Tony Rombola

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2020 GRAMMY Awards Premiere Ceremony | Photo Gallery

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2020 GRAMMY Awards Premiere Ceremony Photo Gallery

Esperanza Spalding

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60th Annual GRAMMY Awards

For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic.

The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

Returning to Madison Square Garden for the first time in 15 years, the milestone telecast proved to be a celebration that broke down barriers — with the wins, performances, and acceptance speeches showing that the power of music can literally change the world.

Of course, the GRAMMYs' return to the Big Apple was cause enough for excitement. (Cut to [Tony Bennett](/artists/tony-bennett/1073) and [John Legend](/artists/john-legend/16994) singing "New York, New York" before presenting Best Rap/Sung Performance). And there was [Bruno Mars](/artists/bruno-mars/5082) netting six wins and nearly doubling his career output to 11 in one fell swoop. But there was plenty of excitement to go around.

Whether you were there, watching on TV or live streaming, here are 12 moments from the 60th GRAMMY Awards that made it a night to remember.

### 1. Kendrick Lamar, U2, Dave Chappelle Open With An Army

[Kendrick Lamar](/artists/kendrick-lamar/17949) has a steady track record of impactful performances on the GRAMMYs, and this time he opened the ceremony with a groundbreaking performance before winning the first award of the evening for Best Rap/Sung Performance ("LOYALTY." with Rihanna). Opening with "XXX" before an American flag backdrop and U.S. soldiers marching, the rapper was joined by [U2](/artists/u2/7858)'s Bono and The Edge. A war simulation followed before [Dave Chappelle](/artists/dave-chappelle/187041) hit the stage to punctuate segues in between heated musical vignettes performed by Lamar. It was history in the making, much like everything he touches.

### 2. Lady Gaga's Tearjerker Performance with Mark Ronson

"This is for love and compassion …even when you can't understand," [Lady Gaga](/artists/lady-gaga/3611) uttered before a white piano wrapped in lace as she opened her performance with "Joanne." Mark Ronson assisted on guitar as the acoustic set segued into another moving ballad, "Million Reasons." The emotional performance was poignant, but most importantly showed Gaga's unreal vocal range. It's OK if you shed a tear while watching. We were all cutting onions when it happened.

### 3. James Corden Rapping For Jay-Z

If you watch "The Late Late Show With James Corden" or are tuned into any episode of his "Carpool Karaoke" series, you'll know that Corden was the perfect return host for this year's telecast. On the eve of the show, [Jay-Z](/artists/jay-z/9815) was honored at the Pre-GRAMMY Gala and Corden informed the crowd, but began riddling off his knowledge of Jay-Z facts — including Jay’s former apartment address of 560 State Street in Brooklyn. Corden then launched into spitting a few bars for an amused Mr. Carter. "You call it the Big Apple, I call it the Concrete Jungle where dreams are made of …just something I made up," Corden joked.

### 4. Bruno Mars And Cardi B's #TBT Performance Of "Finesse (Remix)"

A few weeks back — when the video for Bruno Mars' remix to "Finesse" featuring [Cardi B](/artists/cardi-b/186981) hit the internet — we were all bit by the nostalgia bug. The video (directed by Mars himself) was not only a clear nod to the sketch comedy series "In Living Color," but it was also a Polaroid of a bygone era of ‘90s R&amp;B and hip-hop—complete with bright colors. Cardi B donned a legendary Cross Colours bucket hat with Mars dancing onstage like a New Jack Swing-era frontman before a dance-off to House Of Pain’s "Jump Around." It was #ThrowbackThursday on a Sunday night.

### 5. Alessia Cara Claims Best New Artist

"I've been pretend winning GRAMMYs since I was a kid in the shower," [Alessia Cara](/artists/alessia-cara/186976) said with a shaky voice before a towering microphone as she accepted her first GRAMMY. While the Canadian was already considered a strong candidate for the award, the competition was fierce — including [SZA](/artists/Solana-Rowe/32514) and newcomer [Julia Michaels](/artists/julia-michaels/188121). But as Cara continued into her speech, she acknowledged and showed support for her peers, which included her fellow nominees and indie acts. "Support real music and real artists," she said. Then she thanked her fans, because there will be no more pretend GRAMMYs in the shower from now on.

### 6. Luis Fonsi, Daddy Yankee Bring On More "Despacito"

Over the course of 2017, the infectious "Despacito" hasn't left our brains. [Luis Fonsi](/artists/luis-fonsi/3346) and [Daddy Yankee](/artists/daddy-yankee/9370) hit the stage to perform the diamond-certified single and brought former Miss Universe Zuleyka Rivera in two. Rivera also appeared in the music video, but took center stage to dance amid a mock club scene. "That is a catchy song. I've never heard that song before," Corden deadpanned after the performance.

### 7. "Subway Carpool Karaoke"

Corden's viral "Carpool Karaoke" series made a cameo during the evening. How could it not? This time, however, it was a special "Subway Carpool Karaoke," featuring Corden, [Sting](/artists/sting/10244) and [Shaggy](/artists/shaggy/10082). The former Police frontman couldn't even get through "Every Breath You Take" before being shushed by a construction worker on the train. And Shaggy barely sang "It Wasn't Me" before another passenger hushed even Corden. Then a fight broke out on the train and Corden got a bloody nose. It was a dangerous karaoke scene. You had to be there.

### 8. Janelle Monáe Says #TimesUp, Kesha Sings #MeToo

All one has to do is read the news in recent months to know that injustice to women is no longer an option across industries. As [Janelle Monáe](/artists/janelle-monae/4464) introduced [Kesha](/artists/kesha/187816)'s performance of "Praying," she delivered a powerful speech hooked to the sexual harassment initiative Time's Up. "We are also daughters, wives, mothers, sisters, humans," Monáe told the crowd. "We come in peace, but we mean business." When Kesha hit the stage, her performance was that much more intense, especially understanding all she's been through in the music industry. With [Cyndi Lauper](/artists/cyndi-lauper/4198), Camila Cabello, Bebe Rexha, Julia Michaels, and [Andra Day](/artists/andra-day/18980) joining on background vocals, the performance ended with the women hugging and in tears. They weren't alone.

### 9. Elton John, Miley Cyrus Transcend Generations Onstage

[Elton John](/artists/elton-john/12074)'s "Tiny Dancer" is one of those classic songs that can bring you immediately back to a moment or an era (or a movie scene, like that bus ride in Almost Famous). However, tonight a new moment was made with [Miley Cyrus](/artists/miley-cyrus/18384). With John seated at his piano, he opened the song and Cyrus joined to help carry the song home. While the "Wrecking Ball" singer is no stranger to classic music — especially given her godmother is [Dolly Parton](/artists/dolly-parton/17205) — this performance was particularly special. Call it onstage chemistry, or call it bridging the gap, but this "Tiny Dancer" performance was one for the ages.

### 10. Ben Platt, Patti LuPone Wow With Broadway Style

This special [Leonard Bernstein](/artists/leonard-bernstein/896)-[Andrew Lloyd Webber](/artists/andrew-lloyd-webber/4044) tribute kicked off properly, as [Ben Platt](/artists/ben-platt/188321) from "Dear Evan Hansen" gave the audience a rousing dose of "Somewhere" from the former's "West Side Story." But as James Corden could barely stand as he introduced [Patti LuPone](/artists/patti-lupone/5059), we soon found out why. LuPone delivered a riveting rendition of “Don't Cry For Me Argentina" from Evita. Posted at a podium, just as the musical/movie depicts, she belted like it was her first time singing the song and it was our first time hearing it.

### 11. Logic, Khalid, Alessia Cara Bring Hope 

There's a reason why "1-800-273-8255" was nominated for Song Of The Year. The powerful track comes with a real message of suicide prevention. When the trifecta of [Logic](/artists/Sir-Robert-Bryson-Hall-II/32370), [Khalid](/artists/khalid/187821), and Alessia Cara hit the stage to perform the monumental hit single, there was no denying the magic. Performing on opposite stages before an army of survivors in "You Are Not Alone" shirts, Logic addressed the crowd and closed the performance with a speech pointing out many societal injustices — from the treatment of women to neighbors from other countries. There are no weak individuals, per Logic, just people waiting to realize the power of their voice.

### 12. Bruno Mars' Magical Evening: 6 For 6

Bruno Mars emerged above the stiff competition in Album Of The Year, taking home the final GRAMMY of the evening for 24K Magic. The nod topped off a GRAMMY sweep for the Hawaii native, with Mars winning all six categories for which he was nominated. He also earned R&amp;B Album, Record Of The Year for "24K Magic," Best R&amp;B Performance, Best R&amp;B Song and Song Of The Year for "That's What I Like." As he explained in his Album Of The Year speech, Mars' mission was to spread love and he did just that — even shouting out previous greats like [Babyface](/artists/babyface/985) who paved the way for him.

grammy60th

Find all the Winners of 2017 Grammys. For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic. The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

59th Annual GRAMMY Awards

During a period in our nation's history in which people are constantly reminded about the political and social issues that can divide us, the 59th GRAMMY Awards served as a convincing testament to the undeniable unifying power of music.

[Adele](/artists/adele/528), whose voice is a powerful force unto itself, emerged the top winner of the night, taking home five GRAMMYs: Best Pop Vocal Album and Album Of The Year for 25 and Record Of The Year, Song Of The Year and Best Pop Solo Performance for "Hello." The now-15-time winner also made GRAMMY history by becoming the first artist to sweep Record, Album and Song Of The Year twice in her career.

