The GRAMMY Museum has added pieces from the 2022 GRAMMYs and 2021 Latin GRAMMYs to its On The Red Carpet exhibit.

This includes red-carpet outfits worn by Jon Batiste, Billie Eilish and FINNEAS, Gloria Estefan, GIVĒON, Mon Laferte, Olivia Rodrigo, Silk Sonic, Gloria Trevi, St. Vincent, Jay Wheeler, and Yotuel and Beatriz Luengo.

The exhibit is currently on display until spring 2023 at the GRAMMY Museum at L.A. Live in Los Angeles.

Below, check out a sneak preview of some of the outfits featured in the On The Red Carpet exhibit and worn originally at the award shows.

*Billie Eilish's red-carpet outfit. Photo: Ali Buck*

*Gloria Estefan's red-carpet outfit. Photo: Becky Sapp*

*Jon Batiste's red-carpet outfit. Photo: Ali Buck*

*Silk Sonic's red-carpet outfit. Photo: Ali Buck*

GRAMMY Museum Grant Program Awards $200,000 For Music Research And Sound Preservation

On a sweltering Saturday evening in the thick of a Southern California heat wave, a crowd of about 100 gathered under the shade of the GRAMMY Museum's Ray Charles Terrace. This year’s GRAMMY Camp marked 20 years of the music industry program, which has been a significant influence on aspiring teen musicians nationwide.

The Open House event on July 20 capped off a week-long camp where attendees focused on one of seven music tracks, including business, audio engineering, electronic music production, music & media, and songwriting.

Campers donned aquamarine GRAMMY Camp t-shirts, while parents, guardians, and other family members filled the seats. Julie Mutnansky, Director of Education at GRAMMY Museum, was one of the first to take the stage. “This has been an insane week, so many things have happened in the last seven days. Special shoutout to the Village [Studios] for hosting GRAMMY Camp this year,” Mutnansky said, highlighting that everything about to be presented during the event was created in just the past week. 

The evening's MCs were GRAMMY campers Cora Reardon from New Jersey and Maya Ray from Los Angeles, both participants in the music business track. They shared their experiences of the jam-packed week, emphasizing the intense music immersion, the lifelong friendships formed, and the support from knowledgeable faculty, including Mike Garcia, who is in his 15th and final year of running the GRAMMY Camp business track.

While the Open House honored parents, mentors, and other supporters, the spotlight was firmly on the teenage GRAMMY campers, who took charge of the event. The business track campers  produced the event, wrote the script, and worked behind the scenes to make sure everything ran smoothly. The production quality, featuring strobe lights and other effects, demonstrated the campers' commitment to excellence, living up to the GRAMMY name. The result was a spectacular show, filled with one awesome musical performance after another — all products of the past seven days, and a testament to the collaborative spirit of GRAMMY Camp. 

The band The Spicy Five kicked off the night with an acoustic rock track that got the crowd going. It quickly became clear that both the GRAMMY campers and many adults in the audience, eat, breathe, and live music. One husband was overheard whispering to his wife about how incredible the guitarists and other band members were too.

Read more: 5 Artists Who Graduated From GRAMMY Camp: Chappell Roan, Maren Morris, Blu DeTiger & More

Guitarist Lauren Hunter from Chicago performed, still buzzing from meeting guest artist panelist and former GRAMMY camper, Blue DeTyger earlier in the week. At the start of the camp, GRAMMY campers also heard from guest panelist Maren Morris, who shared her journey from GRAMMY Camp attendee to GRAMMY winner, offering valuable advice on making the most of the opportunity. 

Another highlight was Brooke Murgitroyd, a singer/songwriter from North Carolina who killed it on stage and also showcased her talent in the community by performing with pop musician Lizzy McAlpine on Santa Monica Pier. 

The event included brief interludes for campers focused on production to present their work from the past week. These campers gave mock pitches, demonstrating their readiness to secure their first industry gigs. 

Pittsburgh’s Aryana Booker-Gamez, part of the songwriting track, delivered two passionate performances, including “Look at Me Now,” which received a standing ovation. Offstage, Booker-Gamez enthusiastically supported her fellow campers, clapping and dancing along with the same fervor she brought to her performances.

It was clear that many campers formed lifelong friendships and potential future collaborations at GRAMMY Camp. Reflecting on the whirlwind week, Murgitroyd posted on social media: “Grammy Camp 2024 was such a dream!! To my 82 new friends, you are all so talented and taught me so much!” 

