The Recording Academy's Diversity, Equity and Inclusion team, in collaboration with the GRAMMY Museum, has announced the recipients of the third annual Quinn Coleman Memorial Scholarship.

This year, the scholarship honors five college students: Nadia Adams (University of Wisconsin-Milwaukee), Harrison Candelario (University of Rochester), Christo Hernandez (University of Southern California), Elyse Smith (Harvard University), and Hope Williams (Oakwood University).

Established in 2021, the Quinn Coleman Memorial Scholarship honors the legacy of Quinn Coleman, a cherished music executive and DJ who passed away in 2020 at the age of 31. Created by his family in partnership with the GRAMMY Museum, this scholarship aims to break down barriers in the music industry by offering professional development opportunities that prepare students for full-time careers, through financial aid, mentorship, and practical professional experiences.

Each selected recipient will be awarded two $1,000 scholarships for tuition, a $500 stipend for interview preparation, two $250 stipends for books and equipment, and financial and emotional wellness seminars. Furthermore, students will be awarded a spring internship at the Recording Academy or Latin Recording Academy.

For updates on the Recording Academy's DEI initiatives, click here. For more information about the GRAMMY Museum, visit grammymuseum.org.

In a continuing commitment to nurture future Black music industry leaders, Amazon Music and the Recording Academy’s Black Music Collective (BMC) have announced the return of the Your Future Is Now scholarship program for its fourth consecutive year. 

The program, which launched in 2021, provides students from Historically Black Colleges and Universities (HBCUs) with both financial support and direct, hands-on experience in the music industry.

This year, five HBCU students will be awarded a $10,000 scholarship each and have the chance to engage in a career-defining rotation with department leads at Amazon Music and the Recording Academy. Alongside the individual scholarships, the program will grant two HBCUs $10,000 each for music program equipment, further investing in institutional resources for budding artists and music professionals.

To celebrate the scholarship's renewal, "Amazon Music Live" featured an exclusive episode headlined by GRAMMY-nominated hip-hop heavyweight, Big Sean, sponsored by the all-new 2025 Nissan Kicks. This special live streamed performance included Big Sean performing alongside North Carolina Agricultural and Technical State University's celebrated Blue and Gold Marching Machine and The Fellowship Gospel Choir, bringing a powerful, HBCU-rooted energy to the show.

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Following the concert, North Carolina A&T was announced as the first HBCU recipient of the $10,000 music equipment grant, with Amazon Music executives Phylicia Fant and Jameka Pankey, alongside Recording Academy representatives, presenting the donation to the university’s drumline coordinator, Harvey Thompson.

"Every Homecoming season, HBCU students and alumni come together not only to celebrate our community but also to strengthen the bonds that connect us," said Phylicia Fant, Head of Music Industry and Culture Collaborations at Amazon Music. "It’s that kind of meaningful impact on students’ lives that we set out to foster with this program."

Harvey Mason Jr., CEO of the Recording Academy, echoed this sentiment, expressing pride in the scholarship’s impact. "The program’s effect on our student cohorts has been nothing short of remarkable, and I couldn’t be prouder," he said. "It’s crucial that we continue investing in the next generation of Black music creators and professionals, equipping them to lead and shape the future of the music industry."

The Your Future Is Now scholarship application is now open. Eligible students must be U.S. citizens or permanent residents currently enrolled at an HBCU and pursuing a degree in music, music business, business administration, marketing, communications, or a related field. Requirements include a transcript, personal statement, a creative video showcasing their vision, and one recommendation. The application deadline is December 13, and recipients will be announced in early January.

To apply for the scholarship, visit here.

This scholarship announcement is part of Amazon Music’s wider Homecoming celebrations. Amazon Music recently hosted carnival-style pop-up events at HBCUs across the country, including North Carolina A&T, Florida A&M, Howard University, and Jackson State University, creating memorable experiences for students and alumni while connecting them with the music and traditions that define HBCU culture. Students and alumni were able to experience music from past AML performers, get pictures in intricate photo moments, and have a chance to win exclusive one-of-a-kind merch. Amazon Music customers everywhere can celebrate with "Homecoming SZN," a new playlist of music created specifically to soundtrack HBCU Homecoming Weekends.

Jay Blakesberg’s solo exhibit RetroBlakesberg: The Music Never Stopped at the GRAMMY Museum  takes visitors on a captivating journey through his extraordinary 30-year career in music photography, spanning 1978 to 2008.