Fittingly, it was Adele who ushered in Music's Biggest Night with a mesmerizing performance of her smash "Hello." A stark black backdrop provided a blank canvas over which the British singer/songwriter painted an aural masterpiece, her potent vocals reverberating throughout Los Angeles' Staples Center.

The mercurial [David Bowie](/artists/david-bowie/4819), who died just days before releasing his album Blackstar on Jan. 8, 2016, won four posthumous GRAMMYs, including Best Alternative Music Album. [Greg Kurstin](/artists/greg-kurstin/9943), Adele's producer and songwriting partner, also won four awards, including Producer Of The Year, Non-Classical.

[Chance The Rapper](/artists/chancelor-bennett/19614) earned three awards, including Best New Artist, making him the first streaming-exclusive artist to win a GRAMMY. "This is for every indie artist who's been doing this mixtape stuff for a long-a\*\* time," the Chicagoan said during his acceptance for Best Rap Album for Coloring Book. He punctuated his GRAMMY debut with a feel-good performance medley of "How Great" and "All We Got," with his cousin Nicole and 59th GRAMMY winners [Kirk Franklin](/artists/kirk-franklin/9067) and Tamela Mann adding soulful flourishes.

Engineer/mixer [Tom Elmhirst](/artists/tom-elmhirst/2228) also won three GRAMMYs; [Beyoncé](/artists/beyonce-knowles/12474), [Drake](/artists/drake/12370), [Sarah Jarosz](/artists/sarah-jarosz/13600), [John Scofield](/artists/john-scofield/13908), Franklin, and [Hillary Scott &amp; The Scott Family](/artists/hillary-scott-scott-family/20151) were among those winning two awards.

As presenter Celine Dion so eloquently quoted the legendary [Stevie Wonder](/artists/stevie-wonder/8257), "Music, at its essence, is what gives us memories." In addition to crowning recipients in 84 GRAMMY categories, the 59th GRAMMYs created many new memories in the form of signature GRAMMY Moments that spanned several genres.

Equal parts music, theater and spoken word poetry, a golden-clad Beyoncé radiated during her medley of "Love Drought" and "Sandcastles," two songs from her Best Urban Contemporary Album-winning opus, Lemonade. The trance-inducing performance, which was themed around the celebration of motherhood, featured her own mother, Tina Knowles, and daughter, [Blue Ivy Carter](/artists/blue-ivy/292460), and closed on a poignant note with the pregnant Beyoncé reciting a line from a Warsan Shire poem: "If we're going to heal, let it be glorious/1,000 girls raise their arms."

[Bruno Mars](/artists/bruno-mars/5082) dazzled with his seductive "That's What I Like." Commanding the stage with aplomb, showcasing graceful dance moves and flaunting his rich tenor, Mars once again proved the breadth of his 24-karat talent.

[Ed Sheeran](/artists/ed-sheeran/6178) turned in arguably the most energy-efficient performance of the evening. Armed with an acoustic guitar, synthesizer and a pedalboard that doubled as a looping device, Sheeran proved a veritable one-man band in multitasking his romantic ode "Shape Of You."

[The Weeknd](/artists/The-Weeknd/24884) teamed with fellow GRAMMY winners [Daft Punk](/artists/daft-punk/8207) for a medley of "Starboy" and "I Feel It Coming." The duo's trademark synthesizer soundscapes set the tone for a sci-fi inspired set, with The Weeknd's velvety voice drifting into space.

[Katy Perry](/artists/katy-perry/5726) returned to the GRAMMY stage to debut her brand-new single, "Chained To The Rhythm," with reggae artist Skip Marley. Perry — who wore an armband emblazoned with the word "Resist" — earnestly delivered her new socially conscious anthem, which she closed by declaring "No hate!"

Best New Artist nominee [Anderson .Paak](/artists/anderson-paak/19926) and rappers Busta Rhymes, Consequence and [A Tribe Called Quest](/artists/tribe-called-quest/10719) joined for a politically charged medley of "Award Tour," "Movin Backwards" and "We The People." The latter song, A Tribe Called Quest's anthem addressing topics such as racism, xenophobia, homophobia, and misogyny, proved timely given the recent political climate. A Tribe Called Quest's Q-Tip put an exclamation point on the performance by shouting, "Resist! Resist! Resist!"

[Metallica](/artists/metallica/10686) and [Lady Gaga](/artists/lady-gaga/3611) turned the volume up to 10 with a driving performance of the band's "Moth Into Flame." Despite a brief technical glitch with Metallica frontman James Hetfield's mic, the heat generated — stoked by pyrotechnics, headbanging and a stage dive from Gaga — set off a genre-bending explosion.

[Keith Urban](/artists/keith-urban/7015) and [Carrie Underwood](/artists/carrie-underwood/10381) went toe-to-toe for their love-affirming duet "The Fighter." GRAMMY-nominated newcomers [Kelsea Ballerini](/artists/kelsea-ballerini/19558) and [Lukas Graham](/artists/lukas-graham/20132) joined together for a seamless mashup of her "Peter Pan" and their "7 Years," which was up for Song Of The Year. R&amp;B/soul legend William Bell, who earlier won his first career GRAMMY, teamed with guitar slinger [Gary Clark Jr.](/artists/gary-clark-jr/17798) for a gritty "Born Under A Bad Sign."

First-time GRAMMY host James Corden got into the musical act as well. During his opening skit, Corden delivered a free-style rap that name-dropped everyone from President Donald Trump to Drake, Rihanna and Sturgill Simpson. "The Late Late Show" host also sped through a hilarious impromptu GRAMMY edition of Carpool Karaoke. Driving a cardboard cutout vehicle, Corden was flanked by [Jennifer Lopez](/artists/jennifer-lopez/14846), [Tim McGraw](/artists/tim-mcgraw/12018), [Faith Hill](/artists/faith-hill/10850), [Keith Urban](/artists/keith-urban/7015), [Ryan Tedder](/artists/ryan-tedder/16130), [John Legend](/artists/john-legend/16994), Blue Ivy, Jason Derulo, and [Neil Diamond](/artists/neil-diamond/2720) for a singalong of the latter's classic "Sweet Caroline."

In addition to Corden's bits, [Twenty One Pilots](/artists/twenty-one-pilots/20162) provided some unexpected comic relief when they accepted their first career GRAMMY for Best Pop Duo/Group Performance for "Stressed Out" in their underwear. Underneath the humor, the duo from Columbus, Ohio, conveyed an important message to musicians of all stripes. "Anyone from anywhere can do anything," said Pilots singer/songwriter Tyler Joseph.

It was also a night of firsts for breakout country star [Maren Morris](/artists/maren-morris/19894). Not only did she make her GRAMMY performance debut with "Once" alongside [Alicia Keys](/artists/alicia-keys/12104), she won her first GRAMMY for Best Country Solo Performance for "My Church," making her the first GRAMMY Camp alumnus to win a GRAMMY.

Music's Biggest Night also provided moments of reflection in the form of tributes.

An all-star troupe paid homage to five-time GRAMMY winners the Bee Gees, who will be celebrated this spring via the CBS TV special "Stayin' Alive: A GRAMMY Salute To The Music Of The Bee Gees." [Demi Lovato](/artists/demi-lovato/19851) glided through "Stayin' Alive" while [Tori Kelly](/artists/tori-kelly/19120) showcased her impressive singing and guitar chops on "Tragedy." [Little Big Town](/artists/little-big-town/10623) were in perfect harmony for "How Deep Is Your Love" and Andra Day bottled the essence of Studio 54 during "Night Fever." The group closed with a vibrant "Stayin' Alive" coda, with Barry Gibb looking on in delight.

[Sturgill Simpson](/artists/sturgill-simpson/18703) and the Dap-Kings convened for "All Around You," a song from Simpson's Best Country Album-winning A Sailor's Guide To Earth. During his introduction, Dwight Yoakam lauded the late singer [Sharon Jones](/artists/sharon-jones/18518), who worked with the Dap-Kings throughout her career.

In recognition of [George Michael](/artists/george-michael/12041), who died Dec. 25, 2016, Adele returned to the stage for a dramatic, orchestrated version of "Fastlove," the final Top 10 hit of Michael's career. The tribute paused abruptly as Adele stopped mid-song, feeling that her performance was not up to par. "I can't mess this up for him," she confided to the audience. Adele reset herself and delivered a moving memorial. The audience obliged with a standing ovation.

Morris Day and the Time did the honors in introducing a special GRAMMY tribute to the late [Prince](/artists/prince/5675). A true showman, Day bobbed and weaved the band through the Time's funky "Jungle Love" and "The Bird." Mars then returned to the stage for a regal reimagining of "Let's Go Crazy." Armed with a Purple Rain-inspired suit, makeup and white guitar, Mars channeled vintage '80s-era Prince, right down to his authentic take on the song's spectacular unaccompanied guitar cadenza.

The In Memoriam segment featured [John Legend](/artists/john-legend/16994) and GRAMMY-winning "The Color Purple" cast member [Cynthia Erivo](/artists/cynthia-erivo/19682) delivering a rendition of the Beach Boys' "God Only Knows," which served as a solemn musical prayer to many other individuals the music community lost during the past year.

The GRAMMY show was also marked by heartfelt, if unexpected, tributes to fellow nominees. In her final acceptance speech of the evening for Album Of The Year, a visibly moved Adele used her platform to acknowledge and thank fellow nominee Beyoncé.

"My artist of my life is Beyoncé," Adele said as a tearful Beyoncé looked on. "The Lemonade album was just so monumental and so well-thought out and so beautiful and soul-bearing. … All us artists here, we f\*\*\*ing adore you. You are our light.

