Neil Portnow, Mayor Bill de Blasio and John Poppo in New York

Neil Portnow, Mayor Bill de Blasio and John Poppo cut the ribbon on the Recording Academy's new headquarters in New York
Photo Cindy Ord/Getty Images

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2018 GRAMMY Week: The Recording Academy Hits The Ground In New York

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With Music's Biggest Night returning to the Big Apple for the first time in 15 years, the Academy kicked off GRAMMY Week in NYC style
Tim McPhate
GRAMMYs
Jan 22, 2018 - 9:27 pm

The Recording Academy jolted the electricity in New York City up a few notches today. With Monday, Jan. 22 ushering in GRAMMY Week, the reality of the return of Music's Biggest Night to Madison Square Garden for the first time in 15 years beckons. And if the two official events that bookended the day are any indication, the excitement in the city is palpable.

Watch Spike Lee's Star-Studded 'NY Stories' Film

To start the proceedings, this morning Academy President/CEO Neil Portnow and Chair John Poppo participated in a special ribbon-cutting ceremony with New York City Mayor Bill de Blasio to christen the organization's new local headquarters: an impressive townhouse situated across East 37th Street from the J.P. Morgan Museum.

"This marks the first time the Academy will own our own offices and a real piece of the Big Apple," said Portnow.

During his remarks, de Blasio commented on how New York City will benefit by the powerful force that is GRAMMY Week.

"We're so happy to have the [60th GRAMMY Awards] back where, in our humble opinion, they belong," said de Blasio. "There will be real economic opportunity created by this wonderful week: It's projected to have an impact of [$200 million] on the city's economy, and we know that impact will go well beyond the seven exciting days ahead."

Speaking of impact, in the evening the Recording Academy hosted an official GRAMMY Week welcome reception convening local officials, dignitaries, and the organization's executive staff and elected leadership. The reception was nestled within Hudson Yards, an impressive real estate development that will ultimately become a massive nexus of culture, commerce and cuisine.

Spanning seven full city blocks and more than 18 million square feet, the sprawling project is touted as the largest private real estate development in the history of the United States, and the largest development in New York City since Rockefeller Center.

"[Hudson Yards] is really the new heart of New York," said Jay Cross, president of Related Hudson Yards. "It's where the city is going in the next five or 10 years."

But the focus for this week in New York is the 60th GRAMMY Awards, a milestone telecast for not only the organization but also for Portnow.

Peter Asher at the GRAMMY Week kickoff reception at Hudson Yards
2018 GRAMMY Week Kickoff Event & Welcome Reception

"[This year] is actually interesting for me," said Portnow, a native New Yorker. "It's full circle because my first year as President of the Academy was the year that we were here last [in 2003] and we were in Madison Square Garden. It's not only a homecoming but it's quite emotional. We're thrilled to be here."

"The GRAMMYs coming here, given New York being the cultural capital of the United States, is so important for the city," said Corey Johnson, speaker of the New York City Council.

The GRAMMYs' storied history includes previous telecasts hosted at Radio City Music Hall, Madison Square Garden and the Uris Theatre. As a melting pot of so many popular genres, New York is an appropriate home for Music's Biggest Night, which will honor music excellence in 84 categories.

"This is the music and cultural center of the world," said Poppo. "You can't think about music without thinking about the iconic [New York] venues and how many different kinds of music started here. Salsa started here. Hip-hop — no matter what anybody tells you — started here. You had the punk revolution. You had folk blowing up in Greenwich Village. The days of Studio 54 and disco and Broadway. It just goes on and on."

Fittingly, GRAMMY Week will feature a slate of events that are arguably as diverse as New York's cultural footprint.

The festivities will include the Producers & Engineers Wing's annual celebration honoring Alicia Keys and Swizz Beatz, the GRAMMY Salute to Classical Music celebrating the music of Leonard Bernstein, multiple performances by the GRAMMY Museum's GRAMMY Camp — Jazz Session students, and Clive Davis and the Recording Academy's Pre-GRAMMY Gala, which will honor one of this year's top GRAMMY nominee, Jay-Z.

"The key thing about [GRAMMY Week] this year, because it's in New York and we have a free pass, [is] we've had an opportunity to reinvent [our] events," said Poppo. "And that's what is exciting."

