Often referred to as "Washington's most interesting mix of music and politics," honorees for the 2010 GRAMMYs on the Hill Awards were announced today by The Recording Academy. Two-time GRAMMY Award winner Garth Brooks, U.S. Senate Majority Whip Dick Durbin (D-Ill.) and U.S. Representative Darrell Issa (R-Calif.) will be honored for their work in improving the environment for music creators.

Taking place in Washington, D.C., this year's GRAMMYs on the Hill events include the awards ceremony on April 14 and an advocacy day on Capitol Hill on April 15, at which hundreds of music professionals from across the country will visit with legislators to advance pro-music policies that improve the environment for music and its makers.

"This year's honorees truly define leadership, and GRAMMYs on the Hill gives us the opportunity to thank our political and musical leaders for their work to advance the rights of music makers," noted Recording Academy President/CEO Neil Portnow. "As one of the most popular and philanthropic artists, Garth Brooks is an inspiration to musicians and fans alike. Senator Durbin's leadership in the Senate translates into effective support for the music community, and Representative Issa has been a leader on creating a fair performance right for artists and truly understands the potential for the partnership between music and technology. It is more important than ever for our members and the music industry to come to Washington and help advance the rights of music creators through direct advocacy on Capitol Hill."

Taking place at the Liaison Capitol Hill hotel, GRAMMYs on the Hill Awards will include a cocktail reception preceding the awards ceremony with special guest presenters and performers to help recognize the achievements of Brooks, Durbin and Issa. Past honorees have included then-Senator Hillary Rodham Clinton, Sen. Orrin Hatch (R-Utah), Rep. Steny Hoyer (D-Md.), the late Senator Ted Kennedy, two-time GRAMMY winner Kelly Clarkson, and 27-time GRAMMY winner Quincy Jones.

GRAMMYs on the Hill Advocacy Day for music makers features a morning briefing with keynote speeches by leading legislators, lobbying members of Congress, and an afternoon musical event on Capitol Hill with special guests. Past events have featured Clarkson, Gloria Estefan, and BeBe Winans.

Certified by the RIAA as the No. 1-selling solo artist in U.S. history, Brooks has sold in excess of 128 million albums and is the top-selling solo artist of the 20th century. His body of work, including the groundbreaking No Fences, Ropin' The Wind, The Hits, and Double Live propelled country music as a genre to the front pages of newspapers worldwide and the covers of magazines. Brooks became the first artist to put out a simultaneous edition of his latest collection for a charitable cause when the launch of the pink edition of The Ultimate Hits was available only at the Susan G. Komen Web site in fall 2007.

Durbin was elected by his fellow Democratic senators in December 2006 to the post of Majority Whip, the Senate's second-highest ranking position. Durbin, a Democrat, is the 47th U.S. Senator from the State of Illinois (Springfield) and the first Illinois senator to serve on the U.S. Senate Appropriations Committee in more than a quarter of a century. He serves on the Senate Judiciary Committee, which oversees many of the issues most important to the music community, and has been a defender of intellectual property and protecting music as an economic force and cultural treasure.

Issa represents the people of California's 49th Congressional District in the United States House of Representatives. In Congress and as a leader in California's grassroots politics, Issa has championed the cause of smart, efficient government. An original sponsor of the Performance Rights Act, Issa has been a leading force behind creating parity across broadcast platforms by providing artists with a radio performance right. He serves on the House Judiciary Committee and has participated in a number of Recording Academy programs, including the GRAMMY Town Hall.

For updates and breaking news, please visit The Recording Academy's social networks on Twitter and Facebook.

Sheryl Crow may be a nine-time GRAMMY winner and a Rock and Roll Hall of Fame inductee, but her legacy extends far beyond her music. She has dedicated her career to advocating for her fellow artists and social causes close to her heart — and that's why she's one of the honorees at this year's GRAMMYs on the Hill.