On view from Nov. 8 to June 15, 2025, this exhibit showcases Blakesberg's extensive collection of over 150 film photographs that highlight pivotal moments in music history. From the raw energy of live performances to intimate artist portraits, the exhibit features iconic musicians such as the Grateful Dead, Neil Young, Snoop Dogg, Radiohead, and more.

Growing up in New Jersey, Blakesberg developed a profound passion for the Grateful Dead and music photography, igniting a lifelong journey of capturing the essence of the artists who create the music we all love — from rock and grunge to hip-hop, psychedelic, folk, blues, and beyond. RetroBlakesberg invites visitors to step into a visual narrative that chronicles the sounds, scenes and stories that have shaped popular music. 

Exhibit highlights include:

• More than 120 photos of musicians, shot on film, including Dr. Dre, Björk, Nirvana, Tom Waits, and Tracy Chapman.

• A special series of 20 "blue" portraits, featuring artists like Joni Mitchell, Green Day, Ice-T, and The Flaming Lips, created using tungsten-balanced film in daylight for a unique blue hue.

• Captivating images documenting the Grateful Dead and the vibrant, psychedelic culture surrounding them, a nod to Blakesberg’s lifelong inspiration since he was a teen.

Read on to hear from Blakesberg himself on how he captured these iconic moments, the inspiration behind his creative choices, and what it means to showcase his life’s work at the GRAMMY Museum.

Don’t miss your chance to experience this unique collection that has captivated audiences at the Morris Museum and the Contemporary Jewish Museum. Explore grammymuseum.org and buy tickets to witness music history come alive through Blakesberg’s lens.

This interview has been edited for clarity and length. 

Your exhibit, RetroBlakesberg: The Music Never Stopped, spans three decades of music photography. What do you feel has changed the most about the live music scene from 1978 to 2008, and how did that influence your work behind the camera?

The live concert industry has changed radically since I first started shooting. In the beginning, I was just a kid with a camera walking into a concert without a press pass. This was before corporate rock ‘n’ roll began restricting photographers, so back then, anyone could bring a camera to a show. By the mid to late '80s, however, when I started shooting professionally, credentials were required to bring a camera to larger venues. Thankfully, there were still small venues where up-and-coming bands like Jane’s Addiction, Soundgarden, and the Butthole Surfers were accessible without special credentials.

As the industry evolved, so did photography. Cameras improved, film quality advanced, lenses became sharper, and the lighting at concerts became more sophisticated. These changes allowed me to capture more dynamic images between 1978 and 2008.

When I first started, I focused solely on live concert photography. However, I quickly realized that to get my work featured on magazine covers, in editorial stories, or even on album covers, I’d need to take portrait photos as well. By the late '80s, I started doing portrait work, which was a significant shift — from relying on stage lighting and venue access to working one-on-one with iconic artists.

Tracy Chapman | Jay Blakesberg

The exhibit features 150 film photographs. What made you continue shooting on film for so long, and how do you think it shaped the look and feel of your work?

In 2008, I fully transitioned to digital photography. During the pandemic, my daughter, Ricki, came up with the idea to start a new Instagram page called "RetroBlakesberg," dedicated exclusively to my film photographs. There’s only a brief overlap in my work when I was shooting both early digital and film, so this page highlights a specific part of my career. Even though I had established a digital studio early on, we continued shooting on film for a while, delivering images digitally by first scanning prints and eventually moving on to scanning negatives. It was a time of transition between film and digital.

Today, in a predominantly digital photography world, there’s a noticeable resurgence of film photography, especially among younger photographers like Ricki, who almost exclusively shoots on film. Ricki not only curated the RetroBlakesberg Instagram but also developed the concept of showcasing only my film work. This idea evolved into a coffee table book, RetroBlakesberg, and then into a museum exhibit by the same name.

The first RetroBlakesberg exhibit was held at the Morris Museum, a Smithsonian affiliate in New Jersey, and then moved to the Contemporary Jewish Museum in San Francisco, where it remained for 11 months. Now, we’re thrilled to bring the exhibit to the GRAMMY Museum in Los Angeles.

One highlight of the exhibit is the "blue" portraits series, where you used the "wrong film" for the "wrong light." Can you tell us more about that creative decision and the process behind those images?

