meta-scriptMusiCares Nashville Flood Relief Fund Efforts | GRAMMY.com

news

MusiCares Nashville Flood Relief Fund Efforts

Nashville event to raise funds for flood relief

GRAMMYs/Dec 3, 2014 - 05:06 am

The Recording Academy Nashville Chapter's 12th Annual GRAMMY Block Party and Membership Celebration will take place on May 11 at Owen Bradley Park in Nashville, Tenn., providing Academy members with an opportunity to come together and celebrate music through a variety of live performances.

In light of the recent floods that have severely affected the Nashville area, this year's event will serve as a fundraiser for the newly established MusiCares Nashville Flood Relief Fund, helping local musicians in need. Artists scheduled to perform at the event are bluegrass duo Dailey & Vincent, contemporary Christian artist Plumb, GRAMMY-winning country artist Darius Rucker, country music duo Steel Magnolia, and funk band Trombone Shorty & Orleans Avenue. Recording Academy President/CEO Neil Portnow and Recording Academy Chair George J. Flanigen IV also will be in attendance.

MusiCares' emergency assistance efforts have already begun, and 100 percent of every dollar raised will be immediately distributed to help those in the music community that are victims of the flood. Donations to MusiCares Nashville Flood Relief may be made at the MusiCares table at the GRAMMY Block Party or online here.

MusiCares' initial assistance will provide funds for food and clothing, gasoline and transportation, clean-up efforts, relocation costs, medicine, and other critical supplies. To apply for assistance, please contact MusiCares' South Regional office at 615.327.0050 or toll-free at 877.626.2748.
 

Darius Rucker performs for the 2024 Stars For Second Harvest at Ryman Auditorium on June 04, 2024 in Nashville, Tennessee
Darius Rucker performs for the 2024 Stars For Second Harvest in Nashville, Tennessee

Photo: Jason Kempin/Getty Images

interview

Darius Rucker Shares Stories Behind 'Cracked Rear View' Hits & Why He's Still Reveling In "A Dream Come True"

Thirty years after Hootie & the Blowfish's seminal debut — and nearly 20 since he forayed into country music — Darius Rucker looks back on some of his fondest memories that he further explores in a new memoir, 'Life's Too Short.'

GRAMMYs/Jul 5, 2024 - 02:06 pm

July 5, 1994 was the day Darius Rucker's life forever changed.  

That was when his band, Hootie and the Blowfish, released their seminal debut, Cracked Rear View. Within a matter of months, the album went on to launch his band into the mainstream stratosphere. By mid-1995, Cracked Rear View topped the Billboard 200 — where it stayed for eight weeks — and by February 1996, the band went two-for-two at the 38th GRAMMY Awards, where they were awarded Best New Artist. Three decades on, Cracked Rear View remains one of the best-selling albums in U.S. history. 

For Rucker, who has also enjoyed a successful run as a solo country act since 2008, it's all part of a triumphant journey that he recalls in his new memoir, Life's Too Short. A candid retelling of his eventful life, the book recounts the high-highs of musical dreams gloriously come true and the love of his family — including his late mother Carolyn, a frequent inspiration, particularly on his latest set, 2023's Carolyn's Boy. Rucker is also frank about his run-ins with the struggles of his massive success, including the scourge of racism he encountered along the way.

In celebration of Cracked Rear View's big anniversary and the recent release of Life's Too Short, Rucker spoke to GRAMMY.com about his band's biggest hits and career-making success, as well as the moments he knew Hootie, and his country venture, were about to be big. 

How would you say Hootie's sound came about? Was it a natural evolution, or did you have a very clear sound in your head?

It was definitely natural. It all started with Mark and I in the USC dorms, realizing how much of the same music we knew and [were] jamming together — R.E.M., the Eagles, the Beatles, Simon & Garfunkel, Hank Williams, Jr. and KISS. We both grew up on a huge variety of music, and all of those influences shaped our own songs once we started performing and writing together. 

