This year, the Special Merit Awards ceremony was not for the faint of heart. 

The 2024 GRAMMY Week event, held Saturday at a capacity Wilshire Ebell Theatre in Los Angeles, presented Lifetime Achievement Awards, Trustees Awards, the Technical GRAMMY,  and the Music Educator Award to a dazzling gallery of musical innovators whose work has generated deep emotional connections across decades. In a world currently ensnared in a pattern of global conflict, the presentation of the award for Best Song for Social Change for the first time at the Special Merit Award ceremony this year added an extra layer of poignancy.

The presentation was touching from the very beginning, with a video montage of previous winners set to the historic recording of Aretha Franklin singing the Puccini aria "Nessuna Dorma." Glimpses of many legendary faces and performances on the screen underscored the Academy’s empathy for impactful music history: from Marvin Gaye to Janis Joplin; Billie Holiday to The Carter Family; The Beatles and Tina Turner to Dolly Parton and The Supremes.

The 2024 Music Educator Award was then given to Annie Ray, a music teacher and orchestra leader from Annandale, Virginia selected for her relentless positivity and inclusive energy. "Orchestra is much more than a class — it’s a family," said one of her students during a brief video chronicling her work. Ray, whose classrooms include students from 66 different countries — put together, they speak 59 languages — was visibly touched as she received the award. "I am thankful to share with the world what my students have taught me," she said.

The year’s Technical GRAMMY belonged to Tom Scott and the late Tom Kobayashi, who met at Lucasfilm’s Skywalker Sound in 1985 and together launched the Entertainment Digital Network (EDnet), which allows the sharing of high-quality video and audio. An estimated 250,000 musical collaborations have been facilitated by their innovations, including many GRAMMY performances. 

Next up were the three Trustee Awards: British pop legend Peter Asher, member of Peter & Gordon, prolific A&R executive, producer, manager, and a self-professed "admirer and member of the Recording Academy for almost 60 years"; legendary entertainment attorney and former Recording Academy Chairman Joel Katz, known as "the dealmaker who thinks outside of the box"; and Jamaican American DJ Kool Herc, renowned as one of the founders of East Coast hip-hop in ‘70s. He received the award joined by his sister Cindy who promoted his initial series of parties in the Bronx, noted for his groundbreaking use of two turntables and the extension of funky breaks in songs. 

It was time to honor the Lifetime Achievement recipients, and a sprightly Laurie Anderson stepped onstage and gave a witty assessment of her reputation as an uncompromising song alchemist. "They say my music is experimental, which sounds like doing something in the lab that might explode," she said. From her wonderfully robotic, left-field 1982 hit "O Superman" to her poetic concept album Homeland in 2010, Anderson has created her share of aesthetically explosive works of the art-pop and avant-garde variety.

"I love music so much, and I married a musician," she said acknowledging her husband, the late Lou Reed. "Wouldn’t it be great if there was a piano on every corner?"

The best-selling female gospel group in history, Detroit-based The Clark Sisters are known for their soaring vocal harmonies and powerhouse hits like "You Brought The Sunshine." 

"We thank our Lord and Savior for allowing us to do what we do: singing," they said, adding words of gratitude for their mother — "the lady who paved the way" — the late choral director Dr. Mattie Moss Clark.

The importance of a rich spiritual life was also emphasized by Motown legend and Soul empress Gladys Knight. The singer known for classic hits such as "Midnight Train to Georgia" and a raucous rendition of "I Heard It Through The Grapevine" beamed onstage as she recalled her beginnings in music, before she became an international star with The Pips. "We had to go to church every Sunday, and it did make a difference," she said. "Everybody was singing around me when I grew up. And my mom would never allow me to do it easy. It had to come from the heart."

It was time to witness the strength of street knowledge. Delving into the very core of hip-hop identity, Bone Thugs-N-Harmony presented the Lifetime Achievement Award to N.W.A, the revolutionary Los Angeles collective that transformed the landscape of popular music with its 1988 debut Straight Outta Compton. The group was joined by the mother and son of late rapper Eazy-E, who passed away in 1995 at age 30. The surviving members of the group – excepting Dr. Dre, who was celebrating his daughter’s birthday and sent a text greeting – looked vindicated. "We always knew that a GRAMMY was not in the cards for us, but we still wanted to express ourselves," said Ice Cube. "When you do your thing, the world will come to you."