Music's Biggest Night beamed into the homes of more than 26 million viewers, representing a 4 percent year-over-year increase and the highest viewership since 2014. The luster extended well after the Sunday telecast, with several winners, nominees and performers benefiting from the GRAMMY Effect.

Digital sales of songs performed on the show saw a 140 percent increase in download sales, with Urban and Underwood's "The Fighter" experiencing a 574 percent gain. On-demand streams (audio and video combined) of songs performed rose 30 percent, including Mars' "That's What I Like" spiking 99 percent. Adele's 25 returned to the Top 10, rising to No. 6 with a 137 percent sales increase. Combined with the other Album Of The Year nominees (Beyoncé's Lemonade, [Justin Bieber](/artists/justin-bieber/10220)'s Purpose, Drake's Views, and Sturgill Simpson's A Sailor's Guide To Earth), all five albums saw a collective 91 percent increase in equivalent album sales. Following his GRAMMY performance with Perry, Skip Marley became the first member of the Marley family to score a Top 10 hit on the Billboard Hot 100.

More than just impressive statistics, these sizable GRAMMY Effect gains give additional credence to the 59th GRAMMY Awards telecast remarks of Recording Academy President/CEO Neil Portnow, who during his impassioned speech delivered to the new administration an important unified message on behalf of the music community.

"The Recording Academy, together with America's music makers, call on the president and Congress to help keep the music playing by updating music laws, protecting music education and renewing America's commitment to the arts," said Portnow. "It's our collective responsibility to preserve what binds us and to ensure that the whole world continues to benefit from one of our most unique \[and\] economically and spiritually important assets — and exports: American music."

Eligibility Period: Oct. 1, 2015, through Sept. 30, 2016

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58th Annual GRAMMY Awards

In an era when much of the prevailing cultural dialogue revolves around race relations and personal empowerment, the big winners at the 58th GRAMMY Awards reflected the currency of the times.

With 11 nominations, Compton, Calif., rapper [Kendrick Lamar](/artists/kendrick-lamar/17949) went into Music's Biggest Night as the most nominated artist since [Michael Jackson](/artists/michael-jackson/13202) and [Babyface](/artists/babyface/985) each scored 12 for 1983 and 1996, respectively. He took five GRAMMYs, including Best Rap Album for To Pimp A Butterfly, and Best Rap Performance and Best Rap Song for "Alright."

Lamar's performance of "The Blacker The Berry" and "Alright," songs that became unofficial soundtracks for the Black Lives Matter movement, infused the GRAMMYs with the kind of social immediacy at which it excels, whether it's championing marriage equality or honoring late musical icons such as Whitney Houston.

[Alabama Shakes](/artists/alabama-shakes/14656), perhaps fittingly a multiracial band with a multiracial frontwoman, [Brittany Howard](/artists/brittany-howard/3375), won three awards — Best Rock Performance, Best Rock Song and Best Alternative Music Album — all based around their acclaimed sophomore album, Sound &amp; Color. Their performance of "Don't Wanna Fight," introduced with an otherworldly scream by Howard, who looked like a high priestess of rock in a flowing white cape, was a captivating moment from a band that has helped bring back a sense of urgency to rock.

[Taylor Swift](/artists/taylor-swift/15450) took Album Of The Year for 1989 among her three awards. Pointing out she was the first woman to win that award twice, Swift was passionate about giving due credit to the contributions of women during her acceptance speech. Her show-opening performance of "Out Of The Woods" proved she's a powerful, self-assured woman.

Other multiple winners included [D'Angelo](/artists/dangelo/1902), [Diplo](/artists/diplo/8548), [Jason Isbell](/artists/jason-isbell/19091), [Maria Schneider](/artists/maria-schneider/6153), [Ed Sheeran](/artists/ed-sheeran/6178), [Skrillex](/artists/skrillex/6363), [Chris Stapleton](/artists/chris-stapleton/15418), and [The Weeknd](/artists/The-Weeknd/24884).

Rising up, to paraphrase GRAMMY nominee and performer [Andra Day](/artists/andra-day/18980), was the theme of the night. In addition to Lamar's wins and triumphant performance, there were other noteworthy moments.

"Glory," Common and [John Legend](/artists/john-legend/16994)'s defiant song from Selma, the film about the 1965 Montgomery, Ala., voting rights marches, won for Best Song Written For Visual Media. [Lalah Hathaway](/artists/lalah-hathaway/3123) won in the Best Traditional R&amp;B Performance category for "Little Ghetto Boy," a song about overcoming the consequences of growing up in inner-city poverty that was originally recorded by her father, [Donny Hathaway](/artists/donny-hathaway/2656).   

Mexican drummer/composer [Antonio Sanchez](/artists/antonio-sanchez/6087), who won Best Score Soundtrack For Visual Media for Birdman, thanked GRAMMY voters specifically because he had been "eliminated by another awards show that starts with an 'O' and ends with 'scars.'" And songwriter [Kendra Foster](/artists/kendra-foster/19024) literally raised a fist and proclaimed "we're trying to rise up" when accepting the Best R&amp;B Song award for her, D'Angelo and [Gina Figueroa](/artists/gina-figueroa/19500)'s "Really Love."

It was also a night of official goodbyes to musical giants, some of whom died within weeks of the GRAMMY telecast.

[Lady Gaga](/artists/lady-gaga/3611)'s tribute to [David Bowie](/artists/david-bowie/4819) was an electrifying appreciation of one of the most influential artists of our time. Bowie — who died Jan. 10 — received a Lifetime Achievement Award from The Recording Academy in 2006, and an appropriate celebration on the GRAMMY telecast with a 10-song medley wrapped by a triumphant version of "Heroes."

The band synonymous with '70s California rock came together to salute their fallen founding member, [Glenn Frey](/artists/glenn-frey/2410), who died Jan. 18. The Eagles strummed through their first hit, the classic "Take It Easy," teaming with the song's co-writer Jackson Browne (who penned the tune with Frey in the early '70s when they lived in the same Los Angeles apartment building). The ode to letting troubles run off your shoulders and grabbing life while you can was a fitting tribute to a singer, guitarist and man who did just that.

Things revved up a few decibels when the Hollywood Vampires (Alice Cooper, Johnny Depp and Joe Perry joined by Guns N' Roses bassist Duff McKagan and drummer Matt Sorum) lit the funeral pyre for Lemmy Kilmister — hard rock's No. 1 anarchist who died Dec. 28, 2015 — with a short blast of Motörhead's "Ace Of Spades."

At the other end of the genre and attitude spectrum, [Earth, Wind &amp; Fire](/artists/earth-wind-fire/14550)'s deeply optimistic pan-spiritual leader [Maurice White](/artists/maurice-white/6905), who died Feb. 4, was feted by [Stevie Wonder](/artists/stevie-wonder/8257) and vocal group [Pentatonix](/artists/pentatonix/20140), who performed an a cappella version of the classic "That's The Way Of The World."

Finally, Stapleton, [Gary Clark Jr.](/artists/gary-clark-jr/17798) and Bonnie Raitt paid tribute to one of the most noteworthy bluesmen of all time, B.B. King, who died May 14, 2015. The three artists — performing King's biggest hit, "The Thrill Is Gone" — reflected disparate generations and genres, but demonstrated that roots music is a single language often spoken with six strings.

Wrapped around these special GRAMMY Moments were additional performances that delivered musical breadth as only the GRAMMYs can.

New country star and former college footballer [Sam Hunt](/artists/sam-hunt/19085)'s "Take Your Time" got an audible via a duet with [Carrie Underwood](/artists/carrie-underwood/10381) and her "Heartbeat."

R&amp;B sensation [The Weeknd](/artists/The-Weeknd/24884) sensitively performed his ballad "In The Night," backed by piano and cello, after teasing his hit "Can't Feel My Face." The vocal triumph scored a standing ovation.

Day was joined by [Ellie Goulding](/artists/ellie-goulding/19043) for one of the night's sweetest melding of voices as they seamlessly brought their respective ballads "Rise Up" and "Love Me Like You Do" together.

[Lionel Richie](/artists/lionel-richie/17291), the 2016 MusiCares Person of the Year honoree and a true hits king of the '80s, rightly received the royal treatment as Luke Bryan, John Legend, Demi Lovato, [Meghan Trainor](/artists/meghan-trainor/18740), and [Tyrese](/artists/tyrese/17506) came together for a mega-salute capped by the man himself singing his signature "All Night Long (All Night)."

Richie collaborator, the late Michael Jackson, was remembered by nominee [Miguel](/artists/miguel/4571), who delivered a smooth version of "She's Out Of My Life" backed by the song's original keyboardist Greg Phillinganes.

[Little Big Town](/artists/little-big-town/10623) turned in a contemplative version of "Girl Crush" rich in the harmonizing of their four collective voices.

Two Best New Artist nominees, James Bay and Tori Kelly, joined forces to show off some fresh multiweapon talent as the pair of singer/songwriter/instrumentalists ran emotively through his "Let It Go" and her "Hollow."

The GRAMMYs aired its first-ever live performance from a Broadway stage by bringing the acclaimed musical "Hamilton" to a nationwide TV audience. Star/writer Lin-Manuel Miranda and his cast ran through the opening number "Alexander Hamilton" before an ecstatic audience at the Richard Rodgers Theatre in New York, providing a taste of its groundbreaking melding of hip-hop and traditional musical theater.

