Photo: Ben A. Pruchnie/Getty Images
St. Vincent To Perform At Los Angeles Philharmonic Concert Honoring Yoko Ono
The unique multi-performer tribute will embody Ono's life in culture and art within a single concert evening
On March 22 a celebration concert in tribute to the life and work of Yoko Ono will be held by the Los Angeles Philharmonic with musical guests including GRAMMY winners La Marisoul and St. Vincent and GRAMMY nominees Shirley Manson of Garbage and We Are King.
The concert's title, "BREATHEWATCHLISTENTOUCH: The Work and Music of Yoko Ono," is a reference to Ono's Dance Piece X and its poem, "Breathe / Watch / Listen / Touch / and move between / the Earth / and the Sky."
Girlschool LA helped produce the celebration, the festival organizer founded by the Airborne Toxic Event's Anna Bulbrook in 2016 to support an "interdisciplinary community of women-identified artists, leaders, and voices who together only shine more brightly."
Photo: Karthik Kher
Global Spin: Relive King's "Good Trip" With This Radiant Performance
New Delhi-based musician King offers a prismatic performance of "Good Trip," a braggadocious track from his newest LP, 'New Life.'
If you walk with burgeoning Indian star King, it's certain to be a "Good Trip."
On Oct. 18, the New Delhi native dropped his most diverse project yet, New Life, via Warner Music India, blending electronic and hip-hop beats with traditional Bollywood melodies. King traverses topics of mental health ("Runaway," featuring Julia Michaels) and ambitious dreams ("CROWN," alongside fellow Indian songstress Natania).
Amongst the album’s most confident tracks is "Good Trip," which King performs in this episode of Global Spin. "I'm the next big thing," King declares before transitioning into Hindi.
King revealed on Instagram that the LP has been in the works since 2019 but was unexpectedly postponed by the pandemic and his breakthrough album, Champagne Talk. "After living and experiencing all this in just two years, I've got to realize everything happens for a reason and this is the actual new life I've been blessed with," he wrote. "Sometimes, being late is being right on time."
Press play on the video above to view King's vibrant performance of "Good Trip," and check back to GRAMMY.com for more new episodes of Global Spin.
How To Watch The 2024 GRAMMY Nominations: St. Vincent, Jeff Tweedy, Muni Long, Kim Petras, Jon Bon Jovi, "Weird Al" Yankovic & More To Announce The Nominees; Streaming Live Friday, Nov. 10
The nominations for the 2024 GRAMMYs will be announced on Friday, Nov 10, starting at 7:45 a.m. PT / 10:45 a.m. ET. Watch it live on live.GRAMMY.com and YouTube.
It's that time again: The 2024 GRAMMYs is just a few months out — airing live Sunday, Feb. 4, from Crypto.com Arena in Los Angeles. Which means nominations for the 2024 GRAMMYs are just around the corner. On Friday, Nov 10, starting at 7:45 a.m. PT / 10:45 a.m. ET, nominations for the 2024 GRAMMYs will be announced via a livestream event airing live on live.GRAMMY.com. The nominations will also stream live on the Recording Academy's YouTube channel.
The 2024 GRAMMYs nominations livestream event will feature a diverse cast of some of the leading voices in music today, including St. Vincent, Jeff Tweedy, Muni Long, Kim Petras, 2024 MusiCares Person Of The Year Jon Bon Jovi, and many others, who will be announcing the 2024 GRAMMY nominees across all 94 categories. Plus, the livestream event will also feature an exclusive GRAMMY Nominations Pre-Show and Wrap-Up Show, which will both feature exclusive videos and conversations about the biggest stories and trends to come out of the 2024 GRAMMYs nominations.
City National Bank is the Official Bank of the GRAMMYs and proud sponsor of the 66th Annual GRAMMY Awards Nominations.
See below for a full guide to the 2024 GRAMMYs nominations livestream event happening next week:
How Can I Watch The 2024 GRAMMY Nominations?
When Are The 2024 GRAMMY Nominations Announced?