Donna Summer, the ethereal and visionary singer who took disco music into progressive territory during the ‘70s, passed away in 2012. The "I Feel Love" star received a posthumous Lifetime Achievement Award on Saturday — and her husband Bruce Sudano and their three daughters were there to collect it. "Her voice and music are omnipresent in the [cultural] zeitgeist," said Sudano. "Donna continues to inspire people worldwide. She always referred to herself as an ordinary girl."

Last but not least, GRAMMY winning country star Tammy Wynette, who died in 1998, was also honored with a Lifetime Achievement Award — accepted by her daughters, Georgette Jones and Jackie Daly.

"Mom would feel very humbled to be in such a talented group of people," Jones said. "She always thought that the GRAMMYs were the biggest accomplishment in music. And she never fully understood her own impact."

When rapper and singer K’naan was a child in Mogadishu, his mother managed to get the family out of Somalia on the last commercial flight before the civil war erupted. Together with songwriters Gerald Eaton and Steve McEwan, K’naan was honored with the Best Song for Social Change award for "Refugee," a track about the plight of political refugees around the world.

"In the Somali language, the word 'home' derives from the word 'mother,'" explained K’naan as he received the award to a standing ovation. "I dedicate this GRAMMY to my home — my mother."

2024 GRAMMY Nominations: See The Full Winners & Nominees List

The Recording Academy has announced 10 recordings to be newly inducted to the distinguished GRAMMY Hall Of Fame as part of its 2024 inductee class and in celebration of its 50th anniversary this year. This year's GRAMMY Hall of Fame additions, the first inductions since 2021, include four albums and six singles that exhibit qualitative or historical significance and are at least 25 years old. The inducted recordings, which will be added to the iconic catalog residing at the GRAMMY Museum, will be honored at GRAMMY Museum's inaugural GRAMMY Hall Of Fame Gala and concert, presented by City National Bank, taking place Tuesday, May 21, at the NOVO Theater in Los Angeles. Tickets for and performers at the Gala will be announced at a later date. 

The 2024 GRAMMY Hall Of Fame inducted recordings range from Lauryn Hill's The Miseducation of Lauryn Hill to Guns N' Roses' Appetite For Destruction. Others include recordings by De La Soul, Buena Vista Social Club, Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell. Eligible recipients will receive an official certificate from the Recording Academy. With these 10 newly inducted titles, the GRAMMY Hall Of Fame currently totals 1,152 inducted recordings.

See below for a full list of the 2024 recordings inducted into the GRAMMY Hall Of Fame, and see the full list of all past GRAMMY Hall Of Fame inducted recordings.

Full list of 2024 GRAMMY Hall Of Fame Inducted Recordings:

3 FEET HIGH AND RISING
De La Soul
Tommy Boy (1989)
(Album)
Inducted: 2024

APPETITE FOR DESTRUCTION
Guns N' Roses
Geffen (1987)
(Album)
Inducted: 2024

BUENA VISTA SOCIAL CLUB
Buena Vista Social Club
World Circuit/Nonesuch (1997)
(Album)
Inducted: 2024

“I FEEL LOVE”
Donna Summer
Casablanca (1977)
(Single)
Inducted: 2024

“KISS AN ANGEL GOOD MORNIN'“
Charley Pride
RCA Victor (1971)
(Single)
Inducted: 2024

“LET'S HAVE A PARTY”
Wanda Jackson
Capitol (1960)
(Single)
Inducted: 2024

THE MISEDUCATION OF LAURYN HILL
Lauryn Hill
Ruffhouse/Columbia (1998)
(Album)
Inducted: 2024

“ORY'S CREOLE TROMBONE”
Kid Ory's Creole Orchestra (As Spike's Seven Pods of Pepper Orchestra)
Nordskog (1922)
(Single)
2024

“WHAT A FOOL BELIEVES”
The Doobie Brothers
Warner Bros. (1978)
(Single)
Inducted: 2024

“YOU DON'T MISS YOUR WATER”
William Bell
Stax (1961)
(Single)
Inducted: 2024

"We're proud to unveil the diverse mix of recordings entering the GRAMMY Hall Of Fame in its 50th year," Recording Academy CEO Harvey Mason jr. said in a statement. "The music showcased here has played a pivotal role in shaping our cultural landscape, and it's a true honor to recognize these albums and recordings, along with the profound influence each has had on music and beyond."

