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Fabrice Morvan might have a bone to pick with F. Scott Fitzgerald about that whole there are “no second acts in American lives” thing. Because the once-disgraced pop singer, who along with late partner Rob Pilatus was half of the face of 1990s dance pop duo Milli Vanilli, has just pulled off one of the most improbable second acts in music history.
Thirty-five years after being the first and so far, only, act to have a Grammy award revoked after it was revealed that the perfectly coiffed, fancy dancing duo did not sing a note on their best new artist-nominated debut 1988 album, Morvan recently landed his second Grammy nod for best audio book, narration, and storytelling recording for the audiobook of his memoir, You Know It’s True: The Real Story of Milli Vanilli.
“To this day ain’t nobody in the history of music has gone through what I went through,” said Morvan, 59, who went from being a multi-platinum, arena-filling superstar with three No. 1 singles on the Billboard Hot 100 chart to a late night punchline within two years when it was revealed that he and Pilatus were merely the images, but not the voices, on their LP. “Thirty-five years later you’re looking at a dude who got a Grammy nomination with his own voice! I found my own voice because of me being able to find the strength to tell my story. Wow. You can’t write that story!”
But, Morvan did and now he is up against some serious heavy-hitters in his category when the 68th annual Grammy Awards are handed out on Feb. 1. Among those he’ll be vying with for a Grammy are Supreme Court justice Ketanji Brown Jackson (Lovely One), comedian and former Daily Show host Trevor Noah (Into the Uncut Grass) and the Dalai Lama (Meditations: The Reflections of His Holiness the Dalai Lama).
Billboard caught up with Morvan to talk about the shock nomination, what his plans are for Grammy night and why the book (and the potential feel-good Grammy redemption arc) is the start of what he hopes will be a robust second (or third) act. (This interview has been edited for length and clarity).
Even though Milli Vanilli’s music has remained popular, it’s been a lifetime since most people heard your name. Why did you write the memoir now?
People were enlightened about what really took place and the documentary [the 2023 doc Milli Vanilli, which this writer appeared in] was instrumental in rewriting the narrative… I looked at my kids and thought it would be nice to leave something for them so they could understand each and every chapter, a gift to them. The documentary was done, the book was done, but I still felt I had so much truth I haven’t spoken and I don’t want to throw nobody under the bus, but it was very personal. [It was about] my childhood and how I grew up, so people can understand the choices I made. As humans, everyone goes through trauma, especially Rob, who got into the music industry because he had no love at home and he got addicted to that love, which is the core of the story. [Pilatus, 32, died in 1998 of a suspected drug overdose.]
What’s it feel like to be Grammy-nominated again?
[Laughs.] It was never in our minds back then, “ay man, let’s get that Grammy!” That was never something we wanted. We knew the criteria for a Grammy was you have to 100-plus percent perform. When we sat in the front row, we were like, “lord, lord, lord, no!” I knew how awards ran and when they sit you there and you have that camera view and your name is about to be read… we never wanted that… To this day ain’t nobody in the history of music who has gone through what I have gone through.
Thirty-five years later you’re looking at a dude that got a Grammy nomination with his own voice! I found my voice and because of me being able to find the strength to tell my story. Wow. You can’t write that story! It’s a true story about storytelling and redemption and trauma and I haven’t given up. Stories are here to have us look at our humanity and because of that it brings us closer together and music does the same thing.
Are you shocked that Grammys gave you another chance after the scandal the first time?
It’s about storytelling and I’m one-hundred percent sure my peers, the voters that nominated me, all had a story — they all fell, they were all used by someone, a person who took advantage of them. If you look at the story you have black and white, but in between are shades of gray that people can understand. People who’ve gone through what I went through can identify the shades of gray. The physical, mental, financially being taken advantage of — some people have all three — back then we were voiceless, but now with social media you hear more stories and are like, “Damn! What happened to that person?”
What did you think when you found out?
It had the total opposite effect. I never go towards hype. I run away as far as I can until I can feel calm. Like someone very famous said, “I sizzle,” then I meditate on it and figure out what does that look like? What does it really mean? It means I touched a nerve at the core of the people exposed to the story, whether they read the book or not, and my peers, because I am not the first, or last one, to have been used and taken advantage of in the industry. But I became the poster boy, 100%.
You competition is pretty fierce: a Supreme Court justice, the Dalai Lama, Trevor Noah… what are your odds?