It's been decades since Maren Morris first attended GRAMMY Camp all the way back in 2005 — nearly 20 years ago. Still, she remembers precisely how she felt then and how much of a "rare opportunity" it was.

She met luminaries like Jimmy Jam and Paul Williams, and the setting made the then-15-year-old feel legitimized and creatively elevated. "I learned how to peer into myself and learn what unique thing I had to bring to the table musically," she tells the Recording Academy.

Since then, Maren Morris has had an entire career: She won a GRAMMY, received 17 GRAMMY nominations, joined the country music supergroup the Highwomen, topped the Billboard country charts, and much more.

Morris just had a full circle moment — Recording Academy style. On Monday, Morris returned to GRAMMY Camp, the GRAMMY Museum's signature music industry camp for U.S. high school students, as a guest artist to celebrate the program's 20th anniversary, which takes place in Los Angeles this week. She joins viral NYC bass phenom Blu DeTiger and captivating New Jersey singer/songwriter Jeremy Zucker. Together, they are guiding students on their paths to a career in the music industry. 

"I think that the main thing I'm imparting is that they don't need to rush their art or building their fan base," Morris says. "With social media and trending sounds and dances every day, it's easy to feel like you're getting lost or not keeping up fast enough with what your peers are doing.

"Just stick to being authentic," she continues, "and people see that, no matter what time they arrive to the party for you."

Another one of Morris' pieces of advice: Don't confuse loyalty with complacency. She explains that she likes to "shake up my production or co-writing comfort by working with new people who bring things out of me I wouldn't normally in a more comfortable creative situation."

In the end, "Find people that listen to you," Morris concludes, "but also push you and your creativity to new areas of yourself." There's no place better to do exactly that than at GRAMMY Camp, where the mentee can one day become the mentor and guide the next generation of artists and music industry professionals.

The 20th annual GRAMMY Camp celebration is running now and concludes with the GRAMMY Camp Finale Student Showcase on Saturday, July 20, at the Ray Charles Terrace at the GRAMMY Museum. 

Applications for GRAMMY Camp 2025 will be available online in September.

Learn more about GRAMMY Camp.

The Recording Academy, the organization behind the annual GRAMMY Awards, has proudly extended membership invitations to more than 3,900 music creators and industry professionals this week to join its 2024 New Member Class. 

The 2024 New Member Class, which exemplifies the Academy's commitment to reflecting today's diverse and dynamic music industry landscape, represents a significant step towards inclusivity and representation within the music industry. This year's 2024 class of invitees is 45% women, 57% people of color and 47% under the age of 40. With these new member invitees, the Recording Academy is on track to achieve its goal of adding 2,500 women Voting Members by 2025, reaching this milestone a year ahead of schedule. 

The deadline for accepting these invitations, and thus engaging in the full process for the 2025 GRAMMYs, is Wednesday, July 31. 2024 New Member Class invitees are encouraged to join our newly launched New Member Class broadcast channel to learn more about the Recording Academy and membership-related updates.

These invitations offer each potential new member an opportunity to power the Recording Academy's mission of cultivating the well-being of the music community, celebrating artistic excellence in the recording arts, advocating for creators' rights, investing in music's future through the GRAMMY Museum, and supporting music people in times of need through MusiCares.

The Recording Academy's membership invitation process is community-driven and peer-reviewed annually, focusing on two types of membership: Voting Membership for music creators and Professional Membership for music business professionals. Interested musicians and professionals must apply for membership by March 1 each year, and if approved by a peer review panel, they are invited to join the Recording Academy. (GRAMMY U is the third type of Academy membership and follows a distinct application process.)

To celebrate this milestone, many of the newly invited members have taken to social media to express their excitement and gratitude. Here are some highlights:

View this post on Instagram

A post shared by Recording Academy / GRAMMYs (@recordingacademy)

View this post on Instagram

A post shared by Julian King (@itsjulianking)

View this post on Instagram

A post shared by Justin JT Tomlinson (@iamjnote_)

View this post on Instagram

A post shared by EMILY M. DASHIELL (@emilydashiell)

For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process, read our FAQ (Frequently Asked Questions) section, view the official GRAMMY Awards Rules and Guidelines, and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.

"Everything you like was created by a queer person," musician and DJ Aluna proclaimed near the end of "The Power In Pride: A Conversation Honoring The Resilience Of Black Queer Creatives." (A seemingly bold statement — until you do some digging.)