There was a brief moment where we tried to do some heavier stuff as grunge was getting popular, but that wasn't us. Hootie was always going to sound like Hootie.

Congratulations on the the 30th anniversary of  'Cracked Rear View.'  When you think about that time in your life and the album, I'm sure the memories just come flooding right back?  

Oh, so many. You know, we'd been writing songs for so long and playing them at our live shows, doing everything independently and having pretty good success with it. But making this one was different, because we had a real record deal finally, after so many "almost" deals falling apart, and we went out to a studio in L.A. to record the album. We had Don Gehman there producing, and I just remember feeling so much joy being in that room making music together. 

Does any one story stand out?

One of my favorites, and I talk about this in the book, is David Crosby coming to sing harmonies on "Hold My Hand." We were trying to figure out who would do it, and our friend Gena Rankin threw out David's name. She said it so casually, we all thought she was messing with us. There was no way a legend like him was going to come be part of this project! Sure enough, two days later he walked into the studio [to record it]. I still can't believe that happened. 

Looking back, the album launched a variety of iconic singles. For example, I know "Hold My Hand" is a special one for you.  

Jim "Soni" Sonefeld actually brought "Hold My Hand" to us when we were holding auditions for a drummer. He finished playing and told us he heard we were starting to write original music, so he popped a cassette in with this song on it. We obviously canceled the rest of the auditions.  

What about a song like "Let Her Cry"?  

I was sitting at a bar in Columbia [South Carolina] when I heard The Black Crowes sing "She Talks to Angels" for the first time. I was transfixed. I made them play it again and again until they wouldn't anymore, and then I went to every bar on the street and made them all play it.   

When I finally went home, I tried to shake the song off by listening to something else great, so I put on Bonnie Raitt's Home Plate CD, and eventually decided I was going to write my own "She Talks to Angels," for Bonnie Raitt. The next morning I told Dean [Felber, the band's bassist], who I was living with at the time, that I had drunkenly recorded a song on our little four-track last night and we should listen to it because it was probably pretty funny. It wasn't funny, but it was pretty good. 

"Only Wanna Be With You" was another one of the album's many hits. Where did that song come from? I'm especially wondering about one line in there: "I'm such a baby 'cause the Dolphins make me cry." 

Anyone who knows my story knows that my mom, Carolyn, had a huge impact on my life and still does to this day, even though we lost her a long time ago. But she also had a specific impact on this song.

I had started writing it, with the chorus and some pretty good lyrics down, but I wanted to add more personal details and couldn't really get it right. I had taken a break from writing to watch the Dolphins game, and as they were about to lose once again after blowing a lead, my mom called. She heard me sniffling, and even though I blamed allergies, she immediately knew it was because of the game. "Unbelievable. Are those Dolphins making you cry again?!" The rest is history. 

When did you realize 'Cracked Rear View' was something special?  

Our fourth single "Time" really pushed us over the edge in dominating radio airwaves in a way that was hard to wrap our heads around, and really still is. I remember being in a car one time, and "Hold My Hand" was playing as soon as we turned on the radio, which was funny — but honestly, pretty expected at that point. We hit seek through the next few stations and — you can't make this up — "Only Wanna Be With You," "Let Her Cry" and, yep, "Time." Four stations, four Hootie songs. It was wild. 

How did your life change?

Oh, it was a rocket ship. I always tell this story, but David Letterman heard our song on a Tuesday, put us on his show on a Friday, and by Monday, we were the biggest band in the world. It happened that quickly, and the opportunities that came from that changed our lives.   

Aside from the big hits, were there any songs on the album that particularly meant something to you? 

"Drowning" was an important song for me because I wrote it during the early days when we first started transitioning from covers to our own music, and I wanted to get deeply personal in what I put in songs. I put the hurt I felt from all of the racism surrounding us in that song. The lyrics literally ask, "Why is there a rebel flag hanging from the statehouse walls?"