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Odesza

Odesza

Photo: Cindy Ord/Getty Images

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Music Industry Heavyweights Attend 2018 Billboard Power 100

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Industry professionals from across the music business gathered at the annual GRAMMY Week event to share their thoughts on power, the secrets to their success and more
Bryan Reesman
GRAMMYs
Jan 25, 2018 - 10:08 pm

On Jan. 25 Billboard magazine unveiled its Power 100 list, honoring the current players who are blazing new paths and scaling new horizons in the music industry, The annual GRAMMY Week event in celebration of the new list was hosted at Manhattan, New York's chic Nobu 57, drawing music industry magnates and top-selling artists as well as the honorees of Billboard's Visionary, Executive of the Year and Label of the Year awards.

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With the idea of the Power 100 list, the concept of power and what it means to those in the industry takes on different meanings.

For Daniel Glass, founder and president of Glassnote Entertainment (and No. 81 on the list), the P in power stands for passion.

"I think power moves the needle and really furthers the development of music and artist," said Glass. "I think it comes with respect, passion and perseverance."

"Power ought to be a couple of things," noted Neil Portnow, President/CEO of the Recording Academy, who ranked as No. 44 on the list. "In our business, it ought to be good judgment and particularly the ability to judge talent and art and recognize the next generations that are coming through. Power also has to do with creating an environment where an artist's career can flourish and soar. Power is just being fair and open-minded and mentoring and bringing along the next generation of music people and executives."

"I think a lot of people at the party here do lead by example," said Pentatonix member Kirstin Maldonado. "They are very powerful in what they stand for and how they use their power."

Diplo
2018 Billboard Power 100

Mentors have been important for many people on the list, ranging from parents to music teachers to executives to other artists who fostered future talent. They have left indelible impressions on those they've worked with.

When asked about mentoring in today's business world, which has changed measurably over the last decade, Adam Alpert, CEO of Disruptor Records and Selector Songs (No. 76), remarked, "It's hard to bridge that generational gap, but those who are able to are fortunate. What is more prevalent is the younger generation working more together and trying to help each other more. And realizing that it's not so much about competition but there's room for everyone to be successful and there's always room for more great music."

Artists at the event also offered words of advice for younger people who wanted to follow in their footsteps, even being younger themselves. Pentatonix's Scott Hoying recalled how his group said yes to everything, taking on many gigs, creating as much content as possible and meeting whomever they could meet.

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"Saying yes, gaining momentum and creating a network is so important," said Hoying. "A lot of people say no to a lot of things because they're nervous or anxious about it, but stepping outside of your comfort zone is what is going to make you grow."

Harrison Mills, one half of GRAMMY-nominated electronic duo Odesza, feels that authenticity is sometimes unappreciated, or not as important to some people as it should be.

"Copping trends can really hurt you in the long run," he said. "If you're trying to build a career, think about how you want to sound in 10 years — think about yourself and what you want to represent and not a trend."

Odesza Talk New Album, 'A Moment Apart'

On the business side, Glass stressed learning the history of the business. "Learn what the predecessors did to pave the way," he advised. "It's really important to respect the past before you go forward."

The awards presentation was a good place to start, as it highlighted individuals whose careers have flourished and thrived in the long haul, building upon lessons from the past.

Clive Davis introduced Jody Gerson, CEO of Universal Music Publishing Group, who received this year's Visionary Award.

"After three decades of experience, she has built a truly wonderful track record identifying and developing talent," said Davis. "She is the highest-ranking female executive in music and the only female global chairman in music and she's the first woman CEO of a major music publishing company."

Gerson's signings have included the Bee Gees, Prince, Adele, Coldplay, and many others. Upon accepting the award, She told Davis, "I actually learned how to be a publisher by pitching songs to you for all those years." She joked that he turned most of them down initially, but that experience taught her resilience.

Atlantic Chairman/COO Julie Greenwald and Chairman/CEO Craig Kallman accepted the award for Label of the Year, sharing the honor with their superiors, dedicated staff and artists. The company had the biggest album of 2017 with Ed Sheeran's ÷, which sold the equivalent of 2.8 million albums. They had the first Hot 100 No. 1 single in 19 years from a female rapper, Cardi B with "Bodak Yellow." They also scored five of the most streamed songs of last year.