On April 30, Crow will be honored at Washington's premier annual celebration of music and advocacy alongside Senator Amy Klobuchar (D-MN) and Senator John Cornyn (R-TX) for their bipartisan spearheading of the Save Our Stages Act and the Fans First Act. The "All I Wanna Do" singer called receiving her GRAMMYs on the Hill award "a tremendous honor…because protecting the rights of creators is more important now than ever before."

Helping creators thrive has long been part of Crow's career. She has made it her lifelong mission to support other artists and stand up for causes she believes in, from co-founding a pioneering advocacy group for musicians to supporting the music program at her alma mater. 

Below, check out five ways Sheryl Crow has exemplified advocacy within the music industry — and beyond — over the course of her career.

The 2024 GRAMMYs on the Hill Awards is sponsored by City National Bank and benefits the GRAMMY Museum.

She Co-Founded The Recording Artists' Coalition

In 2000, Crow and fellow GRAMMY winner (and previous GRAMMYs on the Hill honoree) Don Henley founded the Recording Artists' Coalition. The organization's mission is to represent artists, defending their rights and interests and challenging unfair industry practices. 

One of the advocacy group's first major legislative wins came in its founding year, when then-President Bill Clinton signed a law repealing The Works Made for Hire and Copyright Corrections Act. The provision had designated musical recordings as "works for hire," thereby taking away many artists' rights to royalties.

In 2009, the Recording Artists' Coalition aligned with the Recording Academy to continue the organization's work as part of the Academy's Advocacy and Public Policy office. (Crow is also a member of the Music Artists Coalition, which was founded in 2019 and has a similar mission to protect artists' rights.)

She's Sounded The Alarm About The Dangers Of AI

Crow released her eleventh studio set, Evolution, in March and tackled the topic of artificial intelligence head-on via the LP's ominous title track. "Turned on the radio and there it was/ A song that sounded like something I wrote/ The voice and melody were hauntingly/ So familiar that I thought it was a joke," she sings on the opening stanza before questioning, "Is it beyond intelligence/ As if the soul need not exist?"

The prolific singer/songwriter explained her decision to put her concerns about AI's threat to creativity, songwriting and even artists' ownership over their own voices in an interview on the podcast Q with Tom Power earlier this month.

"It terrifies me that artists can be brought back from the dead; it terrifies me that I can sing to you a song that I had absolutely nothing to do with and you'll believe it," she said. "And so I'm waiting to see if the best of us will rise up and say, 'This cannot be' 'cause our kids need to understand that truth is truth. There is a truth, and the rest of it is non-truth." 

Later in the wide-ranging conversation, Crow added her insight into how technology, social media and the modern streaming economy are all negatively impacting listeners' relationship to music as well. "We need music that tells our story now more than we've ever needed it," she urged. "And yet, we're going to bring in technology — already, algorithms are killing our ability to even not only listen to a whole song, but to experience it at a spiritual level."

She's Championed Racial Equality In The Music Business

Amid the summer of marches, demonstrations and other civil actions in the wake of George Floyd's tragic 2020 murder, Crow used her platform and privilege as a white musician to help shine a light on the plight of Black musicians fighting for equality within the music industry.

"I stand in solidarity with the Black Music Action Coalition in their efforts to end systematic racism and racial inequality in the music business," she wrote in a 2020 social media post. "It is impossible to overestimate the contribution of Black people in our industry; Black culture has inexorably shaped the trajectory of nearly every musical genre. Most artists, myself included, simply would not be here without it. The time to acknowledge this fact is long overdue."

Crow went on to call for the music business to become a "shining example of reform to other industries." She added, "Acknowledging and making amends for both historic and ongoing inequalities, and creating a path forward to ensure they never occur again, is our highest calling."

She's A Charitable Powerhouse

Crow has long made philanthropy a central priority in her life. Along with supporting the Recording Academy's own MusiCares initiative, the "Steve McQueen" singer has backed and partnered with a veritable laundry list of non-profit organizations including, but not limited to, The Elton John AIDS Foundation, the Breast Cancer Research Foundation, the World Food Program, ADOPT A CLASSROOM, Pelotonia, the Delta Children's Home, Stevie Van Zandt's TeachRock Artist Council and more. 