"The artists, songwriters, producers, and engineers who composed this year's inducted recordings are a reflection of the sheer talent and hard work that goes into creating such seminal music," GRAMMY Museum President/CEO Michael Sticka said in a statement. "It's a privilege to be able to welcome these new additions into our distinguished catalog and celebrate the recordings at our inaugural gala on May 21."

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final ratification by the Recording Academy's National Board of Trustees.

This year, the GRAMMY Hall Of Fame Gala will be the first of what will become an annual event and includes a red carpet and VIP reception on the newly opened Ray Charles Terrace at the GRAMMY Museum, followed by a one-of-a-kind concert at the NOVO Theater in downtown Los Angeles. 

The inaugural gala and concert is produced by longtime executive producer of the GRAMMY Awards, Ken Ehrlich, along with Chantel Sausedo and Ron Basile and will feature musical direction by globally renowned producer and keyboardist Greg Phillinganes. For sponsorship opportunities, reach out to halloffame@grammymuseum.org.

Explore the history of the GRAMMY Hall Of Fame

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks

Thanks to United Airlines' partnership with the Recording Academy, the students traveled from all over the country to Los Angeles and met in person for the first time. In past years, GRAMMY U Reps have only been able to attend a few select events in addition to the GRAMMY Awards on Sunday. But because of United Airlines, these National and Chapter Reps were able to experience the music industry’s most exhilarating week.

Come with the GRAMMY U Reps as they experience Music’s Biggest Night, behind-the-scenes tours, and events highlighting various initiatives within the music industry during GRAMMY Week 2024. Learn how to apply to GRAMMY U here.

Tuesday: Travel Day

The GRAMMY U group chat was exploding with excited messages as we arrived at the airport early Tuesday morning. Each Rep was about to meet their co-workers — many of whom had only connected virtually — and gain the experience of a lifetime. 

United flew all 14 Reps to Los Angeles with exceptional timing, service, and care — even though we were traveling to work at GRAMMY Week, it felt like we were getting celebrity treatment. Once we touched down in L.A., we ran to the United baggage claim to hug our friends and capture the experience to share with fellow GRAMMY U members.

Philly Rep Tamara Tondreau and Nashville Rep Della Anderson┃GRAMMY U

After grabbing lunch near our hotel in downtown L.A., we made it to the Recording Academy Los Angeles Chapter Office in Santa Monica for our first in-person team meeting. Sporting new custom GRAMMY U jackets, T-shirts, and hats, we prepared for our signature GRAMMY Week event, a Masterclass with actress/GRAMMY-nominated R&B artist Halle Bailey. 

Reps were briefed on plans for the week, then took an office tour where we spotted multiple golden gramophones. Since we work remotely year-round, this was our first time getting to see where all the magic happens.

Wednesday: Behind-The-Scenes & Behind The Music

On Wednesday, we were up bright and early to explore the Crypto.com Arena and learn about the behind-the-scenes preparation it takes to host the GRAMMY Awards each year. 

Jody Kolozsvari, Associate Producer of the GRAMMYs and a GRAMMY U alum, guided us around the arena. He also introduced us to the incredible audio, mixing, communications, and production teams as well as Recording Academy CEO Harvey Mason Jr. 

"Walking intoCrypto.com Arena and seeing the GRAMMY stage being built was a very surreal moment," said Sara Hudson, GRAMMY U's New York Chapter Rep. "Meeting so many of the people behind the show and witnessing the hard work that is put into producing the GRAMMY Awards made my passion for working in live music grow even more."

Later that night, Philadelphia Chapter Rep Tamara Tondreau and Los Angeles Chapter Rep Jade Bacon worked as GRAMMY U press at the A Celebration of Craft event, a collaboration between the Recording Academy Producers and Engineers Wing and Songwriters and Composers Wing. This was the very first time GRAMMY U Reps were invited to this exclusive event; Tamara, a songwriter herself, called this event "unforgettable."

"Since songwriting sparked my interest in the music industry, it was inspiring to be in the room with so many talented creatives," Tamara says. "Networking with professionals who hold multiple roles in the industry encouraged me and reaffirmed my goal of maintaining both business and creative aspects in my career."