The band supported me with that song, just like they did at shows where people casually threw the N-word at the stage. Like it has been my whole life, music was my outlet for dealing with that hurt. And I resolved that such ignorance would never stop me. 

From 'Cracked Rear View' to 'Carolyn's Boy,' your songwriting as a whole has gotten much more personal. Why has that changed?

I actually think Cracked Rear View was pretty personal. The example of "Drowning" I mentioned earlier kind of shows that. But the vibe of Hootie was so happy-go-lucky that sometimes the deeper meaning of the lyrics got missed. 

Country music is all about the lyrics and the storytelling, though, so I think that shows through in my newer music in a more prominent way. And with Carolyn's Boy specifically, I experienced a lot of life during the time we were writing that album. From the pandemic, to relationships, to my kids getting older and leaving the house, there was a lot of life to process and I put all of that into song.

Lightning struck twice when you branched out as a solo act and embarked into country music. When did you realize you made the correct gamble?

It was on Oct. 3, 2008. I had always wanted to make a country record, just because I love country music. When I came to Nashville, I wasn't hoping for immediate success, number one songs or platinum albums. I was just hopeful someone would give me a chance to make a record, and then maybe a chance to make another one.

But on that day in 2008, [my] debut single "Don't Think I Don't Think About It" hit the top of the charts at country radio. It was humbling, and it reaffirmed my belief in myself and my music. No matter what any of the doubters had to say about a Black man in country music, the Hootie singer in country music. The genre embraced [me], and it is still a dream come true almost 20 years later.

What was it like revisitingall of the old memories you delve into in 'Life's Too Short?'

It was therapy in a lot of ways. There are some parts, like about my dad, or my brother, that I didn't expect to talk so much about. But as you start revisiting the different chapters of your life, a lot comes to the surface that you might not have planned on, and you really start to process it, sometimes for the first time.

And then when we got into recording the audio book, reading it back added a whole other layer of emotion to the story. There were parts where I got choked up, and they kept that in the recording, which I think is really powerful — because it shows how much these stories mean to me.

Incubus On Revisiting 'Morning View' & Finding Rejuvenation By Looking To The Past 

Kane Brown performing in 2023
Kane Brown performing at the 2023 iHeartRadio Music Festival in Las Vegas.

Photo: Denise Truscello/Getty Images for iHeartRadio

list

A Brief History Of Black Country Music: 11 Important Tracks From DeFord Bailey, Kane Brown & More

While the world anticipates the arrival of Beyoncé's 'Act II: COWBOY CARTER' on March 29, revisit these 11 songs by influential Black country musicians throughout history, from a Charley Pride classic to a Mickey Guyton statement piece.

GRAMMYs/Mar 22, 2024 - 10:24 pm

In February, Beyoncé added to her record-breaking legacy by becoming the first Black woman to top Billboard's Hot Country Songs chart with her single "TEXAS HOLD 'EM."

"I feel honored," she shared on Instagram in a countdown post to her RENAISSANCE sequel, Act II: COWBOY CARTER, out March 29. "My hope is that years from now, the mention of an artist's race, as it relates to releasing genres of music, will be irrelevant."

Since she first dabbled in country music with "Daddy Lessons" in 2016, the icon has received consistent backlash about whether she belongs in the genre. That same year, audiences campaigned for a boycott against the Country Music Awards for her performance of the track alongside The Chicks, later resulting in its erasure from promotional advertisements. And eight years later, the conversation returns as radio listeners question if her music should air on country stations.

Ironically, if you look back through music history, you will quickly discover that Beyoncé isn't the first (and certainly not the last) Black musician doing country music. 

In fact, the genre plants its sonic roots in negro spirituals and field songs, written on slave plantations. African American Vernacular English continues to influence contemporary chart-topper's lyricism and vocal twang. The banjo, which descends from the West African akonting lute, remains one of the quintessential instruments of the genre. Whether Beyoncé or the many artists who came before her, nothing sits at the heart of country music more than Black art.