I don’t look at the list. I told my story and was as vulnerable as possible. Understood early on, either I tell it all or why do this if I’m not going all the way? I was as vulnerable as possible and it touched a nerve about storytelling. I look at winning as when I meet someone in the streets and they say they read the book and it changed my life, that’s cool… Who would have thought?
Will you attend the Grammys and how do you think it will feel three decades later?
Oh man, of course. You know I’m gonna be there, I’ll look good too! Whatever happens out of the wreckage of Milli Vanilli I took whatever I could to reverse-engineer the DNA of what it was… I did the right thing, I listened to myself and kept going even through blind faith. You look at the company you’re in and for me it’s about inspiring the people who’ve been knocked down or misunderstood or judged, this is for you. It’s also in the name of Rob as well, for my family, for people who sometimes have no way out of that vicious circle you’re locked in because of life.
Do any feelings of shame or regret come with being in the Grammy spotlight again? Does it bring up difficult emotions?
No, because I’ve forgiven and forgiveness is such a magical tool. I advise anyone to forgive the ones who’ve hurted you, who’s abused you, who’ve taken advantage or you or otherwise you’ll keep going in vicious circles. When I was able to forgive them, forgive myself for letting it happen… I was able to forgive myself and I was able to walk out.
So maybe you won’t be in the front row this time, but what happens if your name is called?
[Big breath.] I don’t even know if that part is televised. But you know what I’m gonna do? When a situation gets very overwhelming I slow down everything and tune out everything around me. I would take that walk and thank the most important people in my life, my family, Rob and then it’s about the ones who’ve been misunderstood, underrated and underestimated. In the end, one thing I understood is it’s not about me, it’s about inspiring others. We’re nothing but a grain of sand… Just the fact that I’m nominated, in my heart I definitely won already. Just to be in the company of those people?! It’s never too late.
When we spoke a few years ago you promised this was not the last chapter for you. What is next?
I knew there would be more eyes on me this year, so right now I have out the single “Future Love” with Ray Slijngaard [2 Unlimited] and “Clothes Off” [a cover of Jermaine Stewart’s 1986 hit single “We Don’t Have to Take Our Clothes Off”] and I’m working on an Afrobeat record with James [BKS, the son of late Cameroonian sax giant Manu Dibango] due out in January called, if you can believe it, “Milli Vanity.” I’m also sitting on a couple of albums of material and something else might come out after the “Vanity” record. I’ve also released a reggaeton version of “Girl You Know It’s True” and an acoustic “Blame it on the Rain.” Also, I’m working on a deal with a company in New York to do 30-50 shows next year.
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Kendrick Lamar leads the 2026 Grammy nominations with nine nods, including album, record and song of the year. It’s the third time Lamar has been the leading nominee. He also led the field at the 2016 ceremony with 11 nods and at the 2019 ceremony with eight.
Lamar is followed on this year’s leaderboard by Jack Antonoff, Cirkut and Lady Gaga, with seven nods each; Bad Bunny, Sabrina Carpenter, Serban Ghenea and Leon Thomas, with six each; and Clipse, Doechii, Sounwave, SZA, Turnstile, Tyler, the Creator and Andrew Watt, with five each.
This is the third time Lamar has been nominated for album, record and song of the year in the same year. Bad Bunny, Carpenter and Gaga were also nominated in all three of those categories this year. It’s the second year in a row that Carpenter has managed that sweep, the first time Gaga has done it since 2010, and the first time Bunny has ever done it.
Lamar is the first solo artist from any genre to be nominated for album of the year with five consecutive studio albums. Donald Fagen was nominated with five consecutive studio albums, but that combines solo and Steely Dan projects.
Lamar also becomes the first rapper to receive five album of the year nods as a lead artist. He had been tied with Ye, formerly known as Kanye West, with four album of the year nods. Lamar’s nods are for good kid, m.A.A.d. city (2014), To Pimp a Butterfly (2016), DAMN. (2018) and Mr. Morale & the Big Steppers (2023). Lamar was also nominated for the Black Panther soundtrack (2019), but not as a lead artist.
Lamar and SZA become the first occasional duet partners to receive two record of the year nods. They were nominated seven years ago for “All the Stars” and are nominated again for “luther.”