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Thursday: Fostering Community & Culture

Hosted at GRAMMY House, Thursday morning started with a beautiful luncheon at the inaugural A Celebration of Women in the Mix. This event made space for women in the music industry to gather and support one another, recognizing all of the strides made in a male-dominated field. 

Twelve of the 14 Reps identify as women, and this was a special moment to meet some of the industry leaders that we look up to as role models. Networking with female artists, managers, and producers who are laying the groundwork for our generation was a powerful moment we will never forget.

After delivering the keynote speech, Ty Stiklorius, the founder of management company Friends at Work, spoke with some of the GRAMMY U Reps.

"Having a conversation with such an established female in the music industry was incredibly inspiring," says Memphis Rep. Shannon Conte. "After this moment of mentorship and encouragement, I left the event feeling much more confident in my ability to one day succeed in becoming an artist manager."

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Dressing up in our finest suits and gowns, we hit the town to attend the exclusive Black Music Collective’s 2024 Recording Academy Honors event, where legends Mariah Carey and Lenny Kravitz accepted Global Impact Awards. Sitting in the same room as these superstars was awe-inspiring, and it was an honor to see how the Black community was celebrated during GRAMMY Week.

GRAMMY U Reps Shaneel Young, Jade Bacon, and Chloe Sarmiento hosted interviews for our social media, highlighting the fashion of dozens of high-profile attendees including Adam Blackstone, Jordin Sparks, Flavor Flav, and Erica Campbell as they walked the signature black carpet. The excitement of the press line on the black carpet provided Reps with first-hand experience of what a career in press and publicity could look like. 

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GRAMMY U DC Rep Shaneel Young aspires to work in music marketing. "Interviewing some of the most influential people in the industry about my passions: music, fashion, and culture, will be a moment I remember for the rest of my career," she reflects.

Reps at Black Music Collective’s Recording Academy Honors┃GRAMMY U

These two spectacular events immersed us in the initiatives the Recording Academy has implemented to celebrate diversity and representation in music, and we are so honored to be a part of the company’s continued mission.

Friday: Work Hard, Play Hard

After months spent planning our signature GRAMMY Week event, the GRAMMY U Masterclass with Halle Bailey, presented by Mastercard, we finally saw the fruits of our labor come to life. This year, we welcomed over 500 attendees in person, with members from every Chapter flying in to experience the event together at GRAMMY House.

GRAMMY U PNW Rep Chloe Sarmiento worked as talent lead and interacted directly with Halle Bailey and her team. "It was incredibly fulfilling to see the event come together on-site in Los Angeles after weeks of working on it from home," Chloe says. "Halle and her team were so great to work with, and I couldn’t have asked for a better speaker for the Masterclass!"

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Working with experienced Recording Academy staff onsite further enlightened us about all things event production. From talent handling and partnerships to working radios and managing the stage, we were excited to execute a large-scale event with all of the Reps at GRAMMY House.

After a successful Masterclass, the Reps split up for the evening to conquer even more GRAMMY Week events. Half the group went to the #GRAMMYsNextGen party to spread the word about membership, host a photobooth, and interact with influencers and emerging performers. We met hip-hop duo Flyana Boss, and some of our other celebrity sightings included Laura Marano and Milo Manheim. It was inspiring to see other young professionals who have established themselves in the entertainment industry so early in their careers.

Mastercard surprised us with an entire seated table at the exclusive MusiCares Person Of The Year Gala honoring Jon Bon Jovi. It was an outstanding evening honoring the rock icon and the many ways he has given back to the music community. Following a live auction, Brandy Clark, Lainey Wilson, Jelly Roll, Shania Twain, and others performed some of Bon Jovi’s biggest hits — Bon Jovi even graced the stage with Bruce Springsteen for a special rendition of "Who Says You Can’t Go Home." 

The Reps were incredibly grateful to United and Mastercard for granting us the opportunity to witness these exclusive live performances. To see the music community come together to honor a legend while giving back and furthering the mission of MusiCares is a heartwarming aspect of the music industry we don’t get to witness every day.

Reps with Sabrina Carpenter at the Person of the Year Gala┃GRAMMY U

GRAMMY U Chicago Rep Rachel Owen was one of the lucky attendees able to watch the thrilling performances while mingling in the crowd with other musicians like Sabrina Carpenter and David Archuleta.