After I began doing portrait work in the late '80s and early '90s, I realized that to capture the attention of art directors and photo editors, I had to be as original as possible. I started experimenting in the darkroom by toning black-and-white prints with blue hues. But soon, I discovered an even more intriguing technique: shooting with tungsten-balanced film in daylight settings.

Tungsten film is designed to be used under incandescent stage lights, which are heavy on warm tones. When shot in daylight, however, this film takes on a blue cast, with the intensity depending on the amount of shade or under artificial strobe lighting with the use of CTB Gels. In darker, more shaded areas, the blue would be deep and intense, while in open shade, the color would be lighter and more subtle. Each shot was a bit of a mystery — I could never predict exactly how the film would turn out until I got the film back from the lab.

Joni Mitchell | Jay Blakesberg

You've photographed such a wide range of artists, from Snoop Dogg and E-40 to Björk and Neil Young. How do you adapt your approach when shooting such diverse musical personalities?

When doing portrait work with artists, many of my creative ideas revolve around location and lighting. Back in the days of film, creativity also meant choosing from different types of film and emulsions, lenses, and cameras. For any given portrait, I might shoot with a medium-format camera, a 35mm camera, or even a toy camera. I could select from color film, black-and-white film, fast film, slow film, or grainy, textured film — each an option in the toolbox. 

Combined with my understanding of these artists and my knowledge of photographic tools, I was able to create unique concepts for each session. Every shoot required careful prep including location scouting, and lighting choices to decide how best to capture the moment.

Growing up in New Jersey, you had a deep connection to the Grateful Dead. How did your love for the band shape your photography career, and what role did they play in launching your career behind the lens?

The Grateful Dead experience has provided an enormous amount of inspiration and passion for me. As a teenager, I went deep into the unique spirit of the music and community that emerged out of the Haight Ashbury in the 1960s  — I took that ethos, and with my camera in hand began photographing what was in front of me, which was often the psychedelic swirl of hippies and bands. Taking psychedelics certainly played a part, but more than anything, it was the thrill of capturing a moment and eventually the dream of turning that passion into a career that drew me in.

Photography isn’t without its challenges; there were plenty of tough, uninspiring jobs along the way to pay the bills. But over time, I found my groove and my own style, and it resonated with magazine editors, art directors, record companies, and artists alike. My career began to take off.

That early DIY inspiration I saw with the Dead and the Deadhead community had a profound impact on me. Passion and inspiration go hand-in-hand, and when you’re moved by something — maybe even a dancing Deadhead in front of you — it fuels you to capture that moment and see where it takes you as an artist.

Learn more: A Beginner’s Guide To The Grateful Dead: 5 Ways To Get Into The Legendary Jam Band

What was it about that particular scene that resonated with you? How do you capture the essence of that community in your photography and what continues to fascinate you about capturing it?

Once I truly immersed myself in photographing not only what was happening on stage but also the energy and spirit of the fans and the journey of it all, everything clicked for me. 

When I look back at these photographs of Deadheads from 40 years ago, they hold special meaning — not only as personal memories but as vital documentation of pop culture. These images capture fans entirely in the moment, fully absorbed in the music, having a magical experience free from distraction. There’s no technology, no phones, no one dancing with the intent to share it on social media the next day. They’re simply there, fully present. As Baba Ram Dass said, "be here now."

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Having your work featured at the GRAMMY Museum must be a proud moment in your career. What does this exhibit mean to you personally?

The GRAMMYs have been a part of my life for as long as I can remember. I’ve been watching the awards on TV since my teens, well over 45 years — maybe even longer. My connection to the GRAMMYs is ingrained in my DNA as a lifelong music fan. To have my work displayed at the GRAMMY Museum feels like a dream come true, even one I hadn’t realized I’d been dreaming of all these years. I’m incredibly honored to be working with the museum and the dedicated staff who are putting so much effort into bringing this exhibit to life. This is a major milestone in my career, and having the chance to work on it with my daughter, Ricki, makes it even more meaningful.

How did your transition from film to digital photography in 2008 change the way you capture and tell stories through your images?

Switching fully to digital was definitely a learning curve. With film, we had various camera and film formats, as well as different film types, to create unique looks and styles. But with digital, we were all working with essentially the same cameras, lenses, and sensors. Over time, it was the software that made the difference, allowing us to develop a distinctive look, feel, and style.