The 2024 GRAMMYs nominations will be announced Friday, Nov 10. The day kicks off with an exclusive GRAMMY Nominations Pre-Show, starting at 7:45 a.m. PT / 10:45 a.m. ET. Hosted by Emmy-winning TV host and “GMA3” contributor Rocsi Diaz, the GRAMMY Nominations Pre-Show will give music fans an inside look at the various initiatives and campaigns that the Recording Academy, the organization behind the annual GRAMMY Awards, supports on a year-long basis on its mission to recognize excellence in the recording arts and sciences and cultivate the well-being of the music community.
Afterward, starting at 8 a.m. PT / 11 a.m. ET, the GRAMMY nominations livestream event begins. The livestream event will begin with a special presentation announcing the nominees in the General Field categories, aka the Big Six, as well as select categories. On live.GRAMMY.com, exclusive videos announcing the nominees across multiple categories will stream as a multi-screen livestream event that users can control, providing a dynamic, expansive online experience for music fans of all genres. The nomination videos will also stream live on YouTube. The full list of 2024 GRAMMYs nominees will then be published on live.GRAMMY.com and GRAMMY.com immediately following the livestream event.
After the nominations are announced, stay tuned for an exclusive GRAMMY Nominations Wrap-Up Show. Co-hosted by "Entertainment Tonight" correspondents Cassie DiLaura and Denny Directo, the Wrap-Up Show will break down all the notable news and top stories from the 2024 GRAMMYs nominations. The GRAMMY Nominations Wrap-Up Show will stream live on live.GRAMMY.com as well as the Recording Academy's YouTube channel, X profile, Twitch channel, TikTok page, Instagram profile, and Facebook page.
Watch the 2024 GRAMMYs nominations livestream event and make sure to use #GRAMMYs to join the conversation on social media as it unfolds live on Friday, Nov. 10.
The schedule for the 2024 GRAMMYs nominations livestream event is as follows:
GRAMMY Nominations Pre-Show
7:45 a.m. PT / 10:45 a.m. ET
Nominations Livestream Event
8 a.m. PT / 11 a.m. ET
Nominations Livestream Event Ends & Full Nominations Revealed
8:25 a.m. PT / 11:25 a.m. ET
GRAMMY Nominations Wrap-Up Show
8:25 a.m. PT / 11:25 a.m. ET
^All times are approximate and subject to change.
Who's Announcing The 2024 GRAMMY Nominations?
Recording Academy CEO Harvey Mason jr. will be joined by GRAMMY winners Arooj Aftab, Vince Gill, Amy Grant, Jimmy Jam, Jon Bon Jovi, Samara Joy, Muni Long, Cheryl Pawelski, Kim Petras, Judith Sherman, St. Vincent, Jeff Tweedy, and "Weird Al" Yankovic, along with "CBS Mornings" co-hosts Gayle King, Nate Burleson, and Tony Dokoupil, to announce all the nominees for the 2024 GRAMMYs.
When Are The 2024 GRAMMYs?
The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will air live on Sunday, Feb. 4, at 8-11:30 p.m. ET/5-8:30 p.m. PT from Crypto.com Arena in Los Angeles. Music's Biggest Night will air live on the CBS Television Network and stream on Paramount+.
Mark your calendars now for the 2024 GRAMMY nominations happening Friday, Nov 10.
With additional reporting by Morgan Enos.
Photo: Jeff Kravitz/FilmMagic
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.
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."
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.
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."
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
Photo: Ian Dickson/Redferns
From Fanny To Madam Wong's & The GRAMMYs: How The Asian Community Has Impacted Rock
While K-pop is Asia’s most dominant musical export today, the continent and its diaspora have a rich rock heritage. GRAMMY.com takes an in-depth look at guitar heroes of Asian descent who have made a significant impact on Western soil.
While K-pop is Asia’s most dominant musical export today, the continent has a rich rock heritage that has traveled much further than you may imagine. Indeed, while the genre is the result of a cultural interplay between Africa and America (with fruitful trips to the UK), its history encompasses numerous important names whose roots trace to Japan, Korea, the Philippines and beyond.
Who can forget the impact Yoko Ono had on John Lennon and his post-Beatles career, for example? And then there's the unsung heroes: the Californian restaurant owner who played a vital part in the rise of punk and the little-known '60s singer who single-handedly brought the sounds of the West to Vietnam.
With the likes of Mitski, Japanese Breakfast and Jay Som now steering a new revolution in rock, what better time to take an in-depth look at the guitar heroes of Asian descent who have made a significant impact on Western soil?