"To even be in the same room as Shania Twain is an honor, she’s timeless and more exquisite than I could've even imagined," Owen says. "To see her perform live to Jon Bon Jovi is the type of moment you just never take for granted."

Saturday: Divide & Conquer

Saturday was jam-packed with events. Back again at GRAMMY House, a group of Reps attended the Best New Artist Spotlight, where nominees discussed their breakthrough years and what it means to be considered a "new artist." From upstarts Ice Spice and Gracie Abrams to the long musical journey of Victoria Monét, The War and Treaty, and Jelly Roll, these diverse perspectives all stressed that each person has a unique career timeline and reminded us as students to practice perseverance and patience as we navigate this industry. 

Various Reps continued at GRAMMY House, some working as press at the #GRAMMYsNextGen Ambassador Power Brunch and the first-ever Academy Proud event, celebrating LGBTQIA+ voices.

A handful of us worked as GRAMMY U press at the Special Merit Awards ceremony and subsequent celebration. Being a part of these exclusive events and witnessing historic moments like the presentation of Lifetime Achievement Awards was truly impactful. We interviewed nominees at the celebration, including boygenius engineer Owen Lantz (the supergroup would win their first three GRAMMYs the very next day.)

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Hundreds of nominees attended the Special Merit Awards and Celebration, proudly displaying their blue medallions and glowing as they took their official GRAMMY nominee photos; the hopeful and energetic spirit of the event fueled our drive to succeed in this industry even more.

Sunday: And The GRAMMY Goes To…

Sunday morning was the day everyone had all been waiting for: the 66th GRAMMY Awards! After getting our glam on, the GRAMMY U Reps got to walk the red carpet for the first time ever. We took tons of photos and videos to commemorate this special moment and share our experience with friends and family.

While most of the Reps were posing on the carpet, Pierson, Jasmine, Rachel, and Chloe had the honor of being trophy presenters during the GRAMMY Premiere Ceremony. This was the first time GRAMMY U Reps from across the country were given the honor of being up close and personal during artists' career-defining moments.

Reps on the GRAMMYs Red Carpet┃Andrew Sankovich 

Moving into Crypto.com Arena to be seated for the telecast portion of the evening, the GRAMMY U Reps were ecstatic to watch the ceremony in person. As legends like Joni Mitchell, Billy Joel, Tracy Chapman, and Stevie Wonder blazed on stage, all the Reps were singing and dancing along, thrilled to be a part of Music’s Biggest Night. Phenomenal performances from nominees SZA, Billie Eilish, Olivia Rodrigo, Dua Lipa, Miley Cyrus, and Luke Combs were equally captivating. 

Witnessing the live telecast after experiencing so much behind-the-scenes production exemplified how rewarding the music industry can be, and how prestigious winning a GRAMMY truly is. The quiet suspense before a winner was announced and the roars that followed created a rollercoaster of emotions that took our breath away.

Immediately afterward, we were off to enjoy the official GRAMMYs After-Party  — and not even the constant showers could not rain on our parade. The Reps hit the dancefloor as soon as NE-YO took the stage, and hearing "Time of Our Lives" felt especially relatable. 

As we headed back home on our United flights, we reflected on an exhilarating GRAMMY Week. Not only were we able to be part of exclusive events, but we also interacted with artists, learned from experts, and grew exponentially. Experiencing these moments with the other Reps brought our team closer, while meeting members and peers showed the expansive community GRAMMY U is cultivating. 

Because of United, we witnessed all the Recording Academy does for the music industry. After GRAMMY Week, we feel more inspired and empowered than ever to lead the next generation of the music industry.

With additional reporting from Pierson Livingston.

2024 GRAMMYs: See The Full Winners & Nominees List

As the first recipient of the inaugural Best African Music Performance GRAMMY Award, South African songstress Tyla has officially etched her name into history. At the 2024 GRAMMYs, the 22-year-old's amapiano-infused Afro pop hit "Water" beat out several long-established names in African music.

While Tyla's success on Music's Biggest Night stresses the Recording Academy's continued efforts to showcase diverse African music, her victory is more of a one-armed hug rather than a full, legs-off-the-ground embrace of African music. 

