom, but Pixies — and their debut Surfer Rosa — deserve a place in that debate. This quicksilver classic introduced us to a lot of Steve Albini's touchstones: capacious miking techniques; unadulterated, audio verite takes; serrated noise.

PJ Harvey - Rid of Me (1993)

Some of Albini's finest hours have resulted from carefully arranging the room, hitting record, and letting an artist stalk the studio like a caged animal.

It happened on Scout Niblett's This Fool Can Die Now; it happened on Laura Jane Grace's Stay Alive; and it most certainly happened on PJ Harvey's Rid of Me, which can be seen as a precedent for both. Let tunes like "Man-Size" take a shot at you; that scar won't heal anytime soon.

Nirvana - In Utero (1993)

Nirvana's unintended swan song in the studio was meant to burn the polished Nevermind in effigy.

And while Kurt Cobain was too much of a pop beautician to fully do that, In Utero is still one of the most bracing and unvarnished mainstream rock albums ever made. Dave Grohl's drum sound on "Scentless Apprentice" alone is a shot to your solar plexus.

"The thing that I was really charmed most by in the whole process was just hearing how good a job the band had done the first time around," Albini told GRAMMY.com upon In Utero's 20th anniversary remix and remastering. "What struck me the most about the [remastering and reissue] process was the fact that everybody was willing to go the full nine yards for quality."

Songs: Ohia - The Magnolia Electric Co. (2003)

When almost a dozen musicians packed into Electrical Audio to make The Magnolia Electric Co., the vibe was, well, electric — prolific singer/songwriter Jason Molina was on the verge of something earth-shaking.

It's up for debate as to whether the album they made was the final Songs: Ohia record, or the first by his following project, Magnolia Electric Co. — is a tempestuous, majestic, symbolism-heavy, Crazy Horse-scaled ride through Molina's troubled psyche.

Code Orange - The Above (2023)

A health issue kept Code Orange from touring behind The Above, which is a shame for many reasons. One is that they're a world-class live band. The other is that The Above consists of their most detailed and accomplished material to date.

The band's frontman Morgan and keyboardist Eric "Shade" Balderose produced The Above, which combines hardcore, metalcore and industrial rock with concision and vision. And by capturing their onstage fire like never before on record, Albini helped glue it all together.

"It was a match made in heaven," Morgan said. And Albini made ferocity, ugliness and transgression seem heavenly all the same.

11 Reasons Why 1993 Was Nirvana's Big Year

What is about the Beatles' Let it Be sessions that continues to bedevil diehards?

Even after their aperture was tremendously widened with Get Back — Peter Jackson's three-part, almost eight hour, 2021 doc — something's always been missing. Because it was meant as a corrective to a film that, well, most of us haven't seen in a long time — if at all.

That's Let it Be, the original 1970 documentary on those contested, pivotal, hot-and-cold sessions, directed by Michael Lindsay-Hogg. Much of the calcified lore around the Beatles' last stand comes not from the film itself, but what we think is in the film.

Let it Be does contain a couple of emotionally charged moments between maturing Beatles. The most famous one: George Harrison getting snippy with Paul McCartney over a guitar part, which might just be the most blown-out-of-proportion squabble in rock history.

But superfans smelled blood in the water: the film had to be a locus for the Beatles' untimely demise. To which the film's director, Michael Lindsay-Hogg, might say: did we see the same movie?

"Looking back from history's vantage point, it seems like everybody drank the bad batch of Kool-Aid," he tells GRAMMY.com. Lindsay-Hogg had just appeared at an NYC screening, and seemed as surprised by it as the fans: "Because the opinion that was first formed about the movie, you could not form on the actual movie we saw the other night."

He's correct. If you saw Get Back, Lindsay-Hogg is the babyfaced, cigar-puffing auteur seen throughout; today, at 84, his original vision has been reclaimed. On May 8, Disney+ unveiled a restored and refreshed version of the Let it Be film — a historical counterweight to Get Back. Temperamentally, though, it's right on the same wavelength, which is bound to surprise some Fabs disciples.

With the benefit of Peter Jackson's sound-polishing magic and Giles Martin's inspired remixes of performances, Let it Be offers a quieter, more muted, more atmospheric take on these sessions. (Think fewer goofy antics, and more tight, lingering shots of four of rock's most evocative faces.)

As you absorb the long-on-ice Let it Be, here are some lesser-known facts about this film, and the era of the Beatles it captures — with a little help from Lindsay-Hogg himself.

The Beatles Were Happy With The Let It Be Film

After Lindsay-Hogg showed the Beatles the final rough cut, he says they all went out to a jovial meal and drinks: "Nice food, collegial, pleasant, witty conversation, nice wine."

Afterward, they went downstairs to a discotheque for nightcaps. "Paul said he thought Let it Be was good. We'd all done a good job," Lindsay-Hogg remembers. "And Ringo and [wife] Maureen were jiving to the music until two in the morning."

"They had a really, really good time," he adds. "And you can see like [in the film], on their faces, their interactions — it was like it always was."