To understand the full scope of Black creatives' impact in country, GRAMMY.com examines some of the influential tracks and moments of those who have made their mark on the genre and the music industry — from DeFord Bailey's Grand Ole Opry debut in 1927, to Darius Rucker's post-Hootie & The Blowfish country foray in 2008, to Breland's 2021 fusion of country and hip-hop.

DeFord Bailey — "Pan American Blues" (1927)

Before there was Mickey Guyton, Darius Rucker, or even Charley Pride, there was DeFord Bailey, the "harmonica wizard" from Tennessee.

After performing locally, another musician introduced Bailey to Nashville powerhouse radio station WSM's manager, George D. Hay, who later invited him to join the Grand Ole Opry — making Bailey the first Black member. He quickly rose to become one of the program's highest-paid players at the time, largely thanks to his iconic instrumental tune, "Pan American Blues," which imitated the sounds he heard from the railroad during his childhood.

As of press time, the only other Black inductees in the Grand Ole Opry are Rucker and Pride.

Lead Belly — "In The Pines" (1944)

"My girl, my girl, don't lie to me/ Tell me, where did you sleep last night?/ In the pines, in the pines/ Whether the sun don't ever shine/ I would shiver the whole night through," Huddie "Lead Belly" Ledbetter questions in the Appalachian folk song, "In the Pines."

Though Lead Belly isn't the original writer of the song, his chilling vibrato on the recording inspired singers for years to come, including Kurt Cobain, who later covered the track in Nirvana's 1993 MTV Unplugged performance under the title "Where Did You Sleep Last Night?" and named the '40s country blues legend his "favorite performer."

Linda Martell — "Color Him Father" (1969)

In "Color Him Father," Linda Martell narrates the heartfelt tale of a stepdad who embraces his new paternal role to a widowed mother and her seven children. It's also the song that propelled her to stardom, landing her a historic performance as the first Black woman on the Grand Ole Opry stage and later opening the door for debut album, Color Me Country.

After the project was released, Martell stepped away from the limelight, but her impact lived on. She was the inspiration for contemporary luminaries like Mickey Guyton: "The fact that she was there was groundbreaking ... She gave me the courage to be here," Guyton told Rolling Stone in 2020.

Charley Pride — "Kiss an Angel Good Mornin'" (1971)

Through his nearly seven decades-spanning career, Charley Pride became a certified hitmaker and one of the most renowned pioneers of his time. By 1987, he amassed more than 50 Top 10 hits on Billboard's Hot Country Songs chart, with 30 peaking at No. 1 — including his most notable single, "Kiss an Angel Good Mornin'."

After Pride passed away from COVID-19 complications in 2020, the response to his death highlighted the magnitude of his legacy, receiving condolences from Dolly Parton, Billy Ray Cyrus, and perhaps the most personal from Darius Rucker.

"I couldn't have done what I do, I don't think, if there hadn't been Charley before me," Rucker said in an essay for Billboard. Pride served not only as an icon but also as a mentor to Rucker, and his kindness ultimately gave Rucker the courage to do the same for the next generation.

Cleve Francis — "You Do My Heart Good" (1992)

As a cardiologist and songwriter, Dr. Cleve Francis certainly knew a "good heart."

In his 1992 track, "You Do My Heart Good," Francis sings about a budding love that shows him how to see life in a beautiful light. The song eventually became the second single from his Liberty Records debut LP, Tourist in Paradise.

Francis later founded the now-defunct Black Country Music Association in 1995 to foster an inclusive environment in the Nashville music scene and provide resources to aspiring singers. Under his advisory, the BCMA, with the help of Warner Bros., produced From Where I Stand, a record book of Black artists' contributions to the genre.