Live Nation Entertainment CEO/Director Michael Rapino topped the Power 100 list this year. Since joining Live Nation in 2005, he quadrupled the company's enterprise value. It is now up to $9 billion, and Billboard estimates that the company accounted for 64 percent of the tickets sold in North America in 2017.

"I think it's a great time in the business," Rapino told the crowd upon accepting the Executive of the Year award. "Sometimes we have a live versus recorded debate and we love both sides of the business, but it's great to see the live side doing well, helping sell some concert tickets and some music. It's equally great to see subscription and record labels booming and growing back. Both sides are incredible. There are 41 new entries on the [Power 100] list, so hopefully we get a whole new generation of young, diverse individuals, both on live and recorded, continuing to make this the best place to work."

After the ceremony, John Amato, president of the Billboard-Hollywood Reporter Media Group expressed his pleasure at seeing the GRAMMYs returning to New York City this year for the milestone 60th GRAMMY Awards for the first time in 15 years and commended Portnow as a "true visionary."

"I really love working with him on this event as well as our GRAMMY contenders issue," Amato said. "I'm so excited for the show."

For Portnow, who was born and raised in New York, and who started his career here, the GRAMMYs return to New York is special and exciting.  

"Everybody's pumped," declared Portnow. "I think the excitement is palpable. There are a lot of statistical reasons why we should be here. Half our members are east of the Mississippi. Half of the business is here. New York being the home of so many iconic and important music styles. The venues and the clubs and the history."

He views this trip back to New York as a chance to experiment and try new things never done before. He noted that while some may be rousing successes and some may not, it will be an exciting learning and growing experience for the GRAMMY Awards.

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(Bryan Reesman is a New York-based freelance writer.)

Host James Corden at the 60th GRAMMY Awards

James Corden

Photo: Kevin Winter/Getty Images

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Jay-Z, "Subway Karaoke," Kesha: James Corden's Top 7 Highlights | 2018 GRAMMYs

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From the hilarious to the poignant and in between, revisit these seven unforgettable highlights from James Corden's second turn as GRAMMY host
Chuck Crisafulli
GRAMMYs
Jan 29, 2018 - 11:18 am

Last year, James Corden began his debut as GRAMMY host with what looked like the most epic of fails: a shocking tumble down the grand, center-stage staircase that left him awkwardly sprawled among some oblivious backup dancers. The seemingly distraught host rose to his feet (one of which had lost a shoe), dismissed the dancers and proclaimed, "This is a disaster."

James Corden Subway Carpool Karaoke | 2018 GRAMMYs

Of course, the 59th GRAMMY Awards telecast turned out to be anything but disastrous, and Corden's introduction was just the first of many moments in which the "Late Late Show" host made his freewheeling, comedic spirit an unforgettable part of Music's Biggest Night. The Emmy winner appeared pantless after Twenty One Pilots' notably pantless acceptance for Best Pop Duo/Group Performance, and showed up in spectacular, concert-ready costume as a "member" of DNCE, among other highlights.

At the milestone 60th GRAMMY Awards show, Corden kept his tux on, but the laughter and energy that he brought to his first turn as host was in great supply, and he again helped turn Music's Biggest Night into an incredible, fun-filled, one-of-a-kind celebration.

Here are seven highlights from Corden's GRAMMY encore:

1. "Carpool Karaoke" With A NYC Spin

This year, Corden added a Big Apple twist by introducing a remote "Subway Carpool Karaoke" sketch. He, Sting and Shaggy boarded a New York City D train and attempted to entertain passengers with renditions of the Police's "Every Breath You Take," Shaggy's "It Wasn't Me," and the duo's new collaboration, "Don't Make Me Wait." The tough crowd did not appreciate the musical interruption, and Corden ended up getting belted in the nose by an angry construction worker.

2. The Host's Parents Arrive Late

Last year, Corden's parents were in the crowd and as he introduced them he noted that their 45th wedding anniversary actually fell on GRAMMY Sunday — only to discover that his father had Heidi Klum sitting on his lap and that his mother was snuggling with Nick Jonas. This year, his parents were again in attendance and their moment of introduction seemed to be going more smoothly until Corden spotted a telltale theater program. His parents admitted that they'd snuck out to see "Hamilton" rather than watch their son’s entire hosting performance. "Thanks for your support," said an exasperated Corden. "We'll talk about this later."