As an older photographer making the switch in my mid-forties, adapting to this new workflow was challenging. Younger photographers who grew up with cell phones seemed to adapt more easily to digital processes compared to those of us who had long careers working in an analog world. One of my early hires was a talented 19-year-old with great Photoshop skills, and he helped me refine a digital look that still captured some of the feel of film photography. At first, Photoshop was essential for creating a unique style, but with the advent of Adobe Lightroom, many of these tools became more accessible, making it easier for anyone to experiment and develop a distinct digital aesthetic without needing advanced Photoshop skills.

What advice would you give to young photographers who want to capture the spirit of live music in today’s digital world?

When I advise young photographers, I tell them to strive for originality. If you’re in the photo pit shooting a band and see 30 photographers on the left side of the stage for the "best" angle, go to the right and capture something different. There’s a lot of sameness out there, so finding ways to be creative, unique, and original is essential.

Your images have chronicled some of the most iconic moments in music history. Looking back, are there any specific artists or performances that hold a special place in your heart?

It’s hard to pinpoint specific shows or moments that I’ve documented because, for me, it’s about the entire body of work — capturing this unique pop culture phenomenon of rock ‘n’ roll over a 45-year period. Beyond the Grateful Dead, I’ve had the privilege of working with artists like Neil Young and Carlos Santana repeatedly for over 30 years. Michael Franti, whom I first photographed in the late '80s, who wrote the introduction to my RetroBlakesberg book and Wayne Coyne from the Flaming Lips who wrote the foreword are both examples of artists I have been shooting for over 35 years! Being able to follow and document these artists throughout their careers has been a uniquely meaningful aspect of my work.

It’s not just about individual events or shows — though there have been countless magical moments. What defines my journey is the cumulative story these photographs tell, capturing the evolution of pop culture and rock ‘n’ roll history, creating engaging portraits of legendary artists who have written the soundtrack to our lives. This whole body of work is what truly defines me as a photographer.

Finally, what do you hope visitors take away from RetroBlakesberg: The Music Never Stopped?

What I hope viewers take away from RetroBlakesberg is multifaceted. First and foremost, I want people to look at these photographs and be transported back to significant moments in their lives — just like hearing a song on the radio that reminds you of your childhood, your teenage years, or even when you first met your spouse, or significant other.  We have all had special moments that wrap around the music experience. These images should evoke feelings of nostalgia, joy and a connection to the songs, the Muse, that is part of our hopefully expansive lives.

I also want viewers to recognize that I’m a photographer who has spent countless hours in the trenches, dedicated to documenting history. For me, this work has never just been about getting paid; it’s about creating an archive and preserving stories that are incredibly important. Many of the photographs in this exhibition were taken on my own initiative, driven by a desire to document moments that I felt were significant, rather than for an assignment or financial gain.

Additionally, I want people to see this collection through my daughter Ricki’s eyes. She helped curate the exhibition and was present for much of the shooting as a child. Now, as a 29-year-old woman, the images resonate with her and her generation in ways that differ from my own experiences and or people that are around my age. I love that span of connection she brings to this project; it adds depth and richness to the narrative we’re presenting.

From Oct. 21 to 23, songwriters, composers, producers, engineers, and music industry professionals gathered at the NYU Clive Davis Institute of Recorded Music in Brooklyn, New York, to collaborate, network and support each other in navigating the ever-complex business-side of the music industry.

Presented in partnership with the Recording Academy's Songwriters & Composers Wing, the first two days were a highly collaborative songwriting intensive, where participants used the school's state-of-the-art studios to create songs for TV or film. Day three was all about empowering music makers, aptly titled, "Beyond the Studio: Navigating the Music Industry as Creators," and offered a plethora of useful advice across two insightful panels: "Crafting Hits: Songwriting in Today's Music Industry" and "Monetizing Your Music: Unlocking Opportunities in Media Licensing and Sync."

The first panel was moderated by NYU's own Professor Swagg (a.k.a. GRAMMY-winning producer and songwriter David "Swagg" Harris) and featured Samantha Cox, VP of Creative at BMI; Ian McEvily, artist manager and partner at State of the Art; and Travis McFetridge, president and CEO of Great South Bay Music Group Inc, a boutique music publisher. The second panel was moderated by singer/songwriter Toby Lightman and featured Josh Rabinowitz, professor and music consultant at the Brooklyn Music Experience; Jonathan Finegold, founder of Fine Gold Music; and Sue Jacobs, a music supervisor and founder of SueperVision.