Despite some well-documented technical glitches, Adele's performance became a triumph over adversity, a testament to the fact that great talent will always shine despite the sometimes unexpected travails of live TV. To paraphrase her song "All I Ask," Adele left her heart on the stage to a standing ovation.

[Justin Bieber](/artists/justin-bieber/10220) teamed with EDM stars Skrillex and Diplo — under their Jack Ü moniker — for a rousing take on "Where Are Ü Now," which followed an acoustic solo turn by Bieber, who played his "Love Yourself." As Billboard noted, "While some previous dance performances have fallen flat in televised awards shows, there was nothing stilted about the energetic ensemble's stage show."

And on a similarly energetic note, the GRAMMYs concluded with a party thrown by one of the night's winners, Pitbull, who was joined by Travis Barker, Joe Perry, Robin Thicke, and actress Sofia Vergara, who showed off some of her best dance moves.

Between honoring our musical legacy and recognizing music's power to reflect and impact our cultural legacy, fans truly had a chance to Witness Greatness on the 58th GRAMMYs.

Eligibility Period: Oct. 1, 2014, through Sept. 30, 2015

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57th Annual GRAMMY Awards

Even for the GRAMMY Awards, which takes pride in each unique performance on its world-renowned stage — performances that have collectively come to be known as GRAMMY Moments — the 57th telecast topped expectations. The show featured an impressive 23 performances, many offering teamings that were not only inspired, but resulted in illuminating versions of deeply powerful songs.

If you thought <a href="/artists/sam-smith/18713">Sam Smith</a>'s multiple GRAMMY-winning "Stay With Me (Darkchild Version)" was an aching heartbreak of a song, you may have been emotionally drained after <a href="/artists/mary-j-blige/779">Mary J. Blige</a> joined Smith to add tent-revival urgency. 
 
<a href="/artists/katy-perry/5726">Katy Perry</a>'s "By The Grace Of God" already defies many of the California gurl's best-known pop hits, but following a personal plea from President Barack Obama to stop domestic violence and the real-life tale of abuse from survivor and activist Brooke Axtell, its unexpected impact brought the house to its feet. 
 
And so went this year's telecast, performance after performance proving that GRAMMY Moments live well beyond the moment of their creation. 
 
First-time GRAMMY performers AC/DC opened the show with fireworks and firepower, with singer Brian Johnson and guitarist Angus Young igniting the stage — and the playfully devil-horned audience ­— with "Rock Or Bust" and the classic "Highway To Hell." 
 
But it was the next performance of "Just A Little Bit Of Your Heart" by <a href="/artists/ariana-grande/18441">Ariana Grande</a> that arguably served as the true tone setter of the night, a poignant moment of soul-stirring singing that was as moving as it was entertaining. 
 
Brits <a href="/artists/jessie-j/18501">Jessie J</a> and the ever-vibrant Tom Jones followed with a similarly breathtaking "You've Lost That Loving Feelin'" in tribute to the iconic song's co-writers, 2015 Recording Academy Trustees Award recipients Barry Mann and Cynthia Weil. 
 
<a href="/artists/miranda-lambert/4851">Miranda Lambert</a> then interjected a touch of rock-inflected hoedown energy, wheeling out her upbeat "Little Red Wagon" with attitude and energy to spare, tapping into her firecracker charisma. 
 
<a href="/artists/kanye-west/6900">Kanye West</a> returned to the show's tacit theme of emotional message music with "Only One." Shadowy under a single spotlight, West bared it all with his ode to daughter North West, sung from the perspective of his late mother, and aimed at healing and happiness. 
 
An ageless <a href="/artists/madonna/5068">Madonna</a>, still enviably contorting through Pilates-required dance numbers, debuted her new "Living For Love" with a bullfighting theme and a matador's determination and finesse. 
 
Pulling out all the stops, <a href="/artists/ed-sheeran/6178">Ed Sheeran</a>, <a href="/artists/john-mayer/14891">John Mayer</a>, <a href="/artists/herbie-hancock/9477">Herbie Hancock</a>, and Questlove teamed for Sheeran's "Thinking Out Loud." Despite such a group of heavyweights, they retained the song’s graceful rumination on enduring love. 
 
The quartet then gave way to Jeff Lynne's ELO. GRAMMY winner Lynne led the band through an ELO signature, "Evil Woman," before joining with Sheeran for a rousing "Mr. Blue Sky." 
 
Adam Levine reunited with former "The Voice" judge Gwen Stefani for <a href="/artists/maroon-5/13090">Maroon 5</a>'s ballad "My Heart Is Open," with each bringing their formidable chops to the plea for love. 
 
Last year, the GRAMMYs brought 33 couples to the stage for a mass musical marriage ceremony. This year, Irish singer/songwriter <a href="/grammys/artists/hozier">Hozier</a> took the crowd to church with his GRAMMY-nominated hit. As "Take Me To Church" built to its climax, singer <a href="/grammys/artists/annie-lennox">Annie Lennox</a> joined to add an exclamation point, then segued into her cover of Screamin' Jay Hawkins' "I Put A Spell On You," as she did just that to the GRAMMY audience. 
 
By now, <a href="/artists/pharrell-williams/7310">Pharrell Williams</a> has built a cottage industry around his inescapable hit "Happy." For his GRAMMY performance, joined by composer Hans Zimmer on guitar and pianist <a href="/artists/lang-lang/14460">Lang Lang</a>'s otherworldly finger play, Williams' turned in a dark and satisfying take on the song. 
 
After Perry's stirring "By The Grace Of God," <a href="/artists/tony-bennett/1073">Tony Bennett</a> and <a href="/artists/lady-gaga/3611">Lady Gaga</a> hit the stage like the second coming of ultimate lounge-act couple Louis Prima and Keely Smith. The pair was clearly having authentic fun onstage, at times truly "Cheek To Cheek." 
 
Backed only by teen harpist Melody Tai, <a href="/artists/usher/16167">Usher</a> performed a sweet version of <a href="/artists/stevie-wonder/8257">Stevie Wonder</a>'s "Magic" in anticipation of "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute," a two-hour special that aired on CBS Feb. 16. Truly whetting appetites for that show, Wonder emerged from the shadows at the end of the song for an excitedly received harmonica solo. 
 
The GRAMMYs took a trip to Nashville, Tenn., next for <a href="/artists/eric-church/10938">Eric Church</a>'s "Give Me Back My Hometown." Then it was just left of Nashville for Best New Artist nominee <a href="/artists/brandy-clark/17797">Brandy Clark</a>'s teaming with Dwight Yoakam for her "Hold My Hand," to which Yoakam contributed haunting background vocals. 
 
The camera then shifted quietly to three silhouetted figures, in what is quickly becoming an iconic pose, for a debut performance of "FourFiveSeconds," <a href="/artists/rihanna/5943">Rihanna</a>'s new single with <a href="/artists/paul-mccartney/4678">Paul McCartney</a> and West. The trio represented almost unprecedented star power and the song was captivatingly striking in its stark presentation. 
 
After Smith (who emerged as the night's top winner with four GRAMMYs) and Blige's roof-raising performance of "Stay With Me," Colombian singer/songwriter <a href="/artists/juanes/9195">Juanes</a> hit the stage for a performance of his reggae-tinged "Juntos," en español. 
 
Actress Kristen Wiig served as the face of<a href="/artists/sia/15372"> Sia</a> for the latter's performance of "Chandelier," miming a comic version of the song's GRAMMY-nominated music video with young dancer Maddie Ziegler, while Sia earnestly sang from a corner of the set, in her customary back-to-the-audience stance. 
 
Album Of The Year winner <a href="/artists/beck/292">Beck</a> teamed with <a href="/artists/coldplay/10952">Coldplay</a>'s Chris Martin for a Crosby, Stills, Nash &amp; Young-inspired version of his acoustic gem "Heart Is A Drum." Though backed only by acoustic instruments, the song's tale of heartbreak and acceptance had an electric impact. 
 
"We live in complicated times," said Gwyneth Paltrow in introducing <a href="/artists/beyonce-knowles/12474">Beyoncé</a>'s take on the gospel standard "Take My Hand, Precious Lord," "and now more than ever we need understanding and to acknowledge the feelings of others.” 
 
Looking angelic in a white dress that gave the appearance of wings, Bey took the crowd to church literally, as Hozier had done metaphorically earlier. 
 
The 57th GRAMMY Awards closed poignantly with <a href="/artists/john-legend/16994">John Legend</a> and <a href="/artists/common/1332">Common</a>'s stunning Selma theme, "Glory." The performance not only came two weeks prior to their Oscar turn, but taken together with Beyoncé’s preceding tour de force vocal performance, the finale drew a connection in the battle for equal rights from the '60s to the present — capping the night's powerful message about music's ability to stir people to greater awareness and action. 
 
&nbsp;

Eligibility Period: Oct. 1, 2013, through Sept. 30, 2014

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See all GRAMMY award winners and nominees for the 57th GRAMMY Awards, presented in 2014.

56th Annual GRAMMY Awards

Reuniting legends, creating unparalleled GRAMMY Moments and giving new artists a global platform are all part of what makes the GRAMMYs a truly unique celebration of music. But this year the GRAMMY stage served as an opportunity to display music's power to unleash "whoever we are and whoever we dream about being," as host [LL Cool J](/artists/ll-cool-j/4008) said in his opening remarks.

Following a steamy performance of "Drunk In Love" by power couple Beyoncé and Jay Z, Macklemore &amp; Ryan Lewis made their first appearance on the GRAMMY stage to accept the first award of the night for Best New Artist. After catching their collective breath, Macklemore thanked their fans, "the people that got us on this stage," while acknowledging their independent roots.\

\

"We made this album without a record label," said Macklemore. "And we appreciate all the support."

