Ten-time GRAMMY winner and Recording Academy Lifetime Achievement Award recipient Bob Dylan will perform with folk-rock band the Avett Brothers and current GRAMMY nominees Mumford & Sons in a special salute to acoustic music; and six-time GRAMMY winner and current nominee Dr. Dre — in his first live television performance in more than a decade — will grace the GRAMMY stage for the first time, joining current 10-time nominee Eminem for a historic collaboration, along with Maroon 5 frontman and current GRAMMY nominee Adam Levine, at the 53rd Annual GRAMMY Awards.

GRAMMY winner and current four-time nominee Zac Brown, actor Eva Longoria, actor/singer Jennifer Lopez, GRAMMY and three-time Latin GRAMMY winner Ricky Martin, Green Bay Packers linebacker and Super Bowl XLV champion Clay Matthews, actor/singer and current nominee Matthew Morrison, television and radio host Ryan Seacrest, actor Jason Segel, three-time GRAMMY winner and current nominee Keith Urban, and seven-time GRAMMY winner will.i.am have been added as presenters to the music industry's premier event.

Avett Brothers, Dr. Dre, Dylan, Levine, and Mumford & Sons join previously announced performers and nominees Arcade Fire, Eminem, Lady Antebellum, Lady Gaga, Miranda Lambert, Muse, Katy Perry, and Barbra Streisand; Yolanda Adams, Christina Aguilera, Jennifer Hudson, Martina McBride and current nominee Florence Welch in a special Aretha Franklin segment; nominees Justin Bieber and Usher, with Jaden Smith; nominees B.o.B, Bruno Mars, and Janelle Monáe; nominees Drake and Rihanna; nominee Cee Lo Green, with Gwyneth Paltrow and the Jim Henson Company Puppets; Mick Jagger with Raphael Saadiq; and Esperanza Spalding performing with members of the GRAMMY Jazz Ensembles and GRAMMY Camp.

Previously announced presenters include two-time GRAMMY and three-time Latin GRAMMY winner Marc Anthony, current three-time GRAMMY nominee Dierks Bentley, pop singer/actor Miley Cyrus, GRAMMY and Academy Award winner Jamie Foxx, singer/actor Selena Gomez, two-time Emmy winner Neil Patrick Harris, current nominee Jewel, nine-time GRAMMY winner and current nominee Norah Jones, three-time GRAMMY winner Kris Kristofferson (who will introduce Streisand's performance), six-time GRAMMY winner and current nominee John Legend, two-time GRAMMY winner and actor LL Cool J, seven-time GRAMMY winner and current nominee John Mayer, current nominee Nicki Minaj, current nominee Paramore, actor Pauley Perrette, actor Seth Rogen, current nominee Blake Shelton, and actor/singer Donnie Wahlberg.

Arcade Fire, Avett Brothers, Bieber, B.o.B, Dr. Dre, Jagger, Lambert, Mars, Monáe, Mumford & Sons, Muse, Paltrow, Smith, Spalding, and Welch will be performing on the GRAMMY telecast for the first time. All five Album Of The Year nominees are set to perform on Music's Biggest Night: Arcade Fire, Eminem, Lady Antebellum, Lady Gaga, and Perry, as well as all five of the Best New Artist nominees: Bieber, Drake, Mumford & Sons, Spalding, and Welch.

Mumford & Sons have two nominations: Best New Artist and Best Rock Song for "Little Lion Man."

Dr. Dre and Levine each have one nod: Dr. Dre for Album Of The Year (as a producer on Eminem's Recovery); and Levine for Best Pop Performance By A Duo Or Group With Vocals for "Misery" (as a member of Maroon 5).

Additionally, the 53rd Annual GRAMMY Awards Pre-Telecast Ceremony will take place from 1–4 p.m. PT at the Los Angeles Convention Center and will be streamed live internationally on GRAMMY.com and YouTube beginning at 1 p.m. PT. Well-attended by nominees and industry VIPs, current GRAMMY nominees Bobby McFerrin and Spalding will co-host the star-studded ceremony, which will feature performances by current nominees including Afro-Colombian hip-hop trio and Latin GRAMMY winners ChocQuibTown; blues musician and five-time GRAMMY winner Buddy Guy; singer/songwriter and GRAMMY winner Cyndi Lauper; American roots musician Maria Muldaur; contemporary blues artist Kenny Wayne Shepherd; trombone and trumpet player Trombone Shorty; legendary gospel and soul singer Mavis Staples; jazz musician Kirk Whalum; and R&B singer/songwriter and GRAMMY winner Betty Wright.