Darius Rucker — "Don't Think I Don't Think About It" (2008)

Before 2008, many knew Darius Rucker better as Hootie, thanks to his remarkable '90s run as frontman of jangle pop band Hootie & the Blowfish. But with his second album as a solo act, 2008's Learn to Live, the world met Darius Rucker, the country artist.

Fittingly, he chose a heartbreaking ballad for his first country single — "Don't Think I Don't Think About It," a heartbreaking ballad about a man who wonders what could have been in a previous relationship. The choice resonated with country listeners:  "Don't Think I Don't Think About It" debuted at No. 1 on Billboard's Hot Country Songs chart, making Rucker the first Black country artist to have a chart-topper since Pride in 1983. 

Kane Brown — "Heaven" (2017)

Since his major label debut, Brown has possessed a unique boy-next-door charm, less "Western" than his peers. "Not laced up in a tight belt and buckle hat," but proof that "you can be who you want to be, and you can still listen to country music," his manager, Martha Earls, told Variety in 2018.

Take "Heaven," a romantic ballad with the Southern drawl and instrumentation of a classic country tune. But when you add Brown's R&B influence and natural swagger, the track invites audiences both in and outside of country.

Though Brown now has 12 No. 1 songs on the Country Airplay chart, "Heaven" is undoubtedly the country star's biggest song to date thanks to its crossover qualities and romantic resonance. And just last year, "Heaven" became only the seventh country artist in history to receive a diamond certification from the RIAA; Brown is the second Black country artist to achieve the feat, as Rucker's anthemic cover of "Wagon Wheel" reached diamond status in 2022.

Mickey Guyton — "Black Like Me" (2020)

In a 2020 interview with Rolling Stone, Mickey Guyton recalled that she wrote "Black Like Me" at a writer's retreat in 2019, thinking, "There is no way that anybody is going to accept this." But at the height of the Black Lives Matter protests after the murder of George Floyd in 2020, there was no doubt that it was what the industry, especially the country genre, needed to hear.

"It's a hard life on easy street/ Just white painted picket fences far as you can see/ If you think we live in the land of the free/ You should try to be Black like me," she croons on the chorus.

The single made Guyton the first-ever Black woman nominated for Best Country Solo Performance at the 2021 GRAMMYs, and also helped her earn nominations for New Female Artist Of The Year and New Artist Of The Year at the Academy of Country Music Awards and the Country Music Association Awards, respectively, in 2021..

Guyton continues to use her voice for advocacy, from speaking out on racial issues to chronicling the Black experience on her 2021 album, Remember Her Name

Breland — "Throw It Back" (2021)

Since making his debut with "My Truck" in 2019, Breland has been praised for his innovative fusion of country, gospel, hip-hop, and R&B. But beyond his sonic landscape, he's also inviting some unlikely choreography into the genre: twerking.

"If she got a shot of whiskey, she know how to throw it back/ She turn up for Elvis Presley, told the DJ, 'Throw it back,'" Breland cheers in the chorus of the trap-infused track.  "If you sexy and you know it, make it clap."

"Throw It Back" features Keith Urban, whoappreciates Breland for his confidence to go beyond the mold of country music's expectations. "He's one of the only artists I've ever met that does not care at all what something sounds like or what box it fits. If he likes it, if it catches his ear, he wants to be a part of it in some way," Urban explained to Taste of Country in 2021.

The War and Treaty — "Blank Page" (2022)

The War and Treaty are making the most of their "Blank Page."

The husband-and-wife pair — Michael Trotter Jr. and Tanya Trotter — began their musical journey together in 2016.  Seven years later, thanks to their first major label EP, 2022's Blank Page, they also started making history. The War and Treaty became the first Black duo to receive a nomination for Duo Of The Year at the 2023 Academy of Country Music Awards, where they also delivered a stirring performance of the EP's title track, a heartfelt song about a new slate in love. 