The Seattle rap duo ended their GRAMMY debut on top, garnering a total of four trophies. The duo were later joined by singer/songwriter Mary Lambert and Trombone Shorty for a performance of their GRAMMY-nominated anthem of equality, "Same Love." The performance marked a historic moment for the GRAMMY Awards as Queen Latifah took the stage mid-set to officiate a live marriage ceremony for 33 diverse couples, which was capped with an appearance by Madonna. Madge gave new meaning to the chorus to her "Open Your Heart," proving that while music unleashes independence, it also promotes harmony.

"When we say music has the power to bring people together at the GRAMMYs, we mean it," said Latifah.

Fellow GRAMMY newcomer Lorde performed her hit "Royals," which took Song Of The Year and Best Pop Solo Performance. The 17-year-old singer/songwriter was clearly shocked: "This is the one thing that I did not expect the most about tonight," she said while accepting the latter award.

Further demonstrating music's power to unleash individuality, Hunter Hayes debuted his new single "Invisible." The inspirational piano-driven ballad was colored with several onscreen quotes, including one by John Lennon: "You don't need anybody to tell you who you are or what you are. You are what you are."

Country singer/songwriter Kacey Musgraves nabbed the first two GRAMMYs of her career for Best Country Song for "Merry Go 'Round" with Shane McAnally and Josh Osborne, and Best Country Album for Same Trailer Different Park. Musgraves made her individual mark on the GRAMMYs when she brightened the stage for a performance of "Follow Your Arrow," a song about doing "whatever you want."

One of the most talked about — and tweeted — performances of the night was the teaming of Imagine Dragons, who won their first GRAMMY for Best Rock Performance for "Radioactive," with rising rapper Kendrick Lamar. On a smoke-filled stage, the collective delivered a colorful mashup of "Radioactive" and Lamar's "m.A.A.d city" — an appropriate welcome to a new generation of GRAMMY performers.

But being in with the new does not mean out with the old — or in this case, legendary. Newly minted Lifetime Achievement Award recipient Kris Kristofferson, Willie Nelson and Merle Haggard were accompanied by Blake Shelton for a medley of classics such as "Okie From Muskogee" and "Mamas Don't Let Your Babies Grow Up To Be Cowboys" that had everyone from Musgraves to Jay Z and Beyoncé swaying in the audience. Daft Punk  and Pharrell Williams — both of whom also topped the winners list with four each, including Album Of The Year for Random Access Memories and a Producer Of The Year, Non-Classical win for Williams — teamed with Nile Rodgers and Stevie Wonder for a mashup of the Chic classic "Le Freak" and "Get Lucky." The latter earned Rodgers two of his first three career GRAMMYs for Best Pop Duo/Group Performance and Record Of The Year.

Additionally, Jay Z and Justin Timberlake won Best Rap/Sung Collaboration for "Holy Grail," which Jay Z accepted on their behalf and dedicated to his daughter Blue Ivy. Bruno Mars took home Best Pop Vocal Album honors for Unorthodox Jukebox, which he dedicated to his late mother Bernadette, who died in June 2013.

On a satellite stage, 2014 MusiCares Person of the Year honoree Carole King and Sara Bareilles went head-to-head on piano for a performance of Bareilles' "Brave" and King's "Beautiful." More all-star collaborations ensued. Robin Thicke joined Chicago to perform the latter's "Beginnings," "Does Anybody Really Know What Time It Is?" and "Saturday In The Park" and his "Blurred Lines," which earned Thicke his first nominations as an artist. GRAMMY winner Keith Urban and first-time winner Gary Clark Jr. joined for a performance of Urban's "Cop Car" that showed off each individual's guitar prowess. Pink made sure no one forgot her high-flying acrobatic skills as she took to the air to perform "Try" before Fun.'s Nate Ruess joined to deliver their GRAMMY-nominated hit "Just Give Me A Reason."

The spotlight was on John Legend as he took a seat behind the piano for a soulful performance of his romantic ballad "All Of Me," which appeared to be dedicated to his new bride, Chrissy Teigen. Taylor Swift went for a no-frills performance, looking glamorous at the piano for her "All Too Well." Meanwhile, fellow singer/songwriter Katy Perry proved she has a dark side, opening encased in a crystal ball for an enchanting performance of her hit single about playing with magic, "Dark Horse," featuring Juicy J.

Though the evening was highlighted by new artists taking home their first GRAMMY gold, as David Grohl remarked while accepting the award for Best Rock Song for "Cut Me Some Slack" with Paul McCartney and former Nirvana bandmates Krist Novoselic and Pat Smear, "If it wasn't for the Beatles, we wouldn't be here." Celebrating the 50th anniversary of their U.S. debut on "The Ed Sullivan Show" this year, remaining Beatles McCartney and Ringo Starr took the stage, likely reminding some of the younger artists in the audience why they chose their individual paths. After a solo performance by Starr of his chestnut "Photograph," the drummer joined McCartney for the latter's new "Queenie Eye." (Two weeks later, the pair would team again for the successful tribute "The Beatles: The Night That Changed America — A GRAMMY Salute," which celebrated their historic performance on "The Ed Sullivan Show" 50 years ago.)

From one surprise teaming to another, Metallica took the stage with the GRAMMY Cultural Ambassador to China, pianist Lang Lang. Following an introduction from Oscar winner Jared Leto, who cited Metallica as a "great rock band who have stayed true to themselves," the group delivered a unique performance of their past GRAMMY winner "One" that had frontman James Hetfield going guitar-to-piano with Lang Lang. The pianist returned shortly after to pay tribute to the late Van Cliburn during the In Memoriam segment, which also featured Miranda Lambert and Billie Joe Armstrong teaming for a tribute to the late Phil Everly with the Everly Brothers' "When Will I Be Loved."

The 56th telecast took its final bow with one last memorable GRAMMY Moment that literally rocked. Fleetwood Mac guitar master Lindsey Buckingham and Grohl joined Nine Inch Nails and Queens Of The Stone Age for NIN's "Copy Of A" and QOTSA's "My God Is The Sun."

Eligibility Period: Oct. 1, 2012, through Sept. 30, 2013

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55th Annual GRAMMY Awards

While many past GRAMMY telecasts have turned into colorful coronations of artists who enjoyed larger-than-life years (<a href="/artists/michael-jackson/13202" target="_blank">Michael Jackson</a>'s eight GRAMMYs in 1983, Santana's eight in 1999, <a href="/artists/beyonce-knowles/12474" target="_blank">Beyoncé</a>'s six in 2009, and <a href="/artists/adele/528" target="_blank">Adele</a>'s six in 2011), the 55th Annual GRAMMY Awards spread the wealth among a crop of younger artists who set the stage for the century's second decade in music.

Roots-influenced rockers the <a href="/artists/black-keys/8120" target="_blank">Black Keys</a> won three awards in the Rock Field (and guitarist/singer Dan Auerbach added one more for Producer Of The Year, Non-Classical.

Rap stalwarts <a href="/artists/jay-z/9815" target="_blank">Jay-Z</a> and <a href="/artists/kanye-west/6900" target="_blank">Kanye West</a> won three GRAMMYs each, all for their collaborations on Best Rap Performance and Best Rap Songwinner "N****s In Paris" and Best Rap/Sung Collaboration winner "No Church In The Wild" (featuring Frank Ocean and The-Dream).

Then came more relative newcomers: Skrillex added three GRAMMYs to his three from last year; <a href="/artists/gotye/2402" target="_blank">Gotye</a> rode "Somebody That I Used To Know" (featuring <a href="/artists/kimbra/3581" target="_blank">Kimbra</a>), which became the most idiosyncratic radio hit of 2012, to three awards, including Record Of The Year; <a href="/artists/fun/15812" target="_blank">Fun.</a> won their first two GRAMMYs for Song Of The Year for "We Are Young" (featuring <a href="/artists/janelle-monae/4464" target="_blank">Janelle Monáe</a>) and Best New Artist; and Mumford &amp; Sons, one of the trailblazers for the new wave of acoustic roots artists, won Album Of The Year for Babel.

Some of the winning artists were so new, they took other winners by surprise.

"Miguel, I don't know who the hell you are, but we need to sing together," shouted <a href="/artists/kelly-clarkson/11249" target="_blank">Kelly Clarkson</a> while collecting her Best Pop Vocal Album GRAMMY for Stronger, referring to <a href="/artists/miguel/4571" target="_blank">Miguel</a>'s brief slow jam of his Best R&amp;B Song winner "Adorn" (on which he teamed with Wiz Khalifa). "That was the sexiest damn thing I've ever seen."

It was more than a fresh breeze that blew over the 55th GRAMMYs, it was arguably a wind of change.

Still, the telecast remained music's biggest melting pot, with performances that brought innumerous ingredients to the stew, starting with one that was a virtual stew all on its own. With nose-thumbing clowns, a wheelchair-bound Mephisto and scary puppeteers, <a href="/artists/taylor-swift/15450" target="_blank">Taylor Swift</a> turned in the most threatening "We Are Never Ever Getting Back Together" ever.

British singer/songwriter <a href="/artists/ed-sheeran/6178" target="_blank">Ed Sheeran</a> teamed with the head of his management company, <a href="/artists/elton-john/12074" target="_blank">Elton John</a>, for a strong reading of the former's Song Of The Year-nominated "The A Team," the tale of a homeless addict.

Fun. brought drama to "Carry On," their song of perseverance, in the form of both their anthemic ambition and a rainstorm of real water that drenched their set.