Additionally, she's spoken out countless times about gun violence, Medicaid expansion, women's health, mental health, the death penalty, LGBTQ+ rights, and a host of other issues, particularly affecting Tennessee, where she now calls home. 

The "Soak Up The Sun" songstress has also used her musical talents to give back over the course of her career. In fact, just weeks before releasing Evolution, she contributed to the star-studded 2024 re-release of Mark Knopfler's 1983 debut solo single "Going Home: Theme of the Local Hero" to raise money for the Teenage Cancer Trust.

She Supports Music's Next Generation

A proud alumnus of the University of Missouri, Crow holds a degree in music education and has continually given back to her alma mater's music program in an effort to support the future generations of music makers. 

In 2015, Crow headlined her own benefit concert for the Mizzou School of Music's fundraising campaign, which led to the choral performance and rehearsal hall inside the campus' Jeanne and Rex Sinquefield Music Center being rechristened Sheryl Crow Hall in early 2022. 

As she's achieved veteran status in the music industry, Crow has also made a particular point to uplift and champion young female artists. In 2019, she partnered with TODAY for its "Women Who Rock: Music and Mentorship" series, and in 2020, took part in Citi's #SeeHerHearHer campaign to boost representation of women in music. More recently, she has touted Taylor Swift as a "powerhouse" and offered career advice to her now-frequent "If It Makes You Happy" duet partner, Olivia Rodrigo.

Whether she's inspiring young women or advocating for music creators of all kinds, Sheryl Crow has already left an indelible mark on the music industry. And if her previous efforts are any indication, she's not stopping anytime soon.

GRAMMYs On The Hill Awards 2024: Everything You Need To Know Including Mission, Goals, Honorees & Achievements

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Updated Monday, May 22, to include information about the re-air date for "Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon."

"Homeward Bound: A GRAMMY Salute To The Songs Of Paul Simon" will re-air on Wednesday, May 31, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.

Many tribute shows for legacy artists end in a plume of confetti and a feel-good singalong. But not Paul Simon's.

At the end of the songbook-spanning "Homeward Bound: A GRAMMY Tribute To Paul Simon," the only person on the darkened stage was the man of the hour. Sure, the audience had been baby-driven through the Simon and Garfunkel years, into the solo wilderness, through Graceland, and so forth. But all these roads led to darkness.

Because Simon then played the song that he wrote alone, in a bathroom, after JFK was shot.

It doesn't matter that Simon always ends gigs with "The Sound of Silence." After this commensurately cuddly and incisive tribute show, it was bracing to watch him render his entire career an ouroboros. 

That "The Sound of Silence" felt like such a fitting cap to a night of jubilation speaks to Simon's multitudes. The Jonas Brothers coolly gliding through "50 Ways to Leave Your Lover," juxtaposed with the ache of Garth Brooks and Trisha Yearwood's "The Boxer," rubbing up against Dave Matthews getting goofy and kinetic with "You Can Call Me Al," and so on and so forth.

The intoxicating jumble of emotions onstage at "Homeward Bound: A GRAMMY Tribute To Paul Simon" did justice to his songbook's emotional landscape — sometimes smooth, other times turbulent, defined by distance and longing as much as intimacy and fraternity.

Here were eight highlights from the telecast — which will re-air on Wednesday, May 31, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.

Read More: Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"

Woody Harrelson's Lovably Bumbling Speech

After Brad Paisley's rollicking opening with "Kodachrome," the momentum cheekily ground to a halt as Harrelson dove into a rambling, weirdly moving monologue.

"The songs of Paul Simon really are like old friends," the cowboy-hatted "The Hunger Games" star remarked, interpolating one of his song titles and crooning the opening verse.

Harrelson went on to recount a melancholic story from college, where the spiritually unmoored future star clung to Simon songs like a liferaft. We can all relate, Woody.

Garth Brooks & Trisha Yearwood's Pitch-Perfect "The Boxer"

Brooks has always been one of the most humble megastars in the business, praising his wife Trisha Yearwood — and his forebears — a country mile more than his own. (Speaking to GRAMMY.com, he described being "married to somebody 10 times more talented than you.")