Below, check out six useful takeaways from the intimate, informative event.

Versatility Is A Major Key To Success…

During the "Songwriting in Today's Music Industry" panel, Samantha Cox and Ian McEvily urged the importance of learning different skill sets as a songwriter. Cox pointed out that having a big pop star on a song doesn't guarantee a hit, even less so than in the past — even huge artists have had to diversify their sound and approach to stay relevant. "When I meet a young new songwriter, I always tell them to be open-minded to try a lot of different things," Cox said.

McEvily highlighted this point later in the conversation, when he was asked how he supports the artists he manages through the changing music industry landscape.

"The biggest issue starting out is money. It's really hard to be a songwriter and it hasn't gotten any easier. They used to be able to move out to LA and have a studio in their place, but now LA is expensive… To navigate that, I help them work past their skill set," McEvily explained. "I want to help them be able to be a Swiss Army knife, to be open. If you're just a songwriter and you're really lucky, maybe you'll make it. But [I want to] open you up for more opportunities."

McEvily reflected on how he encouraged his client of 10 years, GRAMMY-winning producer Dan Nigro, to learn production. When they met, Nigro was a songwriter and could produce lo-fi demos in GarageBand. Since then, he's honed his production chops and become Olivia Rodrigo's go-to producer and trusted collaborator, helping her perfect her chart-topping — and multi-GRAMMY-winning — pop-punk sound.

…And So Are The Relationships You Make

After an audience member asked whether an artist should have a manager, Cox stressed the importance of developing long-running personal relationships in the music industry. "Come talk to someone like me and I can link you with a rising songwriter and you can keep working together…And then maybe managers reach out," she emphasized. "Personal relationships are key."

McEvily agreed: "I think over the past five years, the relationship between the artist and the songwriter has become the most important relationship…and I think that makes it better."

For singer/songwriter and disability advocate James Ian, one of the biggest takeaways from the three-day event was the power that comes from gathering together with fellow music makers. While making music has mostly been a solo endeavor for him, he left feeling inspired to do more workshops and networking.

"Everyone was so generous with their time and their talent. We collaborated really, really well," he told GRAMMY.com. "Everyone was really willing to accept other people's ideas, and we used most of what everyone came up with in the songs. I'm really proud of the work, and really grateful to have networked and worked with such tremendous talent."

Read More: 4 Lessons & Resources Every Songwriter & Composer Should Know

You Might Be Missing Out On Money You've Already Earned

In between the two panels, The Mechanical Licensing Collective (MLC) and Sound Royalties — two of the event's sponsors — were highlighted for the work they each do to provide income streams for music creators. And as Jamie Dominguez, National Director of Industry Relations at The MLC, pointed out, the streaming era has resulted in a lot of unclaimed money.

The MLC is a nonprofit that was mandated after the passage of the Music Modernization Act in 2018, which set out important regulations to protect music creators in the streaming era. The MLC — which offers free membership — allows artists and songwriters to locate and receive streaming royalties dating back to 2007. Jamie Dominguez, National Director of Industry Relations at The MLC, encouraged participants to sign up, explaining they have paid out almost $3 billion in streaming royalties since their creation. Additionally, they are funded by the DSPs and don't take a cut of artists' earnings.

Attendees also learned about Sound Royalties, an artist-friendly funding source for creatives. For artists who earn $5,000 or more a year from music royalties, the firm offers advances to help you cover a tour, new studio equipment or whatever else to further your art. Sound Royalties doesn't take ownership of the artists' copyrights or a percentage of their futures, allowing artists to maintain control of their work.

One important thing that the first set of panelists noted, though, is that in order to get royalties, you have to be credited on the song. Thus, it's important to discuss songwriting credits and splits amongst collaborators before going into a work session. "Even if you brought in a song 90 percent done, the [producer's] chord progression change made it a hit, so that's worth something," McEvily said.

There's A World Of Possibility In Music Licensing

Following the in-depth discussion on the world of songwriting and a lively networking lunch, the second panel focused on how to earn money (and ears!) on your music through film, TV and ad placement. The career of moderator Toby Lightman — who has landed over 100 major song placements in film, TV and commercials as an independent singer/songwriter — was a shining example of the many opportunities that lie for musicians in the world of sync.