About "That" Fight: Neither Paul Nor George Made A Big Deal

At this point, Beatles fanatics can recite this Harrison-in-a-snit quote to McCartney: "I'll play, you know, whatever you want me to play, or I won't play at all if you don't want me to play. Whatever it is that will please you… I'll do it." (Yes, that's widely viewed among fans as a tremendous deal.)

If this was such a fissure, why did McCartney and Harrison allow it in the film? After all, they had say in the final cut, like the other Beatles.

"Nothing was going to be in the picture that they didn't want," Lindsay-Hogg asserts. "They never commented on that. They took that exchange as like many other exchanges they'd had over the years… but, of course, since they'd broken up a month before [the film's release], everyone was looking for little bits of sharp metal on the sand to think why they'd broken up."

About Ringo's "Not A Lot Of Joy" Comment…

Recently, Ringo Starr opined that there was "not a lot of joy" in the Let it Be film; Lindsay-Hogg says Starr framed it to him as "no joy."

Of course, that's Starr's prerogative. But it's not quite borne out by what we see — especially that merry scene where he and Harrison work out an early draft of Abbey Road's "Octopus's Garden."

"And Ringo's a combination of so pleased to be working on the song, pleased to be working with his friend, glad for the input," Lindsay-Hogg says. "He's a wonderful guy. I mean, he can think what he wants and I will always have greater affection for him.

"Let's see if he changes his mind by the time he's 100," he added mirthfully.

Lindsay-Hogg Thought It'd Never Be Released Again

"I went through many years of thinking, It's not going to come out," Lindsay-Hogg says. In this regard, he characterizes 25 or 30 years of his life as "solitary confinement," although he was "pushing for it, and educating for it."

"Then, suddenly, the sun comes out" — which may be thanks to Peter Jackson, and renewed interest via Get Back. "And someone opens the cell door, and Let it Be walks out."

Nobody Asked Him What The Sessions Were Like

All four Beatles, and many of their associates, have spoken their piece on Let it Be sessions — and journalists, authors, documentarians, and fans all have their own slant on them.

But what was this time like from Lindsay-Hogg's perspective? Incredibly, nobody ever thought to check. "You asked the one question which no one has asked," he says. "No one."

So, give us the vibe check. Were the Let it Be sessions ever remotely as tense as they've been described, since man landed on the moon? And to that, Lindsay-Hogg's response is a chuckle, and a resounding, "No, no, no."

The Beatles' Final Song: Giles Martin On The Second Life Of "Now And Then" & How The Fab Four Are "Still Breaking New Ground"

Yaya Bey possesses a dizzying talent: The ability to draw everything from reggae to house music into her sonic worldview without it ever feeling anything but inventive.

On her innovative upcoming record Ten Fold, the Brooklyn-based artist tethers her R&B sound to pangs of hip-hop, pop, and soul. She's also attuned to the sound and vibration of her city, a reference point shown as early as her 2016 debut, The Many Alter-Egos of Trill’eta Brown.

Whether on record or in conversation, Bey carries that classic native New Yorker duality: She’s well aware that the city’s constantly evolving energy means that no one perspective could possibly speak for it, but she also knows when it needs her to speak up. 

"People who are born and raised here are like unicorns," the experimental R&B/pop artist says — herself having grown up in Queens, the daughter of Grand Daddy I.U., a member of the legendary hip-hop collective the Juice Crew. So when mayor Eric Adams was at an event while raging Canadian wildfires dyed the city orange and covered it in smoke, she put her thoughts to record with the track, "eric adams in the club." 

That fiery critique is only one of the powerful emotions that fueled Ten Fold; the passing of her father (rapper Grand Daddy I.U.) adds a tragic shade, and her new marriage brings a flash of joy, among other prismatics. While 2022’s grand Remember Your North Star were built on thematic cohesion, Ten Fold’s 16 tracks are cathartic  in their ability to bound between extremes and find life’s most powerful moments. "I was experiencing success and grief at the same time, and that set the tone," Bey says of creating the new album.

While she’s continued experimenting as a visual artist and poet, Bey's work as an activist — including time as a street medic at protests — demonstrates the real-world ties to all of that expressive work. "It made me really focus on my responsibility to my neighbor and how I exist in the world, loving and caring not just about myself, but about the collective struggle," she says.

Bey spoke with GRAMMY.com about finding the creative energy to manage all of those practices, weaving her father’s voice into Ten Fold, and the state of music played at New York cookouts.

I need to thank you for "Sir Princess Bad Bitch" because it will never stop repeating in my head! It’s such an incredible track. Did you know you'd hit it out of the park when you were in the studio?

Well, Corey Fonville, who's the drummer in [jazz quintet] Butcher Brown, produced the track and he sent it to me. And I was like, "Wow, I'm about to do a house record?" 

I'd done dance records before, but this one felt different. The words and the melody, it came so easily that it felt right. That's usually how I gauge if something is the right song for me, if the melody and the words come quick. I have that kind of chemistry with Corey. 

If the lyrics and the melody meet in the way this album does, pushing inclusive, all-encompassing empowerment, that must feel so encouraging as an artist. 