The crack ensemble could have made "The Boxer" into a spectacle and gotten away with it, but Brooks wisely demurred.

Instead, the pair stripped down the proceedings to guitar and two voices; Brooks provided an aching counterpoint to Yearwood.

Billy Porter's Heart-Rending "Loves Me Like A Rock"

The "Pose" star blew the roof off of Joni Mitchell's MusiCares Person Of The Year gala in 2022 with "Both Sides Now," so it was clear he would bring napalm for a Simon party. 

Given the gospel-ish intro, one would think he was about to destroy the universe with "Bridge Over Troubled Water." 

Instead, he picked a song of tremendous personal significance, "Loves Me Like a Rock," and dedicated it to his mother. The universe: destroyed anyway.

Stevie Wonder & Ledisi's "Bridge Over Troubled Water"

The question remained: who would get dibs on the still-astonishing "Bridge Over Troubled Water"? A song of that magnitude is not to be treated lightly.

So the producers gave it to generational genius Wonder, who'd bridged numberless troubled waters with socially conscious masterpieces like Songs in the Key of Life.

But he wouldn't do it alone: R&B great Ledisi brought the vocal pyrotechnics, imbuing "Bridge Over Troubled Water" with the grandiosity it needed to take off.

Jimmy Cliff & Shaggy Brought Jamaican Vibes With "Mother & Child Reunion"

Simon embraced the sounds of South Africa with his 1986 blockbuster Graceland, yet his island connection is criminally underdiscussed; since the '60s, Jamaican artists have enthusiastically covered his songs.

For instance, it's impossible to imagine a "Mother and Child Reunion" not recorded in Kingston, pulsing with the energy of Simon's surroundings.

Enter genre luminaries Jimmy Cliff and Shaggy, who flipped the tribute into a bona fide reggae party.

Take 6 Dug Deep With "Homeless"

Leave it to the Recording Academy to avoid superficiality in these events: Mitchell's aforementioned MusiCares tribute included beyond-deep cuts like "Urge for Going" and "If." 

Most remember "Homeless" as Ladysmith Black Mambazo unaccompanied vocal cooldown after bangers like "You Can Call Me Al"; eight-time GRAMMY-winning vocal group Take 6 did a radiant, affectionate rendition.

When Simon took the stage at the end of the night, he was visibly blown away. Touchingly, he shouted out his late guitarist, Joseph Shabalala, who founded Ladysmith Black Mambazo.

"Imagine a guy born in Ladysmith, South Africa, [who] writes a song in Zulu and it's sung here by an American group, singing his words in his language," Simon remarked. "It would have brought tears to his eyes."

Angélique Kidjo & Dave Matthews' Love Letter To Africa

Graceland was Simon's commercial zenith, so it was only appropriate that it be the energetic apogee of this tribute show.

Doubly so, that this section be helmed by two African artists: Angélique Kidjo, hailing from Benin, and Dave Matthews, born in Johannesburg.

"Under African Skies," which Simon originally sang with Linda Ronstadt is a natural choice — not only simply as a regional ode, but due to its still-evocative melody and poeticism.

"This is the story of how we begin to remember/ This is the powerful pulsing of love in the vein" drew new power from Kidjo's lungs. 

Afterward, Matthews — a quintessential ham — threw his whole body into Simon's wonderful, strange hit, "You Can Call Me Al."

The Master Himself Took The Stage

With his still-gleaming tenor and still-undersung acoustic guitar mastery, Simon brought the night home with "Graceland," a Rhiannon Giddens-assisted "American Tune" and "The Sound of Silence."

At 81, Simon remains a magnetic performer; even though this is something of a stock sequence for when he plays brief one-off sets, it's simply a pleasure to watch the master work.

Then, the sobering conclusion: "Hello darkness, my old friend," Simon sang, stark and weary. With the world's usual litany of darknesses raging outside, he remains the best shepherd through nightmares we've got.

And as the audience beheld Simon, they seemed to silently say: Talk with us again.

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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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