<a href="/artists/miranda-lambert/4851" target="_blank">Miranda Lambert</a> and Dierks Bentley, met under a large blue tree for intimate duets of her "Over You" and his "Home."

Mumford &amp; Sons gave a jolt to the crowd with their endlessly energetic "I Will Wait." The way they attacked their acoustic guitars would have made Pete Townshend proud.

Breaking a seven-year hiatus from live music performance, Justin Timberlake hit a sepia-toned stage for a suave medley of his new "Suit &amp; Tie" (on which he was joined by Jay-Z) and "Pusher Love Girl" from his 2013 album, The 20/20 Experience.

In another unique pairing, <a href="/artists/maroon-5/13090" target="_blank">Maroon 5</a> and <a href="/artists/alicia-keys/12104" target="_self">Alicia Keys</a> teamed for the former's "Daylight" and the latter's "Girl On Fire," both songs that kindle with power and emotion.

<a href="/artists/rihanna/5943" target="_blank">Rihanna</a> was joined by Mikky Ekko for "Stay," a song he co-wrote and on which he is a featured vocalist. With Rihanna in a simple black dress on a no-frills stage, the song's message of passion over logic bore through.

The Black Keys wasted no time revving up "Lonely Boy." The rocker, which owes a debt to rockabilly, swamp rock and electric blues, was punctuated by the New Orleans piano of Best Blues Album GRAMMY winner Dr. John and a pinch of Dixieland from the Preservation Hall Jazz Band.

Clarkson returned for a vocal salute to two giant female artists, both of whom received Recording Academy Lifetime Achievement Awards in 2013. First up was "Tennessee Waltz" in honor of Patti Page, followed by "A Natural Woman (You Make Me Feel Like)," co-written by Carole King.

The tributes continued with a nod to Bob Marley, who was the subject of the Best Compilation Soundtrack For Visual Media-nominated Marley. Two of the performers, like Marley, hail from tropical islands: <a href="/artists/bruno-mars/5082" target="_blank">Bruno Mars</a> from Hawaii and Rihanna from Barbados. Also joining was Sting, whose music with the Police owed a debt to reggae and ska. Mars began with his own "Locked Out Of Heaven" followed by the similar-sounding Police chestnut "Walking On The Moon." Rihanna emerged with Ziggy and Damian Marley for their father's "Could You Be Loved."

<a href="/artists/lumineers/14762" target="_blank">The Lumineers </a>played a shortened version of their inescapable hit "Ho Hey" before introducing <a href="/artists/jack-white/15627" target="_blank">Jack White</a>. The latter played "Love Interruption" with his all-female band the Peacocks. He then segued into the harder "Freedom At 21" with male backers the Buzzards. By the time he finished the tumult, he had thrown and stepped on his guitar, leaving a sonic residue of decaying feedback.

<a href="/artists/hunter-hayes/9010" target="_blank">Hunter Hayes</a> played a portion of his hit "Wanted" solo on piano before bringing out fellow country star <a href="/artists/carrie-underwood/10381" target="_blank">Carrie Underwood</a> for a stripped-down version of her Best Country Solo Performance winner "Blown Away." Underwood's awe-inspiring vocals were matched by her billowy dress, which doubled as a projection screen to depict the heartbreak of the song.

The 2013 In Memoriam segment was bookended by two memorable tributes. The first featured pianist Chick Corea, bassist Stanley Clarke and sax player Kenny Garrett honoring the late Dave Brubeck with the timeless, and time-challenging, "Take Five" along with "Blue Rondo À La Turk."

Following the segment, an all-star cast including Zac Brown, T Bone Burnett, <a href="/artists/alabama-shakes/14656" target="_blank">Alabama Shakes</a>' Brittany Howard, Elton John, Mumford &amp; Sons, and Mavis Staples sang a gritty "The Weight" in honor of Levon Helm, who sang the original with the Band.

Juanes added a verse of español to the proceedings with a loving acoustic Spanglish rendition of Elton John's "Your Song," before introducing <a href="/artists/frank-ocean/15669" target="_blank">Frank Ocean</a>. The first Best Urban Contemporary Album winner sang his elegiac "Forrest Gump" backed by running-sequence footage similar to the film of the same name.

After the show's most somber performance, the 55th GRAMMYs rode out on a burst of old-school rap energy, with GRAMMY host LL Cool J teaming with Chuck D, Travis Barker, Tom Morello, and DJ Z-Trip for his own "Whaddup" and a brief tribute to fallen Beastie Boy Adam Yauch with "No Sleep Till Brooklyn."

Eligibility Year: Oct. 1, 2011, through Sept. 30, 2012

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GRAMMY Awards Time Capsule

Awards Row

Featured Article Card: Ant Clemons Sunshine

2025 GRAMMYs To Take Place Sunday, Feb. 2, Live In Los Angeles; GRAMMY Awards Nominations To Be Announced Friday, Nov. 8, 2024

The 2025 GRAMMYs return to Los Angeles on Sunday, Feb. 2. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8. Learn more about the key dates and deadlines ahead of Music's Biggest Night.

Body Text: 2025 GRAMMYs Key Dates Announcement

Music's Biggest Night is back! The 2025 GRAMMYs will take place **Sunday, Feb. 2**, live at Crypto.com Arena in Los Angeles, the Recording Academy announced today. The 2025 GRAMMYs will broadcast live on the CBS Television Network and stream live and on demand on Paramount+. As well, nominations for the 2025 GRAMMYs will be announced **Friday, Nov. 8, 2024**. See the full list of key dates and deadlines for the 2025 GRAMMYs, officially known as the 67th Annual GRAMMY Awards, below.

Key dates for the 2025 GRAMMY Awards season are as follows:

Sept. 16, 2023 – Aug. 30, 2024\
**Product Eligibility Period**\
*The period by which recordings are submitted for GRAMMY consideration. All releases must be available for sale, via general distribution, to the public by this date and through at least the date of the current year’s voting deadline (final ballot) to be eligible for the 2025 GRAMMY Awards.*

July 8, 2024 – Aug. 23, 2024\
**Media Company Registration Period**\
*Media companies must [apply for registration](https://www.recordingacademy.com/awards/media-company-registration-and-online-entry-process-oep) with the Recording Academy to submit recordings.*

July 17, 2024 – Aug. 30, 2024\
**Online Entry Period**\
*All eligible recordings must be entered prior to the close of the Online Entry Period, regardless of the public release date.*

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*Announcing the official nominees list for the 2025 GRAMMYs.*

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*Determines the GRAMMY winners across all categories revealed on GRAMMY night.*

Feb. 2, 2025\
**2025 GRAMMY Awards**\
*Music's Biggest Night, recognizing excellence in the recording arts and sciences.*

This February, the [2024 GRAMMYs](https://www.grammy.com/news/2024-grammys-nominations-full-winners-nominees-list) proved to be an epic, history-making night. [Women dominated the 2024 GRAMMYs](https://www.grammy.com/news/2024-grammys-ways-women-dominated-taylor-swift-sza-boygenius): For the second time in four years, women won in the majority of the General Field Categories, winning [Album Of The Year](https://www.grammy.com/news/taylor-swift-album-of-the-year-2024-grammys-speech) ([Taylor Swift](https://grammy.com/artists/taylor-swift/15450)), [Song Of The Year](https://www.grammy.com/news/2024-grammys-billie-eilish-wins-song-of-the-year-what-was-i-made-for-barbie) ([Billie Eilish](https://grammy.com/artists/billie-eilish/251741)), [Record Of The Year](https://www.grammy.com/news/miley-cyrus-wins-record-of-the-year-flowers) ([Miley Cyrus](https://grammy.com/artists/miley-cyrus/18384)), and [Best New Artist](https://www.grammy.com/news/2024-grammys-victoria-monet-best-new-artist-win) ([Victoria Monét](https://grammy.com/artists/victoria-monet/287096)). Elsewhere, Taylor Swift [broke the all-time record](https://www.grammy.com/news/taylor-swift-album-of-the-year-2024-grammys-speech) for most GRAMMY wins in the Album Of The Year Category after winning for *[Midnights](https://www.grammy.com/news/taylor-swift-midnights-new-album-takeaways-songs-anti-hero-lavender-haze-reputation-lover-tiktok-3am-tracks-edition)*. [Tyla](https://www.grammy.com/artists/tyla/54172) won the [first-ever GRAMMY Award](https://www.grammy.com/news/tyla-wins-first-best-african-music-performance-award-2024-grammys) for [Best African Music Performance](https://www.grammy.com/news/best-african-music-performance-category-2024-grammys-roundtable), one of [three new GRAMMY Categories that debuted this year](https://www.grammy.com/news/three-new-categories-added-for-the-2024-grammys).

The 2024 GRAMMYs also [celebrated the return of music legends](https://www.grammy.com/news/grammys-2024-performances-speeches-icons-rising-stars), including [Tracy Chapman](https://grammy.com/artists/tracy-chapman/878), [Joni Mitchell](https://www.grammy.com/artists/joni-mitchell/11174) and [Celine Dion](https://grammy.com/artists/celine-dion/1762), and ushered in new music icons-in-the-making like Victoria Monét, [Samara Joy](https://www.grammy.com/artists/samara-joy/51872) and Tyla. Relive some of the [must-see moments](https://www.grammy.com/news/2024-grammys-best-moments-must-see-highlights-videos) and [memorable, heartwarming acceptance speeches](https://www.grammy.com/news/10-acceptance-speeches-laugh-cry-smile-2024-grammys) from the 2024 GRAMMYs. And rewatch all of the performances and key highlights from the 2024 GRAMMYs all year long on [Live.GRAMMY.com](https://live.grammy.com/).