3. Puppy Love For The Best Comedy Nominees

After Dave Chappelle won for Best Comedy Album, Corden told the audience, "I don't want anyone to be upset tonight, so the good news is nobody goes home empty-handed." He then announced that the nominees who did not win in their category would receive "consolation puppies." The camera cut to baby pugs being handed to Chappelle's fellow nominees — Jerry Seinfeld, Sarah Silverman, and Jim Gaffigan. Corden warned Seinfeld, "Be careful — that's Roxy. She's a biter."

James Corden Presents Comedy Nominees With Puppies

4. Corden Goes Toe To Toe With Hova

Early in the show, Corden attempted to bond with Jay-Z, the recipient of this year's Salute To Industry Icon honors at the Pre-GRAMMY Gala, offering to show him around the streets of New York if Jay-Z needed a guide. "Guys like me and you, we're hood forever," said Corden, who swaggered a bit as he tossed off lines from Jay-Z and Alicia Keys' "Empire State Of Mind." "I got my stash spot on 560 State Street. Gypsy cab. Holla back." As Jay-Z cracked up, Corden added, "You call it the Big Apple. I call it the concrete jungle where dreams are made of. It’s just something that I made up"

5. A "Despacito" Funny

After Luis Fonsi and Daddy Yankee performed "Despacito" — arguably 2017's most ubiquitous song with nearly 5 billion YouTube views to its credit, Corden said, "That is a catchy song. I have not heard that song before. I'm telling you if they can just get that song on the radio they've got a hit on their hands."

60th GRAMMYs: What You Didn't See On TV

6. Creating A Concert Feeling

Corden spoke of the excitement of being in Madison Square Garden and told TV viewers that he'd come up with a unique way for them to "really experience that live concert feeling." As he spoke, eight hands holding cellphones trained on Corden suddenly lurched in front of the camera, completely blocking Corden from view.

7. Kesha's Performance Resonates

Janelle Monáe spoke pointedly on the issues of equality and harassment, encouraging the music industry to become a pivotal part of the Time's Up initiative. She was followed by perhaps the most emotional performance of the evening, as Kesha delivered a searing version of "Praying." Afterward, a visibly moved Corden had to take a deep breath and gather himself before speaking. "Music often resonates more than spoken word ever could," he said. "That was an incredibly powerful and relevant performance that comes in the midst of a movement that commands our attention and support. Thank you, Kesha."

Janelle Monaé's "Time's Up" Speech

(Chuck Crisafulli is an L.A.-based journalist and author whose most recent works include Go To Hell: A Heated History Of The Underworld, Me And A Guy Named Elvis, Elvis: My Best Man, and Running With The Champ: My Forty-Year Friendship With Muhammad Ali.)

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Veronica Leahy performs at GRAMMY In The Schools Live! in New York

Baritone saxophonist Veronica Leahy

Photo: Astrid Stawiarz/Getty Images

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GRAMMY Jazz Band Plays Duke Ellington, Count Basie & More | 2018 GRAMMY Week

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The GRAMMY In The Schools Live! program showcased the formidable chops of this year's GRAMMY Camp — Jazz Session band and celebrated music education in the Big Apple
Tim McPhate
GRAMMYs
Jan 25, 2018 - 10:46 pm

After spending the first few days of GRAMMY Week getting acquainted, rehearsing and plotting their schedule, the members of GRAMMY Camp — Jazz Session finally got to let the music do the talking at the GRAMMY In The Schools Live! concert in New York City on Jan. 25.

What Happened At 2018 GRAMMY In The Schools Live!

Taking place at The New School's John L. Tishman Auditorium, the GRAMMY Museum event proved to not only showcase this year's class of Jazz Session students and the many alumni of the program who were in attendance, but it also spotlighted the year-round initiatives of the Museum, which include a range of programs for youth musicians and music education.

The event also acknowledged the Recording Academy and GRAMMY Museum's 2018 Music Educator Award recipient Melissa Salguero, a music teacher at P.S. 48 in the South Bronx.