Bad Bunny is the first Latin artist to receive Grammy nods for album, record and song of the year in the same year. He is nominated in the album category for the second time with Debí Tirar Más Fotos, after first being nominated three years ago with Un Verano Sin Ti. These are the only all-Spanish-language albums to be nominated in the category. He is also nominated for record and song of the year with “DtMF.” The latter is the second all-Spanish-language song to be nominated for both record and song of the year, following Luis Fonsi & Daddy Yankee’s “Despacito” (featuring Justin Bieber).
Bunny is also on track to become the first artist to be an album of the year contender in the same year that he was a Super Bowl halftime headliner since Justin Timberlake achieved both feats in 2004. JT was up for album of the year with his solo debut, Justified, and co-headlined the Super Bowl show with Janet Jackson, P. Diddy, Nelly, Kid Rock and Jessica Simpson. Bunny will be the first sole headliner (not part of a multi-artist show) who was nominated for album of the year in the same year that they headlined the Super Bowl show since U2 in 2002.
This marks the first time that three albums have been nominated for both album of the year and best rap album. Lamar’s album is joined in the finals in both categories by Tyler, the Creator’s CHROMAKOPIA and Clipse’s Let God Sort Em Out.
This was the year K-pop finally made its presence felt in the marquee categories. “APT.,” ROSÉ’s hit collab with Bruno Mars, is the first song by a Korean pop artist to receive a record of the year nod. “Golden,” from KPop Demon Hunters, is the first song co-written by a Korean songwriter, EJAE, to receive a song of the year nod. KATSEYE, the “global girl group” nominated for best new artist, includes one member from South Korea, YOONCHAE.
“APT.” is Mars’ seventh hit to receive a record of the year nomination. Billie Eilish received her sixth nod in the category (in just seven years) for “Wildflower”; Lamar his fifth for “luther.” (That makes him the first rap artist with five record of the year nods. He had been tied with Jay-Z with four each.)
Doechii’s “Anxiety” is the first song that samples a previous record of the year winner (“Somebody That I Used to Know” by Gotye featuring Kimbra) to be nominated for that same award.
Seven of the nominees for record of the year are also nominated for song of the year. The only difference between the two sets of nominees is that Chappell Roan’s “The Subway” is up for record and not song, while “Golden” from KPop Demon Hunters is up for song and not record. It’s the first time there was just one difference in the two lists since the 2015 ceremony, when Iggy Azalea’s “Fancy” (featuring Charli xcx) was up for record but not song, while Hozier’s “Take Me to Church” was up for song but not record.
Jack Antonoff had both good and bad news in this year’s nominations. He has two nominations in each of three high-profile categories – album, record and song of the year. That brings his career total of song of the year nominations to eight, which puts him in a tie with his frequent collaborator Taylor Swift for the most nods in the history of the category. But he was passed over for a nod for producer of the year, non-classical nod for the second year in a row.
The nominees for producer of the year, non-classical are Dan Auerbach (his fifth), Blake Mills (his third), Dijon (his second) and Cirkut and Sounwave (the first for each).
Amy Allen and Henry Walter also each have two song of the year nominees this year.
Leon Thomas is the only best new artist nominee who is also nominated in another “Big Four” category. His Mutt is vying for album of the year. Alex Warren, thought to be a sure thing for record and song of the year nods, wasn’t nominated in either category.
Three songs from Sinners are competing for best song written for visual media. Only two other films have ever had three or more nominees in this category. Waiting to Exhale had three in 1997; Barbie had four two years ago.
In best traditional country album, there is a rare instance of a parent and child competing in the same category. Willie Nelson, 92, is nominated for Oh What a Beautiful World. His son, Lukas Nelson, 36, is nominated for American Romance.
Barbra Streisand is nominated for best traditional pop vocal album for The Secret of Life: Partners, Volume 2, 62 years after she received her first three nods for The Barbra Streisand Album and its standout track, “Happy Days Are Here Again.” That puts her in a tie with composer John Williams for the longest span of Grammy nominations. Williams received his first nod in 1962 and his three most recent nods in 2024.
Streisand also received her 14th nomination in the category of best traditional pop vocal album – a category she has yet to win. Will this be her year? She’s competing with Laufey, who won in this category two years ago; Lady Gaga, who won twice for collabs with Tony Bennett; Elton John & Brandi Carlile; Jennifer Hudson; and Laila Biali, a Canadian jazz singer and pianist who has worked with Chris Botti and Sting.
The late pianist, composer and bandleader Chick Corea received two nominations, bringing his career total of nods to 77, a total topped by only four people in Grammy history: Beyoncé (99), Jay-Z (89), Paul McCartney (84) and Quincy Jones (80). Corea died in 2021 at age 79.