Six months later, they made history again as the first Black pair nominated for Duo Of The Year at the 2023 Country Music Association Awards; they took the stage there as well, performing"That's How Love Is Made" from their 2023 album, Lover's Game

They added to their growing legacy at the 2024 GRAMMYs as well,  receiving their first GRAMMY nominations. "Blank Page" earned the duo a nod for Best American Roots Song, and they also were up for the coveted Best New Artist.

Tanner Adell — "Buckle Bunny" (2023)

When Beyoncé dropped "TEXAS HOLD 'EM" and "16 CARRIAGES" in February, country newcomer Tanner Adell readily tossed her cowgirl hat into the ring to become Queen Bey's next collaborator. "I hope Bey decides to sprinkle me with a dash of her magic," she pitched in a tweet that has now garnered more than four million views.

Adell's music is reminiscent of Beyoncé's own empowered narratives, particularly the 2023 single "Buckle Bunny," which even declares that she's "Lookin' like Beyoncé with a lasso." Like Breland, Adell brings a hip-hop flair to country music, exemplified by the thumping beats and rap-inspired singing of "Buckle Bunny."

As artists like Adell, Breland, Kane Brown, and more continue to push the boundaries of the country genre, they'll also remind listeners of its rich lineage in Black culture — past, present, and future.

Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

Kendrick Lamar GRAMMY Rewind Hero
Kendrick Lamar

Photo: Jeff Kravitz/FilmMagic

video

GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

GRAMMYs/Oct 13, 2023 - 06:01 pm

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. 

10 Essential Facts To Know About GRAMMY-Winning Rapper J. Cole

Music Charities to Support

Photo: Suriyawut Suriya / EyeEm via Getty Images

list

9 Organizations Helping Music Makers In Need: MusiCares, The GRAMMY Museum & Others

Are you in a position to donate to musicians in a state of financial or personal crisis on this GivingTuesday? Check out these nine charitable organizations — beneath the Recording Academy umbrella and otherwise.

GRAMMYs/Nov 29, 2022 - 03:17 pm

Imagine a world where care and concern is distributed in a holistic circuit, rather than being hoarded away or never employed at all. That's the paradigm that GivingTuesday is reaching toward.

Created in 2012 under the simple precept of being generous and celebrating generosity, GivingTuesday is a practical hub for getting involved in one's community and giving as freely to benefit and nourish others.

Since GivingTuesday has swelled not just from a single day in the calendar year, but a lens through which to view the other 364 days. You can find your local GivingTuesday network here, find ways to participate here, and find ways to join  GivingTuesday events here.

Where does the Recording Academy come in? Helping musicians in need isn't something they do on the side, an afterthought while they hand out awards.

No, aiding music people is at the core of the Academy's mission. MusiCares, the Academy's philanthropic arm, has changed innumerable lives for the better.

And through this society of music professionals and its other major components — including  Advocacy, the GRAMMY Museum and GRAMMY U — the Academy continues its fight in legislative and educational forms.

If you're willing and able to help musicians in need this GivingTuesday, here's a helpful hub of nine charitable organizations with whom you can do so.

MusiCares

Any list of orgs that aid musicians would be remiss to not include MusiCares.

Through the generosity of donors and volunteer professionals, this organization of committed service members has been able to aid struggling music people in three key areas: mental health and addiction recovery services, health services, and human services.

For more information on each of those, visit here. To apply for assistance, click here. And to donate to MusiCares, head here.

GRAMMY Museum

"Museum" might be right there in the name, but there's a lot more to this precious sector of the Recording Academy.

The GRAMMY Museum in Los Angeles doesn't just put on immersive exhibits that honor the legacies of musical giants; it's a hub for music education.

At press time, more than 20,000 students have visited the Museum, more than 10,000 students have participated in the Museum's Clive Davis theater, and 20,000 students have participated in their GRAMMY Camp weekends.

To donate to the GRAMMY Museum, click here. To become a member, visit here.