This is chiefly because "Water" was successful and marketable for its use of Western pop influences. While Afrobeats and amapiano are certainly crossing over in America, bestowing a golden gramophone upon an artist whose work reflects familiar sounds is a curious step forward for African music. Still, Tyla's win may foster a greater embrace of the African sound, and the virality and pervasiveness of "Water" propelled the Johannesburg-born singer/songwriter to unheard of heights. 

"Water" hit No. 1 on the Billboard U.S. Afrobeats Songs and Hip-Hop/R&B charts, and became the first African song to enter the Billboard Hot 100 since 1968. The track peaked at No. 7, making Tyla the highest-charting African female solo musician in Billboard history. The "Water" dance challenge on TikTok further pushed the track into the global sphere, and the song has been featured in over 1.5 million videos.

The widespread appeal of "Water" is a culmination of elements, notably a fusion of Western pop with subtler amapiano influences. The song melds sleek American R&B and pop compositions with the log drums and piano trails synonymous with the South African amapiano genre. 

Read more: 10 African GRAMMY Winners Through The Years: From Miriam Makeba To Angélique Kidjo & Burna Boy

Indeed, most musical genres (regardless of continent of origin) draw inspiration from and contribute back to each other. The resulting music transcends regional boundaries and appeals globally — and Tyla's "Water" is proof of this resonance. Yet it also reflects how a major Western influence is often necessary for African music to transcend the continent. 

The Recording Academy's new Category was designed to highlight "strong elements of African cultural significance," said Shawn Thwaites, Recording Academy Awards Project Manager and author of the Category. In describing eligibility for the Best African Music Performance Category, Thwaites noted that songs must feature "a stylistic intention, song structure, lyrical content and/or musical representation found in Africa and the African diaspora." 

Still, when it comes to recognizing lesser known genres — from South Africa's gqom to Tanzania’s singeli and Ghana’s asakaa — the global audience still has a long way to go.

"We need to go deeper and in more detail within different genres of music. We know there are multiple different types of music — hundreds of genres, in fact — coming from Africa and from all 54 countries on the continent," Recording Academy CEO Harvey Mason Jr. told GRAMMY.com after his three trips to the vibrant continent. "I'd love to see us be able to honor even more music from Africa and other areas of the world."

Thwaites hopes that celebrating the diversity of African music will also lead to greater cultural exchange. Eventually, this could lead to "more collaborations between artists of different genres and more artist relations between labels and executives in America," he said. 

But for this progression to happen correctly, there has to be a cultural education about the music within the continent and it's something Ghazi Shami, CEO/Founder of Empire Records, Distribution and Publishing — who consulted with the Recording Academy on the new Category — is looking forward to watching develop. 

"I think we'll see expanded categories in African music in the years to come, but this is a great start toward recognizing the merits and impact of African music," he told GRAMMY.com prior to the ceremony. 

Tyla's GRAMMY win is an exceptional achievement — particularly so for a young African woman. Popular African music has often been skewed towards male artists. At the 2023 GRAMMYs, Tems became the only female solo artist currently living in Nigeria to win a GRAMMY. (Sade, who was born in Nigeria, has won four GRAMMYs but lives in the U.K.)

A similar trend is observed in South Africa, where Miriam Makeba was both Africa's first GRAMMY winner and the country's solo female vocalist to win prior to Tyla. 

Tyla's win is a beacon to other young female performers in Africa — including fellow Category nominee Ayra Starr and singer/songwriter and producer Bloody Civilian — proving that female artists can and will be recognized, regardless of their country of origin. It also demonstrates how the distance between African artists and international prestige has been shortened, thus furthering the likelihood of artistic innovation.

Her win is also notable in a Category stacked with Nigerian artists. Of the five nominated works, "Water" is the only one not created by an artist of Nigerian descent or currently living in Nigeria. (Though South African producer Musa Keys is featured on Davido's nominated "UNAVAILABLE.") Although South Africa has a lengthy history at the GRAMMY Awards, Tyla is proof the world is listening to what her country has to offer. 

While her fellow nominees — Starr, Burna Boy, Davido, ASAKE & Olamide  — and artists such as Wizkid have also shouldered the responsibility for the globalization of popular African music, there is still a long road ahead. 

Tyla’s win holds significant promise for African music as pop music. While "Water" certainly has noticeable South African elements, its Western appeal may partially lay in its use of familiar sounds. For Africa to truly win, the world has to embrace African music for what it is, and not for what it's trying to be. 

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