"When I got a song signed to a movie, it was life-changing, and now it's my artist focus," the "Breathe In" singer said with a smile. Her heartfelt music has been featured on TV shows such as "The Rookie," "Monarch," and "Sesame Street," as well as NFL ads.

For newer or independent artists, it might feel like a pipe dream to imagine your music being featured in a film trailer or a popular TV show. But as Lightman and her panelists suggested, there are ways in — especially since there are plenty of visuals these days that need backing music.

"A lot of the places I'm trying to support independent artists are those background scenes, [like in a] diner. The money can be quite good, but you'll need to have music that you put on and are able to have a conversation with somebody. If it's pulling your ear away, it's going to do the same in the picture," Sue Jacobs asserted. "[I'm looking for music] that someone can put under the dialogue to put into the next scene."

She also recommended that artists and producers have instrumental versions of their tracks ready to go, as they're more adaptable for different scenes. And if you want to see if your music could work in film or TV, put on a montage scene, mute it, and play your music.

"Film is not very forgiving of things that are just staying there and not changing," Jacobs, who has provided music supervision for Little Miss Sunshine, HBO's "Big Little Lies" and several other critically acclaimed films and shows, points out.

She advised that the music needs to be dynamic and have non-specific lyrics that can drive a variety of scenes. For this reason, Jacobs appreciates friendship songs over romantic love songs, as well as happy music that successfully steers away from cheesiness. Finally, she noted that when it comes to sounds and genres, "hybrid always works."

Read More: The Expanding Universe of Music Sync: How It Works, Understanding The Opportunities

Ad Sync Isn't Selling Out

When the "Monetizing Your Music" panelists were asked why they thought more artists are focusing on licensing now, Josh Rabinowitz pointed to Volkswagen's dreamy ad from 2000, featuring Nick Drake's "Pink Moon," as pivotal in changing the perception of syncing your music for commercial purposes. Though the spot came out 26 years after the British indie singer/songwriter's death, it brought a whole new, wider audience to his music and inspired future TV-ads-as-music-videos.

Jonathan Finegold also called out a Michelob beer ad from 1989, which featured guitar virtuoso Eric Clapton as another turning point in sync, along with Apple's iconic iPod commercials. He emphasized the market reach of that kind of placement, exemplified by Apple's ability to break songs and artists, such as Feist's iPod Nano ad (a song selected by Steve Jobs himself) from 2007.

As Rabinowitz offered, "It's music for context. It's not just music that's great, it has to serve in a particular capacity. It has to serve a creative idea, a concept, a brand, a brand's purpose, a product or sell persuasiveness, etc."

He described the best ad songs as anthemic with a positive message — tracks that are dynamic, unexpected and build, and don't sound mainstream. "I did a listening session the other day, and there was an Afrobeats track with a lot of humming and crazy beats. It was really warm and kind of universal in its positivity," Rabinowitz added. "That's exciting for me, and I think that's a great opportunity for people that are experimental and creative."

Landing An Ad Placement Is An Art In Its Own Right

As Finegold pointed out, if you are signed with a label or publishing company — even a small one — it's their job to pitch your tunes to music supervisors. He offered that it's something you can tee up for them by suggesting one of your tracks for a specific show or brand.

That said, there's no need to be obvious with your lyrics. In fact, Finegold warned that making songs with a brand in mind may have the opposite result.

"I would be careful about writing specifically for sync. A music supervisor can spot that a mile away," Finegold said. "If you write a song all about basketball and slam dunks, it doesn't mean that the NBA wants to use it. For the most part, they want to use a song about teamwork or coming together or winning or something like that."

Instead, you can create remixes of your tracks for specific scenarios, or craft unique reimaginings of well-known songs, as Finegold noted that the ad world has been big on unique covers in the past few years.

From honing songwriting skills to learning about the advantages of royalties and sync, the New York Chapter's Songwriting Camp offered an array of inspiration for those who attended. While being a creative in today's economy can be daunting, the event was a vital reminder of the power of community and collaboration — and how much further we can go when we share ideas, insights and resources.