"This is one of the most epic moments of my life. My dream was to teach in a city that loved and cherished music," said Salguero. "To be honored in New York City as a New York teacher, this has been one of the most amazing experiences in my life."

But on this January evening, the spotlight shone brightly on the 18 young musicians in the Jazz Session band — comprising five saxophones, five trumpets, four trombones, bass, drums, guitar, and piano.

With direction from conductor Justin DiCioccio, the band performed a taught set list showcasing, in DiCioccio's words, the "different styles and moods of jazz." Out of the gate, the band swung through Neal Hefti's "Whirly Bird" with a brisk fervor, highlighted by the sax chairs trading solos.

Jon Batiste
2018 GRAMMY In The Schools Live!

They segued into "Cabeza De Carne," a Latin clave-based tune that put some pep in the audience's collective step, and Benny Golson's "Along Came Betty," which seemed to bottle the sounds one might hear at 2 a.m. at a late-night NYC jazz club.

"We've had one rehearsal, by the way," quipped DiCioccio in between songs.

Following a take on Randy Brecker's "Sponge," which featured cool riffing and angular walking bass lines courtesy of guitarist Jordan Reifkind and bassist Augustus "Gus" Allen, respectively, the Jazz Session members kicked into high gear.

The ensemble performed a spirited take of Buddy Rich's "West Side Story Suite." The multi-layered composition was chosen in honor of the centennials of composer Leonard Bernstein and famed drummer Rich. Appropriately, the sprawling tune was sparked by brassy punctuations and impressive stick work by drummer Varun Das.

Next, the musicians' showcased depth and range that belied their experience on "Red Hair, No Freckles," a complex piece composed by GRAMMY Museum Executive Education Director David Sears, who offered, "If we play it right, your body should move." Judging by the audience reaction, they indeed got it right. The collective navigated the multiple odd time signatures in the piece with aplomb while interpreting the tune's R&B, funk and progressive pop flavors that ably mixed elements of Earth, Wind & Fire, James Brown and Chicago.

For a special encore, the Jazz Session band was joined by one of their own, alumni Jon Batiste. The gregarious pianist/bandleader for "The Late Show With Stephen Colbert" — who came straight from a show taping to play with the students — sat in for a performance of Duke Ellington's "Kiki" and Count Basie's "Splanky."

In the presence of the senior musician, the band upped their game and matched Batiste's fire, measure by measure. For his part, the smiling Batiste dazzled the ivories, with his playing light as a feather and forceful at the appropriate moments and improvised solos that were ripe with articulate calls and responses, motifs and linear flourishes. Jazz Session pianist Esteban Castro, who stepped aside for the final two songs, smiled for the duration as he witnessed the masterclass.

As for the Jazz Session members, the experience and education they amass during their GRAMMY Week crash course will certainly bode well for their future careers. And the time they are spending together in the Big Apple constitutes a form of networking, which one alumnus described as an integral part of the GRAMMY Camp — Jazz Session experience.

"[I advise them to] keep in touch with each other," said David Grossman, a pianist/bassist who was a Jazz Session band member in the mid-'90s. "They might know this but their fellow bandmates, hopefully, they'll know [each other] for a long, long time."

"These are some of the finest young jazz players in the country and we are giving them a very unique lens of what it means to work in music," said Scott Goldman, Executive Director of the GRAMMY Museum. "The kind of challenges that they will face as a working musician, the kind of discipline that is required by a working musician — this is an experience that I don't think you are going to get in any conservatory setting."

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Swizz Beatz and Alicia Keys at the 2018 P&E Wing GRAMMY Week Celebration

Swizz Beatz and Alicia Keys

Photo: Kevin Mazur/Getty Images

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Alicia Keys, Swizz Beatz Honored At New York's Iconic Rainbow Room

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The Recording Academy's P&E Wing recognized two of the industry's most undeniable forces at its annual GRAMMY Week Celebration
Nate Hertweck
GRAMMYs
Jan 25, 2018 - 9:36 pm

The Recording Academy Producers & Engineers Wing's 11th annual celebration on Jan. 25 took on a New York state of mind this year, following the 60th GRAMMY Awards to the Big Apple and honoring GRAMMY winners Alicia Keys and Kasseem Dean, aka Swizz Beatz.