All of the nominees for songwriter of the year, non-classical, have been nominated in that category previously. This is the third nod for Amy Allen, Edgar Barrera and Jessie Jo Dillon; the second for Tobias Jesso Jr. and Laura Veltz.
As always, best audio book, narration and storytelling recording provided an eclectic batch of nominees. This year’s nominees are The Dalai Lama; Fab Morvan, the surviving member of Milli Vanilli; Supreme Court justice Ketanji Brown Jackson; comedian (and five-time Grammy host) Trevor Noah; and Kathy Garver, who played the oldest child on the 1960s sitcom Family Affair.
Final-round voting extends from Dec. 12 to Jan. 5. The 68th annual Grammy Awards will be presented at Crypto.com Arena in Los Angeles on Feb. 1.
Trending on Billboard The Recording Academy is unveiling the nominations for the 68th annual Grammy Awards on a livestream on its YouTube channel, and you can find out who is competing in the six highest-profile categories right here. We’ll show you the full list of nominees in each of those categories – along with our […]
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The Recording Academy announced that more than 3,800 music creators and professionals have joined the academy as part of its 2025 New Member Class. This includes approximately 2,900 new voting members (who are eligible to vote in the upcoming 68th annual Grammy Awards) and approximately 900 new professional members.
Of those in the new class, 50% are age 39 and under, 58% are people of color and 35% identify as women. Looking only at voting members, 49% are age 39 and under, 60% are people of color and 30% identify as women.
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For the first time, invitations to join the Recording Academy were also extended to all voting members of the Latin Recording Academy. That explains why Latin leads all genres when new voting members were asked which genre they were most aligned with. Thirteen percent of new voting members said Latin, compared to pop and “other” (8% each); alternative, global music and rock (3% each); jazz, R&B and classical (2% each); dance/electronic, visual media, gospel/Christian, rap, contemporary instrumental, reggae, country, American roots and new age/ambient/chant (1% each); and musical theatre, children’s, spoken word and comedy (less than 1% each).
The influx of new members from the Latin Recording Academy voting body also explains why 28% of all new members (not just voting members) identify as Hispanic or Latin, second only to (and close behind) the percentage who identify as white or Caucasian (31%). These two groups were followed by Black or African American (20%), “I prefer not to disclose” (11%), Asian or Pacific Islander (5%), “I prefer to self-describe” (3%), Middle Eastern or Northern African and South Asian (1% each) and Indigenous or Alaska native (less than 1%).
“This year’s class reflects the vibrancy of today’s diverse music landscape,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “The addition of many Latin Recording Academy voting members underscores that music has no borders and that our mission to serve music people, regardless of where they are from, is stronger than ever.”
The addition of many Latin Academy voting members could help Bad Bunny land his second album of the year nomination. He is a top contender in that category with Debí Tirar Más Fotos, having been nominated three years ago for Un Verano Sin Ti.
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Of the total new member class (voting and non-voting members combined), 59% are men, 35% are men, 4% responded “I prefer not to disclose”; 1% identify as “non-binary or gender non-conforming; and less than 1% say “I prefer to self-describe.”
In terms of age, 50% of all new members (voting and non-voting combined) are 39 and under; 43% are (gasp) over 40; and 7% responded “I prefer not to disclose” or their age is unknown.
Looking just at new voting members, songwriters and composers are the top creative disciplines. Thirty-six percent of all new voting members classify themselves that way, followed by producers (20%), engineers (13%), vocalists (10%), instrumentalists (8%), arrangers (5%), music video pros (2%), album packaging, album notes writers and “other” (1% each); and conductors, spoken word (poets, narrators, comedians) and music supervisors (less than 1% each).
There are two types of Recording Academy membership – voting membership for recording creators and professional membership for music business professionals. Both types of members may participate in the organization’s year-round initiatives, but only voting members — comprised of artists, songwriters, producers, engineers and others active in the music industry — are eligible to vote.
The nominations for the 2026 Grammy Awards will be unveiled at 11:00 a.m. ET / 8:00 a.m. PT on Friday, Nov. 7, during a livestream on live.Grammy.com and YouTube. The full list of nominees will be published on Grammy.com immediately following the presentation.
The nearly 8,000 current members of Grammy U will be able to submit recordings during the upcoming Online Entry Process (OEP) period for the 2026 Grammy Awards. It’s the first time that Grammy U members have been allowed to enter recordings, though they still won’t be eligible to vote.