The New York Chapter would like to offer thanks to the sponsors that made the event possible: The MLC, Sound Royalties, NYU Clive Davis Institute of Recorded Music, and Amazon Music, along with their Recording Academy event partner, the Songwriters & Composers Wing. Learn more about the S&C Wing on Instagram.

As November arrives, the GRAMMY Museum in Los Angeles opens its doors to an exciting array of live events and exhibits celebrating music’s most influential artists.

This month’s programming spans a mix of genres and features an impressive lineup, including intimate performances and conversations with artists like Soul Asylum, Grace VanderWaal, and rising talent Grace Bowers. Visitors can also explore a tribute to the legendary Luther Vandross, alongside new exhibits from renowned rock photographer Jay Blakesberg.

Whether you’re drawn to rock, pop, or the timeless elegance of soul, Nov.’s events offer fans a window into the creative journeys of music’s celebrated voices. Join the GRAMMY Museum in Downtown L.A. to experience unforgettable moments that connect fans directly with the artistry that shapes today’s music scene.

On The Red Carpet

Ongoing from Nov. 4, 2024

L.A.

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"Who are you wearing tonight?" It's the question GRAMMY nominees can count on as they step onto Music’s Biggest Night — and On The Red Carpet delivers an exclusive look at those jaw-dropping fashion moments. 

This display showcases unforgettable ensembles worn by icons like Shania Twain and Lizzo at the GRAMMYs and Latin GRAMMYs, where the red carpet has become a high-stakes runway for bold, original style statements. Each outfit on display captures the essence of this electrifying event, where designers pull out all the stops to create head-turning looks as unforgettable as the night’s epic performances and awards.

Sensory Friendly Saturdays

Nov. 9, 2024 from 9 to 11 a.m.

L.A.

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Experience Sensory Friendly Saturday on the second Saturday of every month. Families can enjoy our space with less crowding, quieter sound levels and lower lighting on the second Saturday of every month from 9 a.m. to 11 a.m. Guests can purchase tickets when they arrive at the Museum or they can purchase online for the applicable Saturday.

RetroBlakesberg: The Music Never Stopped

Nov. 8, 2024 until June 15, 2025

L.A.

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The GRAMMY Museum is proud to launch an exciting new exhibit, RetroBlakesberg: The Music Never Stopped, showcasing iconic rock photographer Jay Blakesberg’s captivating film work. The exhibit spans three decades of music history, featuring 150 vivid photographs, from rare portraits of artists like Björk and Snoop Dogg to immersive captures of the Grateful Dead’s psychedelic scene. 

Blakesberg’s "blue" portraits, an innovative collection of images using unconventional film techniques, spotlight musicians like Green Day and Joni Mitchell. Curated by Blakesberg and his daughter Ricki, this exhibit offers an unparalleled visual journey through the artists and movements that have defined music culture.

Family Free Day Celebrating Latin GRAMMYs’ 25th Sponsored by Intocable

Nov. 9, 2024 from 10a.m. to 6 p.m.

L.A.

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Admission to the GRAMMY Museum will be free thanks to the generous support of INTOCABLE, the Latin music pioneers and Latin GRAMMY and GRAMMY-winning band. 

The day will celebrate Latin music and culture through educational and community-based events. In addition to free admission to the museum all day, the first 300 attendees on-site will receive a free taco lunch on the Ray Charles Terrace and parking vouchers (for the L.A. Live East Garage only). The celebration will open with the Mariachi Tierra Mia band, followed by a panel on diversity in Latin music at the Clive Davis Theater. After lunch, Leslie Ferreira from 3rd Street Dance Studio will teach a salsa lesson on the Ray Charles Terrace, and the day will conclude with Lucky Diaz and the Family Jam Band.  

While visiting the museum, check out the Intocable artifacts on display for our current exhibit, LATIN GRAMMYs 25 – A Legacy Of Musical Excellence. This event will kick off the 2024 Latin GRAMMYs airing later that week on Thursday, Nov. 14. 

Read more: 2024 Latin GRAMMYs: See The Full Nominations List

The Drop: Soul Asylum

Nov. 12, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Dave Pirner and Ryan Smith of Soul Asylum to the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating the release of their album, Slowly But Shirley. Matt Pinfield will moderate the discussion about their creative process, with a performance to follow.