Learn more about the [upcoming 2025 GRAMMY Awards season](https://www.recordingacademy.com/awards/faq) and the [annual GRAMMY Awards process](https://www.recordingacademy.com/awards).

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| July 17, 2024 – August 30, 2024 | Online Entry Process (OEP) Access Period |
| October 4, 2024 - October 15, 2024 | First Round Voting |
| November 8, 2024 | Nominees Announced for the 67th Annual GRAMMY Awards |
| December 12, 2024 - January 3, 2025 | Final Round Voting |
| February 2, 2025 | 67th Annual GRAMMY Awards Show Date/Telecast |

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Lainey Wilson's Road To 'Whirlwind': How Superstardom, True Love & Staying Grounded Influenced Her New Album

As Lainey Wilson continues her reign as country's current queen, take a deep dive into her hard-won rise — and how it all led to her most assured album yet.

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*Lainey Wilson will be in discussion, with a performace to follow, at the GRAMMY Museum on Sept. 5. Learn more about the event [here](https://grammymuseum.org/event/the-drop-lainey-wilson/).*

If there's one word to describe [Lainey Wilson](https://grammy.com/artists/lainey-wilson/54192)'s life in the past year, it's whirlwind — which is exactly how she chose the name of her third album.

Since releasing *Bell Bottom Country* in 2022, the Louisiana-bred singer has been on an unprecedented tear. Whether she's selling out arenas nationwide, collecting countless awards, or launching or own line with Wrangler, Wilson is country music's newest queen. 

It's the culmination of a long and hard-fought journey for Wilson, who [first moved to Nashville over a decade ago](https://grammy.com/news/country-artists-rising-stars-nashville-ten-year-town-walker-hayes-lainey-wilson-hardy-ernest) with not much more than a dream. But as she explained to GRAMMY.com earlier this year, Wilson has been manifesting this level of country music success since she wrote her first song at just 9 years old. 

"I've dedicated my life to it," she said. "And it really is cool to just feel like that little 9-year-old girl who was writing her first song, that she wasn't completely crazy."

**Read More:** [Lainey Wilson On How Her Stardom Is A Testament To "Believin' And Receivin'"](https://www.grammy.com/news/lainey-wilson-bell-bottom-country-interview-jelly-roll-save-me-2024-grammys)

Wilson grinded behind the scenes in songwriter rooms and at local gigs during her early years in Nashville, independently releasing her self-titled debut record in 2014, followed by the fittingly titled *Tougher* in 2016. It was a time of trial by fire as Wilson was learning how to navigate not only Nashville's music scene, but honing her own voice as a songwriter as well.

"Each album has been a reflection of the season I was in at the time,"  Wilson tells GRAMMY.com now. "My first album was the safest. I was young and had just moved to Nashville, but still hadn't seen too much of the world just yet. My next album became more confident and a little sassy. After that, I started to really discover my north star, staying open to all kinds of people and opportunities and sticking with the parts that felt the most authentic to me."

Just months before signing with Broken Bow Records in 2018, she delivered another self-titled project – this time, an EP, which conveyed both gratitude and sensitivity with songs like "Dreamcatcher" and "Breakin' Your Heart." Both qualities would soon become Wilson's trademark, and what particularly made listeners gravitate toward her breakthrough hit (and eventual first No. 1 at country radio), "Things A Man Oughta Know."

Video Embed Player - Lainey Wilson Things A Man Oughta Know

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First appearing on her 2019 EP, *Redneck Hollywood*, "Things" was the second single on her debut studio album, 2021's *Sayin' What I'm Thinkin'*. Along with putting Wilson on the map, the LP also introduced fans to her unique style that she calls "bell bottom country" — sonically, a mix of nostalgic and twangy, pop-tinged sounds that never takes itself too seriously; visually, presented with flair (and flare) in her now-signature bell bottom pants.

"It's finding that thing that makes you unique, and leaning into it," Wilson told *[Rolling Stone](https://www.rollingstone.com/music/music-country/lainey-wilson-sayin-what-im-thinkin-album-1274936/)* in 2021. "It could be your story, your sound, where you're from, how you're raised, how you dress. I kept thinking about those words, 'bell-bottom country'…how can we do this? I definitely wanted a bit of [Bobbie Gentry](https://grammy.com/artists/bobbie-gentry/13351) vibe, but also the pureness of [Lee Ann Womack](https://grammy.com/artists/lee-ann-womack/17593) but also the sassiness of [Dolly Parton](https://grammy.com/artists/dolly-parton/17205). I wanted it to feel timeless and classic and, honestly, a little not too perfect."

Once "Things A Man Oughta Know" topped the charts, it wasn't long before Wilson did it again with Cole Swindell on "Never Say Never," her first of several chart-topping duets to come. She also hit the road opening for [Jason Aldean](https://grammy.com/artists/jason-aldean/376), setting her up as an artist to watch and ensuring that she wouldn't be a flash-in-the-pan success story.  

After being unapologetically herself on *Sayin' What I'm Thinkin'*, Wilson doubled down on that sentiment — and her brand — with *Bell* *Bottom Country*, a 16-song exploration of classic country instrumentation with glimmering '70s rock elements. It saw Wilson tell her story more than ever before, from the heartfelt ode to her father, "Those Boots (Deddy's Song)," to the strong-willed generational tale of "Wildflowers &amp; Wild Horses." 

Though *Bell Bottom Country* was a bit of a slow burn — peaking at No. 9 on Billboard's Top Country Albums chart — Wilson's place in the country music zeitgeist was rapidly rising. Two weeks after *Bell Bottom Country* arrived, she made her acting debut as a guest star in "Yellowstone"; a month later, her booty-hugging bell bottoms went viral on TikTok.

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Within the next several months, *Bell Bottom Country* spawned two No. 1 hits: the dynamic resilience tale, "Heart Like a Truck," and the "Strawberry Wine"-esque "Watermelon Moonshine." By the end of 2023, she'd score four No. 1s (thanks to collabs with [HARDY](https://grammy.com/news/hardy-quit-new-album-interview) and [Jelly Roll](https://grammy.com/artists/jelly-roll/54236)), serve as direct support for [Luke Combs](https://grammy.com/artists/luke-combs/243187)' stadium tour, and become a brand ambassador for Wrangler jeans and Stella Rosa wines — all of it propelling Wilson to becoming a household name. And by May 2024, she'd scooped up three of the most coveted country awards: Entertainer Of The Year at both the Country Music Association Awards and the Academy Of Country Music Awards, and [a GRAMMY for Best Country Album](https://grammy.com/news/big-first-wins-2024-grammys-acceptance-speeches) for *Bell Bottom Country*.

As her fame rose, Wilson had to make a conscious effort to stay grounded — especially because her personal life presented a whirlwind of its own. While the singer's career, as she puts it, "had me feeling like I was holding on to the tail of an airplane," her dad experienced several health issues, and simultaneously, she was balancing a relationship with former NFL quarterback Devlin Hodges.

"I had to learn how to rise to the occasion, deal with the pressure, and tend to my feelings and personal life around it all," Wilson explains. "I didn't feel in control of anything; like I was the victim of the chaos."

But as she started to make peace with her new reality, Wilson found solace in music. Soon, she had the makings of her fifth album, *Whirlwind*. "I \[found\] my footing through writing these songs and committing to a few good habits that have helped me become my best self," she adds.

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Like *Bell Bottom Country*, *Whirlwind* sees Wilson telling her story — so, naturally, this time, there's a lot more love songs. "Counting Chickens" and "4x4xU" hint that she's found her life partner, while "Hang Tight Honey" and "Good Horses" remind that she won't let fame get in the way of a good thing. (Even the title track flips the proverbial whirlwind of her career into a metaphor for love: "We're a whirlwind/ But baby, loving you's a breeze.")

*Whirlwind* largely expands on Wilson's signature country flair, but a standout is the hip-hop, rock and country mash-up "Ring Finger" (which, ironically, is a breakup song; "I got the ring, he got the finger," she sings on the chorus). Much like with her previous two albums, Wilson teamed up with producer [Jay Joyce](https://grammy.com/artists/jay-joyce/9836) for the project, noting that his willingness to experiment has helped her establish a sound that's fresh and unique, but also classic and timeless — a formula that's only proving to be more and more successful for the singer.

"I've become more confident, first and foremost," Wilson says of her growth. "I've seen beautiful things that come from pressure, and the things it can break. From that, I feel like I am writing with more wisdom and understanding and doing so in a way that kind of observes feelings instead of getting lost in them."

That wisdom and understanding is perhaps most apparent on "Middle Of It," an autobiographical illustration of how she's navigated her growing success. But whether she's exploring new sounds or new storylines, Wilson continues to prove that she'll never lose sight of the country-loving, hard-working girl she's always been.

*Whirlwind* paints a picture of Wilson rising above her success and its ensuing chaos, ultimately finding herself more at ease than ever before. It's all proof that her long-traveled journey has been well worth it — she's helped make country music cool again, and she doesn't plan on slowing down anytime soon.

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Living Legends: Kurtis Blow On How Hip-Hop Culture Was "Made With Love" & Bringing The Breaks To The Olympics

More than 40 years after he became hip-hop's first commercial breakout star, Kurtis Blow is still moving the culture forward. The rapper and OG B-boy reflects on hip-hop’s rich history, and the impact of seeing hip-hop represented at the 2024 Paris Games.