Presenting the first GRAMMY Awards of the night in approximately 98 categories will be current nominees, including performance artist Laurie Anderson, pop singer/songwriter Sara Bareilles, electronic/dance music artist and remixer BT, actor/comedian Kathy Griffin, and Latin Jazz musician Wayne Wallace. The live stream of the Pre-Telecast will remain on GRAMMY.com as video on demand for 30 days following the event.

The 53rd Annual GRAMMY Awards are produced by John Cossette Productions and AEG Ehrlich Ventures for The Recording Academy. Ken Ehrlich and John Cossette are executive producers, Louis J. Horvitz is director, and David Wild and Ken Ehrlich are the writers.

The 53rd Annual GRAMMY Awards will take place live on Sunday, Feb. 13 at Staples Center in Los Angeles and will be broadcast in high definition and 5.1 surround sound on the CBS Television Network from 8–11:30 p.m. (ET/PT). The show also will be supported on radio worldwide via Westwood One, and covered online at GRAMMY.com and CBS.com, and on YouTube. For GRAMMY coverage, updates and breaking news, please visit The Recording Academy's social networks on Twitter and Facebook. 

"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers. 

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus, Selena Gomez and Demi Lovato. Nick, Kevin and Joe. 

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience.

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But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie. In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears.

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

"When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls, and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic, Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles. (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly, in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus.

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie, Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me, Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

The Recording Academy has partnered with leading online learning platform Coursera on GRAMMY GO, a new online initiative to offer classes tailored for music creators and industry professionals.

This partnership empowers the next generation of the music community with practical, up-to-the moment digital content that provides wisdom for both emerging and established members of the industry. Continuing the Academy’s ongoing mission to serve all music people, courses cover a variety of specializations tailored to creative and professional growth. 

GRAMMY GO on Coursera includes courses taught by Recording Academy members, featuring GRAMMY winners and nominees and offers real-life lessons learners can put to work right away.

Starting today, enrollment is open for GRAMMY GO’s first Coursera specialization, "Building Your Audience for Music Professionals," taught by Joey Harris, international music/marketing executive and CEO of Joey Harris Inc. The course features Rock & Roll Hall of Fame inductee and five-time GRAMMY winner Jimmy Jam, 10-time GRAMMY nominee Janelle Monáe and three-time GRAMMY winner and the 2024 GRAMMYs Best New Artist Victoria Monét. This foundational specialization will help participants gain the skills, knowledge and confidence to build a strong brand presence and cultivate a devoted audience within the ever-changing music industry. 

The partnership’s second course, launching later this summer, aims to strengthen the technological and audio skills of a music producer. "Music Production: Crafting An Award-Worthy Song" will be taught by Carolyn Malachi, Howard University professor and GRAMMY nominee, and will include appearances by GRAMMY winner CIRKUT, three-time GRAMMY winner Hit-Boy, artist and celebrity vocal coach Stevie Mackey, five-time GRAMMY nominee and Recording Academy CEO Harvey Mason jr., and 15-time GRAMMY winner Judith Sherman. Pre-enrollment for "Music Production: Crafting An Award-Worthy Song" opens today.

"Whether it be through a GRAMMY Museum program, GRAMMY Camp or GRAMMY U, the GRAMMY organization is committed to helping music creators flourish, and the Recording Academy is proud to introduce our newest learning platform, GRAMMY GO, in partnership with Coursera," said Panos A. Panay, President of the Recording Academy. "A creator’s growth path is ongoing and these courses have been crafted to provide learners with the essential tools to grow in their professional and creative journeys."

"We are honored to welcome GRAMMY GO, our first entertainment partner, to the Coursera community," said Marni Baker Stein, Chief Content Officer at Coursera. "With these self-paced online specializations, aspiring music professionals all over the world have an incredible opportunity to learn directly from iconic artists and industry experts. Together with GRAMMY GO, we can empower tomorrow's pioneers of the music industry to explore their passion today."

GRAMMY GO also serves as the music community’s newest digital hub for career pathways and editorial content that provides industry insights for members of the industry; visit go.grammy.com for more. For information and enrollment, please visit the landing pages for "Building Your Audience for Music Professionals" and "Music Production: Crafting An Award-Worthy Song."