Ditto a Black person. As the Recording Academy's VP of DEI, Ryan Butler, pointed out, just about every American music genre flows back to that source. "There is no pop music in America that is not a derivative of the Negro spiritual," he said across from Aluna.

"The queerness has been the innovation in it, but the Black community has been the foundation of it," Butler concluded. "So, I think when you have the foundation and the innovation together, it's worth celebrating 365 days a year."

When considering those two truths, two more truths emerge. First, without the contributions of Black and queer people, our world — including our musical landscape — would be unrecognizable. Second, to celebrate only in February, for Black History Month — or June, for Pride Month and Black Music Month — would be a grave disservice to both wellsprings of genius. Honoring Black and queer creators, as Butler pointed out, requires the entire calendar year. 

These themes were paramount at "The Power of Pride," a candid conversation at the Live Nation building in Manhattan, just as summer kicked off. Tiffany Briggs Low, the Director of Corporate and Communications at Live Nation, moderated the discussion between Butler, Aluna, and third panelist Bryant K. Von Woodson II, VIP Relations at Chapter 2 Agency and Head of Communications at Queer Capita. Von Woodson II introduced himself as a "curator of people" who connects BIPOC folks with crucial opportunities; Butler, as an "angelic disruptor"; Briggs-Low called Aluna "our sister in green" and "the curator of the vibes."

Briggs-Low kicked off the conversation with a heavy, dual prompt: "I would love to hear about why you feel it's important for the world to continue celebrating both Pride and Black Music Month, and what does the intersectionality of Black and queer identities mean to each of you?"

"I think that theme months each year do serve as a reset," Aluna stated, "and have you looking internally, and looking at what you've done and haven't done, and how you feel. To me, the queer community and the Black community have given so much," she continued, "and my mission is for us to just turn that around — to be giving it back to ourselves. Because there is an abundance of things that we create — and we never stop creating — but we need to be fed, and the well is running dry. And that upsets me."

To Aluna — who is Black, straight, and an ally of the Black queer community — this nourishment comes from "creat[ing] space" within these communities, and fostering "spirituality and deep, deep connection."

To that question, Von Woodson II — who is Black and queer — paraphrased Maya Angelou: "Between both communities, I stand as one, but I also really acknowledge the 10,000," he said referring to the philosophy from Angelou's work that credits the collective experiences of communities and ancestors who came before. 

"I think that's what this month is about," he continued. "Celebrating the 10,000 that got me to be able to sit on this stage, to have this conversation with you, to sit up here with some beautiful Black people, and really speak about our lives and ourselves."

Butler, who is also Black and queer, calls that intersection "a superpower." Yet the world doesn't always treat it as such — to put it lightly. As Butler related, just last weekend, he entered a function in Malibu, where the host said, "I'm going to sit you at the table where all the rappers like to sit."

"I don't really give rapper," Butler mused dryly. "You shouldn't be profiled in that type of way, and I definitely experience it in the corporate environment, still. I don't think that it always feels like a safe space.

"But that's also a litmus test for me," he added. "I know that there are other [people] who may feel this way, and so it also helps me make sure that I'm constantly applying pressure."

Von Woodson II expounded on the importance of being his authentic self, in spaces that might stifle that. "There is no hiding that I am clearly Black, but also queer," he said, before showing off his proudly flamboyant style of walking into a room.

"As I work with my clients, and I work with new people, I think I show up as authentic as I can," he continued. "And I just lay it on them and say, 'You either take it or you don't.'"

Aluna, for her part, highlighted the unfairness of Black artists being pigeonholed as featured artists.

"If I need to be an example of what's possible for the next generation, they can't just see me as Disclosure featuring Aluna, DJ Snake featuring Aluna, Avicii featuring Aluna, because that gives the message that that's all we're worth," she said. "You can't get booked as an artist in your own right, because they just don't see you as an artist.

"Managers across the board, bookers, labels — they're just hankering after your essence, your soul," Aluna continued. "But without your Blackness."

In supporting Black and queer communities — which takes a plethora of forms, for all different kinds of people — Butler warned against performative gestures. Aluna decried "the colonial separation between Blackness and queerness."

And Butler left the audience with a truth bomb: "There are going to be times where you are going to have to shield me with your privilege that I don't have."

But for all these heavier-than-heavy topics of identity, justice and belonging, "The Power In Pride" felt celebratory and familial. As the conversation wound down, the beats were turned up, and the audience was geared to get out and uphold Black and queer genius and solidarity — 365 days a year.

The Recording Academy thanks its partners — Live Nation and Queer Capita — for their efforts to make this event possible.