Living Legends: Kurtis Blow On Hip-Hop Culture body 1

On the eve of the first-ever Olympic breakdancing competition, hip-hop legend Kurtis Blow was thrilled. It was the first time one of the core elements of hip-hop culture had reached such a global stage.

Alongside [DJ Kool Herc](https://grammy.com/news/dj-kool-herc-cindy-campbell-50th-anniversary-of-hip-hop-interview-jamaican-roots) (whose breaks provided the soundtrack for B-boys and girls), Blow is credited with popularizing breakdancing. The rapper began breaking as a teenager in the early 1970s, as part of the [Hill Boys breaking crew](https://mikemadriaga.com/artist/kurtis-blow-nutcracker/) — named for the Sugar Hill area of Harlem where Malcolm X first started his galvanizing pro-Black movement —  

And while the International Olympic Committee decided [to remove breakdancing from the 2028 Olympics](https://people.com/why-breaking-is-not-in-the-2028-olympics-8695145), Blow is unbothered. As far as he’s concerned, his legacy and the legacy of breaking itself is all but set in stone. 

"It was definitely something special," Blow tells GRAMMY.com. "And I wasn’t the only one who realized it at the moment it was happening."

Born Kurtis Walker, the Harlem-based Blow began DJing when he was just seven years old. In 1979, the 20-year-old's "[Christmas Rappin’](https://www.billboard.com/pro/kurtis-blow-christmas-rappin-jb-moore-robert-ford/)" sold over 400,000 copies and turned the up-and-comer into a household name. But it was his follow-up single, 1980’s "The Breaks," that helped launch a whole new genre: rap music. "The Breaks" became the first hip-hop album to receive a gold certification from the RIAA, and proved that Blow wasn’t just a one-trick pony. 

Kurtis Blow proved to be immediately influential on the then-nascent rap scene. When Rev. Run of [Run-D.M.C.](https://grammy.com/artists/run-dmc/8333) started his career, he billed himself as "[The Son of Kurtis Blow](https://www.tiktok.com/@rockthebells/video/7161133998377422126)" to give him an air of credibility that helped propel the hip-hop trio into the pop culture stratosphere. But Blow's influence didn’t begin and end with his "adopted son": Everyone from Russell Simmons to [Wyclef Jean](https://grammy.com/artists/wyclef-jean/9817) has worked with Blow, and he has been sampled by [Nas](https://grammy.com/artists/nas/5218) ("If I Ruled The World" is all but an interpolation of Kurtis Blow’s song of the same name), KRS-One and many others. In fact, more than [100 songs](https://www.whosampled.com/Kurtis-Blow/The-Breaks/sampled/) have used samples from "The Breaks," and [nearly 1,500 songs](https://www.whosampled.com/Kurtis-Blow/sampled/) have used a sample or an interpolation from Blow’s discography. 

**Learn more:** [Essential Hip-Hop Releases From The 1970s: Kurtis Blow, Grandmaster Flash, Sugarhill Gang &amp; More](https://www.grammy.com/news/hip-hop-albums-1970s-releases-videos-50th-anniversary)

Kurtis Blow was also one of the first rappers to sign to a major label (Mercury Records) and was the first rapper to be a multihyphenate (in addition to his music, [Blow worked as an actor](https://www.imdb.com/name/nm0089423/) on films like *In a Dark Place* and *California Dreamers*, and was the musical coordinator for the legendary hip-hop film *Krush Groove*). Blow continues to work steadily in hip-hop today, though he eschews the legendary breaking parties in favor of cultural events that offer a new glimpse into the culture he helped create. 

To wit, Blow is performing with [The Hip Hop Nutcracker](https://www.hiphopnutcracker.com/), in which Tchaikovsky’s classic score is set to breakdancing and modern hip-hop dance; the emcee will perform a brief set to kick off each show. A nationwide tour kicks off in Southern California in November and concludes at the end of December in Durham, North Carolina.

Kurtis Blow spoke with GRAMMY.com about the importance of bringing breaking to the Olympics, reconciling his ministry with modern hip-hop’s message, and his four-decade legacy. 

*This interview has been edited and condensed*.

Living Legends: Kurtis Blow On Hip-Hop Culture - The Breaks Live

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**Breakdancing has been a huge part of hip-hop culture for many, many years — and it’s long overdue to be recognized on a global scale like the Olympics. What are your thoughts about seeing this movement that you started getting this kind of recognition?**

This whole culture that we call hip-hop started back in the 1960s. With the Civil Rights movement, community organizers, and government officials all debating about something so basic: the right to all be seen as equal and free. It was a traumatic time, you know? But we had music that was so relevant to the whole movement. 

By the time the late 1970s and early 1980s came along, everyone was trying to escape all of the traumatic racism that was still going on. And music became our escapism. That’s where breaking came in: everyone was just trying to mimic [James Brown](https://grammy.com/artists/james-brown/819) on the dance floor. You’d see one guy doing his thing, and everyone would form a circle around him. Pretty soon, someone else would join the circle and challenge him. And before you knew it, there was a whole competition — and whoever won became the most popular in the club. 

That kicked it all off. To see it recognized on such a large scale just reaffirms, to me, that this hip-hop culture of ours was made with love. 

**There were breaking films such as 1985's 'Krush Groove' that were completely revolutionary in that it gave everyone — not just those within the culture — a view into the world of hip-hop, and suggested what it could become. At the time, you were becoming the first commercially successful rapper and one of the pillars of what would become the New York sound. Were you aware that you were on the precipice of something revolutionary?**

I don’t want to call myself a visionary or anything like that, but I did know that this was something special, because I saw how quickly it spread around different boroughs in New York City. 

From Harlem and the Bronx, and then over into Queens, Brooklyn, and even New Jersey, it was amazing to see everyone just gel around that whole hip-hop scene. As I said before, we all needed that escapism, you know? Forget about your troubles, just come and dance.

With me being in Harlem, right down the block from the Cotton Club and that whole mindset around dancing becoming America’s pastime  — just coming from that era, where we had to go to the parties to have a good time — \[I knew\] that we had created something that would outlast us. 

**Not only did you attend divinity school, but you are also an ordained minister. How do you bridge those two aspects of your life and how do you reconcile being a rapper with being a minister?**

That is such a great question, and thank you for asking. 

It’s very simple: God is the Creator. God created hip-hop. We have to start with that, right here. God gave us the talent to perform the music; he gave us the passion to want to spread the music to the masses. He gave us the desire to say, "Hey, come take a look at me! God has blessed me with this — can you do this?"

Now, when you talk about the actual elements of hip-hop — that is, the emcees, and the message that we bring — it’s crucial to understand that we are commanded by God to uplift our community and to show them love. This is the actual essence of hip-hop: peace, unity, love, and just having safe fun. 

My mission is to believe in the faith that God is real, and God is in the miracle business. I have seen nothing but miracles for the last 45-50 years in this thing called hip-hop. And it’s important to understand that God is in the mix, and we are all blessed by the common denominator known as hip-hop. It should be our mission to get that back. 

As for what’s going on today — the nature of the lyrics, the gangster rap, and all the violence — it didn’t really start out that way, did it? And if we can inspire the future for our youth, then we’ve made a difference. Because the future is in their hands, and we need to inspire them. 

**But, as a counterpoint, times are different today. And what these men and women are speaking to may not necessarily be destructive — rather, there could be a case made where they’re merely being street poets, and telling the reality of life as they see it. What advice would you give to those people who are telling a different story than the one you told all those years ago?**

We are called to be these soldiers, warriors, servants, and communicators. So I understand their reality is different, you know? The world is upside down. The kids out there are just telling it like it is. They’re communicating their reality.

But I think that we should not only communicate how it is, but how it could be. And how it *should* be. 

Think of how different it would be if they also gave some inspiration for a positive future: "Yeah, we goin’ through this, we goin’ through that, but with God, you can overcome all of that. With prayer, you can have miracles, and blessings, come down."

Even if you just understand the nature of the reality that we’re going into right now — things like mass incarceration, the drug epidemic, gun violence, the war profiteering off of Black and brown bodies — it falls upon the shoulders of the elders of this community, this hip-hop movement, to inspire and communicate the possibilities to the younger up-and-comers. 

They need to understand that they are the product of royalty. They are the descendants of kings and queens of Africa. They need to honor themselves and honor their ancestors, accordingly.

Living Legends: Kurtis Blow On Hip-Hop Culture - America

Living Legends: Kurtis Blow On Hip-Hop Culture body 3

**The culture of hip-hop isn’t just about the music. It’s about fashion, slang, cars, the sports — if you think about it, anthropologically, hip-hop is a civilization onto itself. But, as with all things, so much of it has been co-opted and mainstreamed. How do we bridge the divide between the originators and the colonizers?**

Only love can bridge that gap between the ages, the races, our government — the diversity of all these different countries — you know, it needs to be all love. 

This is what it’s going to have to take for us to change our present reality. And I feel that in hip-hop, that is the key to that future. The OG’s had the right mindset: peace, love, unity, and having safe fun. We need to get back to that. 

**When you look back on your career and the legacy you leave behind, how do you want to be remembered?**

I remember being in divinity school at Nyack College in New York, and the professor asked the whole class the same thing.  And I thought about it for a while, you know? I thought about being remembered as a pioneer of hip-hop — an OG breakdancer — a DJ when I was just seven years old — and an incredible educator. 

But what stuck with me was being known as a man of God. That’s it. Because that encompasses everything that I have been through and survived. All of my success, and everything you know about me, comes from God — and to God be the glory.

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