You know, when I was making this album, my dad passed away in December of ‘22. And that happened, like, right as I put out another album called North Star. 

That album sort of shifted me into a space where [I was] making a living off of my art, and people are interested in me, and I got a publishing deal, and I went to Europe to play some gigs for the first time in about November. I stayed for a month and I came home and my dad died. 

Right when that happened, I was presented with the option to renew my record deal and put another album out. So I started working on it almost immediately after he died. I went through 2023 making the album and I had to find light. So I put in a lot of songs just trying to encourage myself.  

I’m so sorry. My heart breaks for you. I lost my dad in 2021, right before I started a massive project, and it shifted my process completely. Is that why the album starts with "crying through my teeth."? You’re expressing your grief before anything else.

Yeah. I usually start my other projects with a little rap. But I knew that this project was different and I needed to start it out setting the tone. We're starting out in a dark place and then we try to journey out of it.

 And then you incorporated your father's voice in the intro to some of the songs, like on "east coast mami." How did it come to you to bring his memory into the album? 

To be honest, especially during this process, I’ve just been trying to keep whatever I can from him. One day, I was trying to find voice notes from him. My phone had deleted all of our text messages and thank God I had some screenshots of it. I was looking for what I had left, and I had these voice notes.

It’s difficult enough to determine what message you want to convey with any album, but then having this grief, this audible connection to your dad, must have been a lot to consider.

Yeah. The album is also about more than the grief. My albums are more thematic; this album isn't thematic as much as it was just my life turned upside down. My dad was my best friend. And at the same time, my dad was also a musician and I followed in his footsteps. But in the blink of an eye, I was living a completely different life.

My life changed overnight when I made North Star. I was three months behind on my rent, and in the blink of an eye I had money to pay my rent for the year if I wanted. I had got all these things that I thought I was going to share with my dad. I got married. My whole life just shifted. And so the album is like, documenting that. I had no control. I just had to go with the ebbs and flows of life and make songs as I went along.

Both the good and bad, how do you think all that change affected your actual music? Even just in your quality of life, being exposed to different things. 

I think it gave me more perspective, for sure. I've seen more of the world, I've experienced new things. I can write from a place of joy, too. I made [North Star] in despair, and I'm not in despair anymore. You have more things to write about when you’re not three months behind on rent, not in a relationship with some guy that's driving you crazy. 

Between your music, poetry, visual art, mutual aid work, you're outputting so much creative and connected energy into the world. Were you ever wary of not being able to tackle those things, especially while going through multiple different shifts in your life? 

To be honest, I was afraid that I wouldn't be able to make an album again. I did have those thoughts. But I find that if I just show up, like, I'm going to just tell what's true for me, I'll probably be fine. And it's still working out in that way.

It's still cathartic. It’s still just trying to feel something, express something, even with the dance records, just trying to tap into something that feels good. 

Speaking of those dance records, were there any particular artists you were channeling when developing your take on that sound? 

Phyllis Hyman and Frankie Beverly are really big inspirations for me. Growing up in New York, when you go to cookouts, Black people, they play Frankie Beverly, they play Alicia Myers, they play Phyllis Hyman. It's a certain sound that you're gonna hear at a cookout. I just grew up with the sound. Phyllis Hyman is iconic.

I think that dance music has a long history in that debate about art produced in troubled times. Speaking of, we’ve got to talk about "eric adams in the club", which is a phrase I never thought I'd get to say in an interview. Did you go into the writing process wanting to write about Eric Adams to a dance beat, or was that more serendipitous in the studio? 

Last June there was a wildfire in Canada, and it impacted the air quality in New York. He was in the club with Robert De Niro. And I remember thinking to myself, like, Yo, this is insane. Being a New Yorker, seeing how much people's rent raised when they decided it wasn't a pandemic anymore, in a matter of months — it sent the city into a housing crisis, and he refused to address it. And then that wildfire thing happened, and I was like, Oh, yeah, I'm gonna write a song about this guy, but I want it to be a club record because he's in the club. 

New York is an interesting city. It doesn't care about its natives, in a way that is unique. Gentrification happens everywhere, but the way that it happens in a city like New York is that people who are born and raised here are like unicorns. And there are a lot of things that happen that we don't have a voice on. 

I've also been grieving the city that I grew up in, that it doesn't even exist anymore because of people like Eric Adams. The city is more than just the restaurants and things like that. It's the people and the people that create the culture. And if that's pushed out, it's not even what it was anymore, it's something new. 

Obviously there's so many things that need to change, but by being a musician and being an artist, how do you feel like you can shift some mindsets? 

I think I can have the conversations or make the music that starts conversations. I was listening to a lot of Frankie Beverly and Maze when the pandemic was at its height, and [that was] focused on unity a lot. If you listen to, like, "We Are One," "Happy Feelin’s," their message is love, their message is unity. And it got me through the pandemic. I couldn't stop listening to it. 

It made me really focus on my responsibility to my neighbor and how I exist in the world, loving and caring not just about myself, but about the collective struggle. And they did it in such a beautiful way that I kept coming back to listen to the music again and again and again.

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