Meet 5 GRAMMY Nominees Who Started At GRAMMY U: From Boygenius Engineer Sarah Tudzin To Pentatonix’s Scott Hoying

In the latest episode of ReImagined, soul-pop newcomer Dylan Chambers delivers a fresh, heartfelt take on "Uptown Funk", using an electric guitar to drive the performance.

In the year of its inception, Mark Ronson and Bruno Mars' "Uptown Funk" quickly made strides across the map, from a No. 1 peak on the Billboard Hot 100 to a Record Of The Year and Best Pop Duo/Group Performance win at the 2014 GRAMMYs. Ten years after its release, it is the ninth most-viewed YouTube video of all-time and was named one of Billboard's "Songs That Defined The Decade."

Chambers named Mars as one of his most influential inspirations and praised Silk Sonic's Las Vegas residency as one of the "greatest concerts" he has attended in an interview with Muzic Notez.

"Don't believe me, just watch," Chambers calls in the chorus, recreating its notable doo-wop ad-libs with the strums of his instrument.

Chambers dropped his latest single, "I Can Never Get Enough" on April 10, following his March release "High (When I'm Low)." Both tracks will be a part of his upcoming EP, For Your Listening Pleasure!, out May 17.

Press play on the video above to watch Dylan Chambers' groovy rendition of Bruno Mars & Mark Ronson's "Uptown Funk," and check back to GRAMMY.com for more new episodes of ReImagined.

Behind Mark Ronson's Hits: How 'Boogie Nights,' Five-Hour Jams & Advice From Paul McCartney Inspired His Biggest Singles & Collabs

Country fans first got to know Tyler Hubbard as the voice of Florida Georgia Line. Upon his solo debut in 2022, they got a deeper look into his life as a devoted family man. Now, the chart-topping singer/songwriter wants to show his skills as the genre's feel-good party starter.

Hubbard's second album, Strong, turns up the energy with 13 tracks that focus on spreading the joy he's feeling in his own life. There's several parallels to his self-titled debut, including another tribute to his late father on "'73 Beetle" and reflections on his small-town Georgia upbringing with "Take Me Back" and "Back Then Right Now." Yet, every narrative feels more celebratory — buoyed by Hubbard's purposeful delivery, his hopeful lyricism, and uptempo melodies.

It's a natural evolution for Hubbard, who has projected positivity in his music and his image since his FGL days. And now that the world has welcomed him as a solo act — including two No. 1s at country radio with "5 Foot 9" and "Dancin' in the Country," and several sold-out shows in 2023 — he felt it was only right to bring good vibes with his second LP. 

"I was carrying the momentum from last year — the first album, being out on tour, the energy from the fans," Hubbard shares. "If you come to my live show, it's a lot of happy, fun dancing energy, and that's what I've really enjoyed kind of leaning into right now."

Ahead of Strong's release, Hubbard sat down with GRAMMY.com to chat about his album process. Below, he breaks down the most important components, from writing nearly every song on his tour bus to happily riding in the "good time lane."

Building On The First Album

The first album was more of an introduction to who I am, and this album is more settling in. It's inspired by the live show more than anything, and the fans themselves, as opposed to me and my story. 

I kind of want [these songs]to feel like distant relatives to the first album. I'll use that analogy a lot of times in sessions and just say, "Let's elevate, and let's move forward and progress, but let's keep it in the same family." 

When I was writing both these projects, it was a tough time. You know, going through the pandemic and all that brought along, transitioning into different careers and not knowing what was gonna happen with FGL for a while. Obviously, my marriage really inspired the song "Strong," but there's sort of that principle [from album one to album two] of going through a hard season that you come out on the other side of it stronger. 

Writing On The Road

Last year, I was getting in front of my audience for the first time [post-pandemic] and really getting to see what they wanted, what was resonating, what was working, maybe what was missing in the set. So I was able to pull that energy from the fans right back to the bus. The majority of this album I wrote on the road last year, which is where I love to write songs. I love to write in town too, but [there's] something about being out on the road — you just feel a little extra creative and a little less distracted. 

Back in the day, when we were starting off and really roughing it, we didn't have anything else to do but our careers, so we'd come home from the road and we'd write three or four days a week, and then we would go hit the road and play shows. But now that I'm a husband and a father, I try to compartmentalize it, so when I'm home during the week, I can take some time off to be with the kiddos and my wife.

