In honor of AAPI Heritage Month, the Recording Academy’s Los Angeles Chapter and SIPA (Search to Involve Pilipino Americans) hosted "Let Our Story Be Heard: A Conversation with AAPI Creators and Professionals." Part one of the two-part program was a panel discussion moderated by Apple Music Radio Technical Producer, Manny Streetz, featuring Vice President of A&R at Def Jam Recordings, Marisa Pizarro, Frankie Yaptinchay, who is a Senior Voice Creative for Amazon Music, and artist/songwriter/producer Alex Ritchie. The group discussed how Asian stereotypes in America shaped their upbringings, whether imposter syndrome affects the ability to embrace heritage, combatting unsafe situations in the workplace and beyond, and the importance of community involvement and pride.

Part two was a fireside chat with Ritchie and drag queen, recording artist, comedian, and "RuPaul’s Drag Race" star Manila Luzon.

When asked about embracing her Pilipino-American heritage in her career, Luzon replied, "Just doing what you do will get its own attention if you put enough passion and time and energy and money behind it. You know what I mean? So yes, I’m proud to be able to do what I do but ultimately, when I decided to be a drag queen, I always knew that I wanted my Asian heritage to play a part in in."

"My mother is Pilipino, she's from Manila, and so when I named myself, I did it in honor of my mother and my family and their birthplace and their hometown. And so that is one of the big things that has allowed me to embrace my Asian-American heritage and use that to separate myself from just any other drag queen."

Watch both parts of "Let Our Story Be Heard" above to learn more about the Asian-American experience in today’s entertainment industry and how you can be more inclusive.

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With spring just around the corner, it’s time to welcome AAPI Month in full blossom. From rising musical artists to inspiring community leaders, it’s essential to recognize AAPI members of the artistic world and their achievements.

While AAPI Month is a U.S. holiday, the Recording Academy takes a global approach in celebrating artists and creators from across the Asian and Asian American diaspora. This aligns with the Recording Academy's growing mission to expand its reach on a global scale and celebrate international creators outside of the U.S.  

Musicians of Asian American, Native Hawaiian and Pacific Islander heritage have not only helped establish the music industry, but have transformed it. From Diljit Dosanjh being the first artist to play a Coachella set entirely in Punjabi to Laufey winning a GRAMMY for her jazz-inspired pop, AAPI artists continue to influence music by both honoring tradition and reshaping modern standards.

It’s thrilling to see AAPI musicians continue to take centerstage — from Atarashi Gakko! to Tiger JK’s memorable sets at Coachella, to surprise appearances from Olivia Rodrigo, Dominic Fike, and Towa Bird. As festival season gets underway, examples of the AAPI starpower from every corner of the world abound.

As one of many ways to celebrate AAPI Month, listen to the GRAMMY.com playlist below — as a reminder to give AAPI musicians not just their May flowers, but their flowers all year-round!

Hundreds of music professionals gathered Jan. 27 for the Los Angeles Chapter of the Recording Academy’s annual nominee celebration, held at NeueHouse Hollywood. Hailed by Academy CEO Harvey Mason Jr. as the "unofficial kickoff to GRAMMY Week," the event featured performances by three of this year’s nominees from the chapter: Gaby Moreno, Robert Glasper, and Jordin Sparks. 

Chapter Board Vice President Lynne Earls said that the unofficial theme for both the board and the chapter this year is "belonging," and those vibes certainly trickled down to the nominee celebration. People from every part of the recording industry came together to enjoy brunch, have some drinks, and mix and mingle. 

Groups of attendees called out friendly greetings to each other, catching up over mimosas and waffles, and attendees exchanged hugs while clad in everything from cocktail dresses to platform combat boots. Not unlike at the actual GRAMMY Awards, fashion was truly on parade at the nominee celebration. Attendees rocked fully bedazzled suits, bespoke leather jackets, and plush safari print hoodies; at least one crystal-covered clutch resembling an old school cassette was spotted.

While many attendees at the event undoubtedly hope to take home a golden gramophone on Feb. 4, Mason took pains to remind the room that being nominated for the award is just as life-changing. "Being a GRAMMY nominee… that goes with you for your entire life and your entire career. On your bio, it's always going to say ‘GRAMMY nominee,’ and hopefully it's going to say ‘GRAMMY winner.’"

In his remarks, Recording Academy President Panos Panay agreed with Mason but made a special effort to remind attendees that being a member of the GRAMMY family is more than just attending an awards show once a year. 

"We're known for the GRAMMYs, which are the big graduation ceremony … but what's important to know is that the Academy works 365 days a year," he said. "We're here to advocate for the creative class." He encouraged non-member attendees to join the Academy, saying "We really would love to have you become a member of this incredible group of professionals." 

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Qiana Conley Akinro, the Senior Executive Director of the Recording Academy Los Angeles Chapter, also encouraged attendees to stop into the D.R.E.A.M. Lounge on the second floor of NeueHouse, which had been set up in partnership with Pacific Bridge Arts, Paper Magazine, and Netflix and featured a gifting suite full of Hallmark Mahogany items and a bloom bar by Postal Petals. Several panels were held in the space, which was given the D.R.E.A.M. acronym from the phrase "Diversity Reimagined Engaging All Musicians." Earls talked about her work with Women In The Mix and Academy Proud, while Academy Governor Kev Nish hosted a panel talking about the Gold Music Alliance, which aims to boost the impact of Pan-Asian people within both the GRAMMY organization and the recording industry.

After the panels, various nominees stopped by the D.R.E.A.M. video studio to give testimonials about how they found out they’d been honored. Best Jazz Arrangement, Instrument and Vocals nominee Maria Mendes relayed the importance of being the first Portuguese person nominated for a GRAMMY in the category, as well as her pride in repping her country’s music. Mendes even shouted out the jewelry and fashion designers behind her upcoming GRAMMY ceremony look, both of which are from Mendes’ home country. 

Colombian singer and Best Latin Pop Album nominee AleMor said she’s proud to represent her home country and independent artists. "I'm honored that I get to be here, and I am grateful that I'm alive at the same time as all of the people that are alive now," she told onlookers. "I think music is like invisible medicine, you know, like you listen to a song and it might make you feel good and you have no idea why. We are little magicians in the world, We get to change people's moods, and we get to change the way people see life."

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The Los Angeles Chapter Nominee Celebration was made possible by generous support from Premier Sponsor Netflix, Co-Presenting Sponsors Pacific Bridges Arts, Paper Magazine, Official Sponsors SESAC Latin and NeueHouse Hollywood, and Gifting Sponsors Hallmark Mahogany, HYPNO, Fox Dog Productions, the Canadian Consulate, and VYDIA.

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."

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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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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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