While first- and second-generation Asian artists had previously enjoyed crossover success in the fields of jazz (Toshiko Akiyoshi), doo-wop (the Kim Sisters) and teen pop (Eden Kane) in the first half of the 20th century, the burgeoning rock 'n' roll scene remained out of reach. That is, until a band of Filipino American brothers paid tribute to the post-war era's version of Tony Manero.
The Rocky Fellers reached No. 16 on the Hot 100 in 1963 with "Killer Joe," named in honor of "King of the Discotheque" Killer Joe Piro, and later worked with Neil Diamond on the song "We Got Love." But their sole album on Scepter Records got lost as attention switched to the first British Invasion, and it would be another seven years before a predominantly Asian rock act graced the U.S. singles charts.
Formed by sisters Jean and June Millington nearly a decade after their family moved to Sacramento, California from the Philippines, four-piece Fanny also broke barriers. As the first all-female outfit to land a major label deal, they paved the way for the Runaways, the Bangles and the Go-Gos (Fanny drummer Alice de Buhr would later serve as theGo-Gos' publicist).
Reprise Records reportedly signed Fanny without hearing any of their music — presuming the novelty of four women playing their own instruments was enough of a selling point. The original quartet proved they were far from a mere gimmick, though, with four albums of anthemic rock which inspired David Bowie to hail them as one of the genre's true unsung heroes. Incidentally, the Thin White Duke was the subject of Fanny's biggest hit, "Butter Boy," while Jean was briefly wed to his regular guitarist Earl Slick.
Bowie was just as enamored with Vodka Collins — a Japanese rock supergroup fronted by native New Yorker (and future Arrows frontman Alan Merrill). The cult favorites are rumored to have inspired one of his many alter-egos, Ziggy Stardust. Sadly, a major financial dispute led to their disbanding shortly after the release of their 1973 debut, Tokyo – New York.
That album's producer, Masatoshi Hashiba, however, would also steer a more enduring group to the fringes of the mainstream. Fronted by married couple Kazuhiko Katō and Mika Fuku, Sadistic Mika Band supported Roxy Music on their mid-1970s Siren Tour, while drummer Yukihiro Takahashi later co-founded the pioneering Kraftwerk-esque Yellow Magic Orchestra.
Sadistic Mika Band's name was actually intended to parody the Plastic Ono Band's, the conceptual project co-founded by arguably rock's most prominent Asian crossover artist. Ono helped to push the boundaries of rock music while simultaneously paying homage to her East Asian heritage, drawing upon everything from hetai, a vocal technique hailing from the kabuki form of Japanese theater, to the ancient classical style of Gagaku.
Released on the same day (and with a similar title) as husband John Lennon's solo debut in 1970, Ono’s debut solo album charted 176 places lower on the Billboard 200. Yet it unarguably had the bigger impact: Its uncompromising avant-garde sound credited with ushering in the birth of punk, alternative rock and no-wave (Sonic Youth, tUnE-yArDs and the Flaming Lips are just a few of the artists who have since acknowledged Ono's influence through collaboration). Ono has occasionally flirted with the mainstream — see 1981 Top 40 single "Walking on Thin Ice" — but it's her fearless experimentalism that positioned her as an icon.
Continuing the Beatles-adjacent theme, Indian sitarist Ravi Shankar informed much of George Harrison's work, both as a member of the Fab Four and as a solo artist. The pair worked together on several albums and essentially paved the way for Live Aid with 1971's legendary The Concert for Bangladesh, a star-studded benefit show boasting performances from Eric Clapton and Bob Dylan.
Of course, some of Asia's most culturally significant artists had to wait decades before receiving their dues. Phuong Tâm, for example, was pivotal in bringing the sounds of the West to the East in the early 1960s Saigon. During her late teenage years, she spent up to eight hours an evening performing Vietnamese compositions heavily inspired by the growing presence of American GIs.
Tâm's music career was cut short when her army doctor husband landed a job hundreds of miles away. Remarkably, she kept this past life a secret from her own children until a film producer requested the use of her recordings, much of which had been misattributed. Two years later, a compilation assembled by daughter Hà, Magical Nights: Saigon Surf, Twist & Soul 1964-1966, finally showcased Tâm's youthful grasp of the genre to a wider audience.