Inside The 2018 P&E Wing Celebration

Held at the iconic Rainbow Room, perched 65 floors above the landmark Rockefeller Center, the exclusive, invite-only event brought together the community of recording studio professionals in a new way this year. The room was filled with industry titans, such as GRAMMY winners Peter Asher, Ed Cherney, Tony Visconti, and Chick Corea, and current GRAMMY nominees Morgan Heritage and Lisa Loeb — all of whom came out to celebrate their craft and honor Keys and Dean.

Upon arrival, the couple was greeted on the red carpet with the first of several spontaneous group singings of "Happy Birthday," meant for Keys, who coincidentally received this honor on her birthday. And the excitement of the evening was two-fold for the birthday girl in light of being honored side-by-side with her husband.

"The coolest thing, I think, for [The Producers & Engineers Wing] to honor both of us is that we do very different music," said Keys. "There is no limit to the music, and how it can be created and how it touches people, and to celebrate … our different styles, that's what I love the most because music doesn't just happen in one way. Everyone in that room does music differently, and we're all dope for it."

A 15-time GRAMMY winner, Keys exemplifies versatility, making her mark in the music world as a singer/songwriter and producer, as well as an actress, author, activist, and philanthropist. Since the 2001 release of her debut album, Songs In A Minor, Keys has sold more than 30 million albums worldwide.

However, her impact on music and culture reaches far beyond sales tallies. The New York native's message of female empowerment and her authentic songwriting process have made her an inspiration for women and aspiring creatives worldwide.

"There's a ton of things I'm passionate about," said Keys, "and to continue to share our experience and go deeper into how we can collectively create powerful change is definitely a focus for me.

Swizz Beatz has helmed countless big records dating all the way back to 1998 when he produced his first hit, DMX's "Ruff Ryders' Anthem." In his career spanning more than two decades, he's worked in multiple genres with artists such as Jay-Z, Madonna, Kanye West, and Metallica.

"He helped paint the picture for hip-hop as it is today," said GRAMMY-winning producer and current GRAMMY nominee Jimmy Douglass.

His deep influence on modern hip-hop aside, Swizz Beatz went on to graduate from Harvard Business School's Owner/President program and has built a legacy and a body of work that cannot be contained by the recording studio walls. He entered into a joint venture with Clive Davis at age 23. He's since gone on to launch successful ventures into fashion design, fine art, and philanthropy on his way to becoming a renowned cultural ambassador and natural born modern-day Renaissance man.

Now Keys and Dean can add a new award to their collection, joining previous P&E Wing honorees such as Quincy Jones, Neil Young, Rick Rubin, and Jack White.

Alicia Keys & Swizz Beatz Accept 2018 P&E Honors

"This is a major honor, this is a blessing to see so many creative people in one room," Swizz Beatz said as the couple took the stage. "I never would have expected to be on this stage, especially next to this shining bright star. It shows you that hard work doesn't go unnoticed.

"To all the creatives in the building," Keys said, addressing the crowd, "May we all continue to be inspired, may we all continue to be brave, may we all continue to be unafraid of being our brightest best selves. … There is no limit to what we can do and how far we can go."

Dean added, "The sky is not the limit, it's just the view," and the room whipped into a frenzy.

Following the couple's acceptance speech, a special guest was called to the stage to pay tribute to the honorees: GRAMMY-winning jazz-fusion pioneer Chick Corea. 

"Everyone in that room does music differently, and we're all dope for it." — Alicia Keys

"Swizz and Alicia are living works of art, so this is dedicated to them," Corea announced before leading the room in a sing-a-long rendition of "Spain," as requested by Keys herself.

Then the jam ensued. Corea called Keys and Dean back to the stage to play, sans rehearsal. They broke into an impromptu version of "Summertime," with Keys trading soulful vocal runs with Corea's mind-bending piano licks, followed by an improvised jam that featured Swizz on beatbox, Corea weaving the keys through his rhythms, and Keys leading an audience down-home call-and-response.

Neil Portnow with P&E Wing honorees Alicia Keys, Swizz Beats
2018 P&E Wing Celebration

It's safe to say this night was special, not only for the stars of the show but for the community of hard-working producers and engineers the Recording Academy — and the P&E Wing — support and represent.

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