Give a Beat

By now, the evidence is ironclad: Giving incarcerated people access to music and art dramatically increases morale and decreases recidivism.

Give a Beat is keenly aware of this, both on direct-impact and mentorship levels.

The org hosts classes for incarcerated people, in order for them to "find healing, transformation, and empowerment" through its Prison Electronic Music Program, which helps incarcerated folks wade deep into the fields of music production and DJing.

Its On a New Track Reentry Mentoring Program initiative connects music industry professionals with formerly incarcerated individuals in order to transfer their skills into a professional setting.

To become a member of Give a Beat, click here. To donate, visit here.

Jazz Foundation of America

Despite being at the heart of American musical expression, jazz, blues and roots can sometimes feel roped off on the sidelines of the music industry — and its practitioners can slip between society's cracks.

That's where the Jazz Foundation of America comes in. They aid musicians struggling to hang onto their homes, connect physicians and specialists with uninsured artists and help musicians get back on their feet after life-upending natural disasters.

To donate to the Jazz Foundation, click here; for all other info, visit their website.

The Blues Foundation

Headquartered in Memphis, the Blues Foundation aims to preserve the history and heritage of the blues — which lies at the heart of all American forms. This goes not only for irreplaceable sites and artifacts, but the living, breathing people who continue to make it.

The Blues Foundation offers educational outreach, providing scholarships to youth performers to attend summer blues camps and workshops.

On top of that, in the early 2000s, they created the HART Fund to offer financial support to musicians in need of medical, dental, and vision care.

And for blues artists who have passed on, the HART Fund diverts money to their families  to ensure their loved ones would be guaranteed dignified funerals.

For more information on the Blues Foundation, visit here. To donate, click here.

Musicians Foundation

Founded all the way back when World War I broke out, the Musicians Foundation has spent more than a century cutting checks to musicians in times of need.

This includes financial grants to cover basic expenses, like medical and dental treatments, rents and mortgages and utilities. Submitted grant applications are reviewed by their staff and a screening committee. If approved, the money is dispatched rapidly and directly to the debtor to relieve financial pressure as soon as possible.

The Musicians Foundation's philanthropic legacy is enshrined in Century of Giving, a comprehensive analysis of financial aid granted to musicians and their families by the Foundation since 1914.

For more information, visit here; click here to donate.

Music Maker Foundation

Based in North Carolina, the Music Maker Foundation tends to the day-to-day needs of American roots artists — helping them negotiate crises so they can "keep roofs over their heads, food on their tables, [and] instruments in their hands."

This relief comes in the forms of basic sustenance, resources performance (like booking venues and providing CDs to sell) and spreading education about their contributions to the American roots canon.

Check out their website for more information; to donate, click here.

Sweet Relief: Musicians Fund

When music people are in danger, this charitable organization sees no barriers of genre, region or nature of crisis.

If you're a musician suffering from physical, mental or financial hardship — whether it be due to a disability, an affliction like cancer, or anything else — Sweet Relief has got your back.

There are numerous ways to support Sweet Relief; you can become a partner, intern or volunteer, or simply chip in a few bucks for one of their various funds to keep their selfless work moving.

For any and all further information, visit their website.

Music Workers Alliance

The Recording Academy's concern and consideration for music people hardly stops at musicians — they're here to support all music people.

They share this operating principle with Music Workers Alliance, which tirelessly labors to ensure music people are treated like they matter — and are fairly remunerated for their efforts.

This takes many forms, like fighting for music workers at the federal, state and city level for access to benefits and fair protections, and ensuring economic justice and fair working conditions.

Music Workers Alliance also fights for economic justice on the digital plane, and aims to provide equal access for people of color and other underrepresented groups in the industry.

For more info, visit their website; for ways to get involved, click here.

2023 GRAMMYs: How The New Best Song For Social Change Special Merit Award Inspires Positive Global Impact & Celebrates Message-Driven Music and How To Qualify