Formed by brothers David and Romeo Bustamante in San Francisco's Mission District, the largely Filipino collective Dakila prided themselves on bringing a pan-continental flavor to the early '70s rock scene. They were the first U.S. major label signing to perform material in Tagalog and made a conscious effort to align themselves with various Asian-American causes.
Perhaps unsurprisingly, Epic didn't exactly handle such an outlier with the utmost sensitivity. Not only did they instruct producers to meddle with Dakila's self-titled debut behind the group's backs, they also released first single "El Dùbi" with a patronizing spoken word instructional on how to pronounce their song titles. Luckily, the double whammy of a more faithful 50th anniversary reissue and forthcoming documentary Searchin' for My Soul is set to give the first true Asian American rock album some long overdue props.
The artwork for Dakila's eponymous LP also featured a wicker chair originating from what would become an unlikely hub of the punk scene. At the time, the Mabuhay Gardens was a Filipino restaurant but within a few years, owner Ness Aquino had joined forces with promoter and punk magazine publisher Jerry Paulsen to reinvent the struggling business as a thriving venue.
The Mab, as it would become known as, attracted some of the West Coast's rowdiest bands including Black Flag, the Nuns and the Dead Kennedys while also welcoming further afield acts such as the Damned and Sex Pistols, hosting one of the latter's final ever shows. Thanks to another sideline in stand-up comedy, the once-flailing business stayed open until 1987.
This San Francisco joint's pivot into the world of mohawks and safety pins appeared to inspire other Asian proprietors in Southern California. In 1978, promoter Paul Greenstein and owners George and Esther Wong helped to transform Madame Wong's into a haven for West Coast punk. The Chinatown venue had a strict policy on vandalism: Rumor has it Esther once confronted two of the Ramones about their bathroom wall graffiti while they were still performing on stage.
Frustrated with such defacing, the Wongs decided to focus on a slightly more "civilized" genre when they opened up a second venue. Madame Wong's West helped put new wave on the Santa Monica map, giving early gigs to the likes of the Police, the Motels and the Knack. But the original remained their bread and butter, which is why a major rivalry — problematically dubbed the Wonton Wars by the local press — started when another nearby struggling eatery muscled in on their territory.
Barry Seidel, who'd rented out the upstairs banquet hall of Cantonese immigrant Bill Hong's family restaurant Hong Kong Cafe, was much less discerning when it came to wanton destruction. When Madame Wong's prevented anyone under 21 from entering the premises, for example, Seidel made his punk nights all ages. To placate Hong, Seidel agreed that performers would pay for any damage caused, a much-needed stipulation as punks with a disregard for crowd capacity regularly broke in via the roof and air conditioning ducts.
But by the dawn of the following decade, the punk boom had given way to hardcore, a style too aggressive even for Hong Kong Cafe who called time on its musical endeavors in 1981. Madame Wong's closed its doors for good following a fire six years later, but its West branch stayed open until 1991 having added the likes of Red Hot Chili Peppers and R.E.M. to its impressive resume. Esther's standing in the community was confirmed in the wake of her 2005 death when the Los Angeles Times dubbed her the "Godmother of Punk."
The GRAMMY Winners
Although Larry Ramos of the New Christy Minstrels and the Association, singer/songwriter Yvonne Elliman and cellist Yo-Yo Ma had been nominated at Music's Biggest Night, it wasn't until 1992 that an act of Asian descent won a GRAMMY in a rock category.
Born to an Indonesian mother, guitar hero Eddie Van Halen and his drummer brother Alex picked up Best Hard Rock Performance with Vocal for their eponymous group's ninth LP, For Unlawful Carnal Knowledge. Their victory which appeared to open the floodgates.
Just three years later, Indian American lead guitarist Kim Thayil and Japanese American bassist Hiro Yamamoto helped Soundgarden land Best Metal Performance and Best Hard Rock Performance for their album Superunknown. It was the latter category that Smashing Pumpkins, featuring Japanese American guitarist James Iha, also triumphed in at the 1997 ceremony thanks to "Bullet with Butterfly Wings." In 2002, the same award went to Linkin Park for "Crawling," a track boasting the turntablism skills of Korean American Joe Hahn. And let's not forget Tony Kanal, a child of Indian immigrants, whose basslines steered No Doubt to Best Pop Vocal Album for Rock Steady that same year.