And fortunately, now, I have my own bus, so I can bring writers out, and we can just hunker down on my bus all weekend and write songs. It's pretty fun because you kind of feel like you're binge writing a bit. But once you get in that creative space and your wheels are turnin', it's nice to stay there for more than four or five hours like we do in Nashville, turning it off at 4 o'clock and going home. It keeps it fun.

Creating Music For The Stage

We were mainly thinking about the live show [when we were writing]. It just felt like [we were writing] songs I couldn't wait to play live. 

There's some heart, there's some depth, there's emotion and vulnerability in a lot of these songs that I like to play live, but overall, I want it to just feel fun. There's enough stuff in our world to make us sad, so I'm just like, if I can put music out that makes people feel good, that's what I want to do. 

Especially in the context of our genre and our culture — it feels like there's a lot of sad boy country going on right now. You know, nothing wrong with that, I like to get real and emo a bit. But I think if everybody's doing one thing, I try to lean to the other. And right now I love where we're headed, in the good time lane.

I was soaking up everything Keith [Urban] was doing [while touring with him last year]. I watched his set most nights. He's kind of the king of fun tempo live energy. [We were] either [trying to] make Keith jealous or make Keith want to record one of the songs we write. So some of these songs are probably inspired by trying to get a Keith Urban cut. 

"Park," "Wish You Would" and "Vegas" are [three] of those songs. They go really well live and have been really, really fun. The crowd starts moving in a weird way when ["Wish You Would"] comes on. It looks like they're just, like, lettin' loose and not really coordinated at anything. [Laughs.]

"Back Then Right Now" is the single, so people are knowing that one [more] and it's cool to see them singing it and engaged. "BNA" is gonna be a lot of fun to play live. I could probably play this whole album top to bottom and be pretty happy with that being the set.

Honoring Where He Came From

I wanted this album to still be dynamic — as uptempo as it is, I still wanted the fans to be let in a little bit more into who I am and deeper into my life. Hopefully with each project I put out, I have some songs that let people in a bit more and tap into a vulnerable place, and challenge me as a person and a writer to just continue to go there. 

I have a unique relationship with my hometown. I love where I came from, and I'm proud of where I'm from, but it's not somewhere that I'm still living — I've been in Nashville longer than I was in Georgia, I've been here for over 18 years. A lot's changed since then. The house I grew up in is not there, my dad's gone, my mom's moved to Alabama. 

It's an interesting dynamic, because in our genre, it's cool to be really proud of where you're from, and really pay homage to where you're from. And I still do — a lot of these songs are literally born because of where I came from. But at the same time, I don't have that same relationship with where I'm from. I just thought it was a little bit of a different approach on the relationship with the hometown with ["Take Me Back"]. I hope people can relate to it.

Recruiting Trusty Collaborators, Like Producer Jordan Schmidt

The collaborators and songwriters on this project, there's a couple of new ones, but there's a lot of guys that I have a big history with. A lot of that's just due to the fact that if I'm bringing writers out on the road, it's guys that I know and trust, and that I've had success with. I'm not speed dating on the road — it's just very intentional, efficient time.

They've proven themselves, and so there's no reason to not go back to 'em. I just can't reiterate enough how thankful I am to be in this city, in this songwriting community. I have so many people that make me a better songwriter and push me as an artist and come with great ideas. It makes it that much more fun to write songs and do what I love.

Also, to know me, and who I am, and where I'm headed, and what I want to do and say, that helps tremendously because we're not just shooting in the dark. I think "Wish You Would" is a song that's a little unique and feels really fun. If I was going to pick a direction, that's a cool, fresh sound that I'm really enjoying right now.

Leaning Into Feeling Good

I'm in a really sweet season. Not just with the work stuff, but my family is in such a good spot. My kids are 3, 4 and 6, so they're in a really fun, just joyful season. I can have a bad session or a tough day, and I can go home and get overwhelmed with joy and love in the house. It's just awesome energy. I'm really grateful for that, and I'm really kind of leaning into it. 

I hope [fans] understand how grateful I am to be here to be still doing this 13 years later, and to be able to have another opportunity to experience a lot of firsts again, and get to continue to connect with them. I just love what I do, and I gotta give the fans a lot of credit for allowing me to do it. 

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