Soul Asylum’s early indie success paved the way for their major-label debut in 1988 with Hang Time and its follow-up, And the Horse They Rode In On (1990). Their breakthrough came in 1992 via the triple-platinum Grave Dancers Union, featuring the GRAMMY-winning hit "Runaway Train" and "Black Gold." The group released Let Your Dim Light Shine in 1995, which included the hit "Misery." 

After 1998's Candy from a Stranger, the band returned with The Silver Lining (2006), Delayed Reaction (2012), and Change of Fortune (2016). Their 2020 album Hurry Up and Wait marked their highest Billboard Chart position since 1995, coinciding with Pirner’s release of Loud Fast Words, a book of his lyrics and reflections on Soul Asylum's journey.

Spotlight: Grace Bowers

Nov. 13, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Grace Bowers to the Museum’s Clive Davis Theater for an evening celebrating her debut album, Wine on Venus. The event includes a discussion about her creative process and rising career, with a performance to follow.

Grace Bowers is an 18-year-old, award-winning guitarist and songwriter rapidly gaining fame with her debut album produced by John Osborne (Brothers Osborne). The album received praise from Forbes as "an infectious, joyous party," and Rolling Stone named Bowers "Nashville’s new guitar hero." 

Inspired by blues legends and soulful funk, Bowers began in dive bars and rose to viral fame during the pandemic. She has since debuted on "Jimmy Kimmel Live!" and toured with acts like Gary Clark Jr. and the Allman Betts Family Revival. This fall, she will perform with The Roots for Why Hunger and join Bob Weir in Mexico for Dead Ahead Fest, with additional festival appearances at Bourbon & Beyond and Bottlerock.

2024 Chart Toppers: Today’s Hitmaking Songwriters/Producers

Nov. 18, 2024 from 6:30 p.m. to 8 p.m.

L.A.

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In association with the Songwriters Hall of Fame, the GRAMMY Museum is thrilled to present 2024 Chart Toppers: Today’s Hitmaking Songwriters/Producers, the latest in a continuing series of special Songwriters Hall of Fame events celebrating acclaimed hitmakers behind some of the most impacting songs on the charts. 

Held in the museum’s Clive Davis Theater, the program will feature an illustrious panel discussion with GRAMMY-nominated and award-winning songwriters, who will share insight into their craft and career, as well as behind-the-scenes stories. Among the panelists are Dan Nigro (Beyoncé, Miley Cyrus, Rihanna, Olivia Rodrigo, Sky Ferreira) and Theron Thomas (Beyonce, Miley Cyrus, Lil Durk feat. J. Cole, Lizzo, Nicki Minaj, Saweetie and Doja Cat). 

Proceeds from this event go to the educational initiatives of the Songwriters Hall of Fame and GRAMMY Museum.

Spotlight: Grace VanderWaal

Nov. 19, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Grace VanderWaal to the Museum’s Clive Davis Theater for an evening discussing her latest music, rising career, and more, with a performance to follow.

Grace VanderWaal entered a new era with a distinct voice in today’s pop landscape. Her first two song releases arrived just ahead of her role in Francis Ford Coppola’s star-studded film Megalopolis, which premiered on Sept. 27. In the months leading up to the premiere, she dedicated time to her upcoming album, influenced by indie favorites like Lorde’s Melodrama, Girl in Red, and Suki Waterhouse. Originally rising to fame at age 12 after winning "America’s Got Talent" as a quirky singer/songwriter, VanderWaal, now 20, has redefined her image, emerging as a mature artist with a unique perspective.

Luther Vandross: Artistry and Elegance

Nov. 20, 2024 until June 15, 2025

L.A.

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The GRAMMY Museum will celebrate the legendary career of Luther Vandross with a new exhibit, Luther Vandross: Artistry and Elegance, opening on Nov. 20, 2024, in partnership with Primary Wave Music and the Luther Vandross Estate. Vandross, an eight-time GRAMMY winner, captivated audiences as a revered songwriter, arranger, producer, performer, and one of the most gifted vocalists in music history.

Luther Vandross: Artistry and Elegance offers an intimate glimpse into Vandross' creative process, showcasing his ornate stage wardrobe, exclusive performance footage from his popular tours, and a never-before-heard recording of him in the studio. The exhibit opens with an exclusive screening of the feature documentary Luther: Never Too Much directed by award-winning director Dawn Porter. 

Read more: GRAMMY Museum To Celebrate Luther Vandross' Legacy With 'Artistry And Elegance' Exhibit