Remarkably, the most famous rock star of Asian descent never got the chance to make an acceptance speech. Freddie Mercury, whose parents hailed from western India, received four nominations as frontman of Queen. The band was honored with a Lifetime Achievement in 2018, 27 years after his untimely passing.
It also took decades for another rock giant to hear their name read out. Co-founded in 1985 by Korean American bassist John Myung, prog favorites Dream Theater won Best Metal Performance for "The Alien" in 2022. Also nominated that same year for Best Alternative Music Album and Best New Artist were Japanese Breakfast, the indie-rock outfit fronted by Korean American Michelle Zauner, and one of several artists spearheading a new wave of Asian American indie rock.
The Indie Scene
The first wave of Asian American alternative guitar acts signed to independent labels began to blossom in 1995. It was here when the palindromic Emily's Sassy Lime released their one and only album, Desperate, Scared But Social, through Kill Rock Stars while still at school. One of the few Asian American acts to align themselves with the riot grrrl movement, the all-female trio had to write, record and perform on the odd occasion their parents allowed them a break from their studies. And although they split shortly after graduation, Yao sisters Wendy and Amy remained regulars of the DIY art scene.
That same year, Satomi Matsuzaki joined noise-pop experimentalists Deerhoof, another Kill Rock Stars act, in the same week she emigrated from Japan to America. Obviously not averse to throwing herself in the deep end, the bassist/singer headed out on tour with the band just a few days later, too. Having since tackled everything from tropicalia and conceptual prog rock to sheet music experiments and classical ensembles, few contemporary bands have been so brazenly audacious.
Blonde Redhead, the similarly creative outfit co-founded by Japanese art students Maki Takahashi and Kazu Makino, also released their self-titled debut in 1995. Produced by Sonic Youth drummer Steve Shelley and released through his indie label Smells Like Records, one of the no-wave scene's defining records was followed by equally atmospheric excursions into shoegaze and dreampop, while a guest appearance from Ryuichi Sakamoto on her 2019 first solo effort Adult Baby cemented Makino's status as an icon of the avant-garde.
A year later, Korean American Mike Park founded Asian Man Records, a predominantly ska/punk label run from his California garage. Park and his label helped kickstart the careers of Stateside cult heroes such as Less Than Jake and Alkaline Trio, while also giving a platform for acts of Asian heritage including India's Nicotine and Japan's Yoko Utsumi.
Asian and Asian American indie artists have remained in the public eye through the mid 2010s, crafting devoted followings across the globe. With eight GRAMMY nominations to her name, South Korean-born Karen O has kept the flag flying over the following two decades as the frontwoman of garage punks Yeah Yeah Yeahs. Osaka's Shonen Knife, the one-time Lollapalooza regulars championed by Kurt Cobain, did as much alongside Tokyo's Buffalo Daughter — the Shibuya-kei pioneers who signed to the Beastie Boys' Grand Royal label. Meanwhile, the music of Cornelius, a.k.a. the "Japanese" Beck" has graced everything from NFL ads to Scott Pilgrim vs the World. And then there’s David Pajo, the Filipino American guitarist whose journeyman career has incorporated everyone from Slint and Tortoise to Zwan and Gang of Four.
The Asian American rock scene has further coalesced in the last few years with women leading the way. Whether it’s the dreamy indie of Leslie Bear's alter ego Long Beard, intimate bedroom pop of Filipino American singer-songwriter Jay Som or, perhaps most notably, the sonic adventurism of Japanese American Mitski.
Indeed, Mitski's 2018 LP Be the Cowboy was named Album of the Year by both Pitchfork and Vulture, and she received an Oscar nod for her contribution to the soundtrack of Everything Everywhere All at Once alongside New York post-rockers Son Lux, two-thirds of whom are also of Asian descent In another landmark in Asian American representation Mitski had also previously invited Som and Japanese Breakfast to provide support on her North American tour.
And with indie chameleons such as Korean Canadian Luna Li, American Korean Deb Never and Chinese American Sofya Wang all emerging in the 2020s, the future seems bright, too. Indeed, despite concerns the convergence of artists with Asian heritage would be dismissed as a passing fad, it’s clear that rock grounded in this community is thriving stronger than ever before.