“We are thrilled to offer this opportunity to our members for the first time ever in Grammy U’s nearly 20-year history,” said Jessie Allen, Grammy U’s managing director. “We have so many incredibly talented members from all different backgrounds, fields and genres, and this special opportunity will not only give them firsthand experience with the Grammy Awards process, but also a coveted chance to be listened to, nominated and maybe even voted to win a Grammy Award by music’s best and most qualified creators. I can’t imagine a better way to kick off Grammy U’s upcoming 20th anniversary.
Grammy U members can submit any recordings, but the academy encourages them to use this opportunity to submit their own recordings.
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While the same OEP eligibility requirements will apply to Grammy U members’ submissions as for Recording Academy voting and professional members and registered media companies, there will be a shorter window for submissions, a $20 fee per entry and a maximum of five entries per member.
Voting and professional members are allowed five “courtesy entries,” after which they must pay a fee per entry, which climbs as the weeks go by. Early entry pricing (July 16-Aug. 1) is $40 per entry; standard pricing (Aug. 2-22) is $75; and final deadline pricing (Aug. 23-29) is $125. Grammy U members do not receive any gratis entries.
Grammy U member entries must be submitted between July 16 and July 30. By contrast, the entry period for voting and professional members runs from July 16 to Aug. 29.
“As the entry period progresses, so does the daily number of entries the awards team processes,” says an academy spokesperson, by way of explaining the different submission period. “A dedicated two-week window for Grammy U submissions at the beginning of the entry period allows for the awards team to provide some extra attention and help to these first-time submitters.”
Grammy U members pay a fee of $50 for four years of membership. After those four years, the renewal fee is $50 annually, if the person is still eligible. (They meet that test if they are a full-time student of any age or are between 18-29 and actively pursuing a career in music.)
By contrast, voting and professional members pay an annual fee of $150. Media companies pay an annual fee of $180 to register with the academy.
The Recording Academy hasn’t decided if this will be a permanent change or just a one-time opportunity for Grammy U members. “This opportunity for Grammy U members to submit product is something we are very excited to implement for this year,” said a spokesperson. “We are taking it one step at a time and are looking forward to assessing how it goes for future years.”
Notable Grammy U alumni include three Grammy winners: Scott Hoying (Pentatonix), producer/engineer Sarah Tudzin and classical conductor Michael Repper, as well as Grammy-nominated gospel singer Elyse Victoria Johnson and singer/songwriter Leland.
Grammy U members have specifically curated programming and opportunities year-round, geared toward emerging artists and music professionals.
In April, Grammy U hosted its second New York Conference, which included a series of panels and industry-focused networking and career development opportunities for Grammy U members. The event featured Grammy winners Coco Jones and Laufey as keynote speakers, and closed with an exclusive artist showcase headlined by Grammy winner Samara Joy.
In 2024, Grammy U implemented more than 100 national and chapter programs nationwide for Grammy U members. Programs included a Masterclass with Halle Bailey during Grammy Week; a New York conference with Ben Platt, Billy Porter, Remi Wolf and Beanie Feldstein; a Fall Summit with Charli XCX and Troye Sivan; and more than 50 Grammy U Soundchecks – where members get behind-the-scenes looks into how artists prepare for tours and concerts – with artists such as Joy, Laufey, Gracie Abrams, Kacey Musgraves, Twenty One Pilots, Will Smith and Young Miko.
Additionally, Grammy U facilitates a mentorship program that connects the emerging music community with industry players. In 2024, Grammy U facilitated more than 950 mentorship pairs, with 25 international participants in countries including Brazil, Canada, India, Nigeria, Romania and the U.K.
Read more about Grammy U member benefits here.
The academy is combining two categories, best recording package and best boxed or special limited edition package into one category, best recording package. Boxed sets were split off into a separate category in 1995.
It is also reviving an old category, best album cover. The Grammy Award for best album cover dates back to the first Grammy Awards in 1959. (The first winner: Frank Sinatra, for serving as art director on his own album, Frank Sinatra Sings for Only the Lonely.) From 1962 to 1965 it was separated into classical and non-classical categories. From 1966 to 1968 it was separated into graphic arts and photography categories. In 1974, the name of the award was changed to best album package. It was changed again in 1994 to best recording package.
The rule for Best Recording Package: “An art director’s award – for albums or singles. This category recognizes excellence in the field of art and packaging for albums or singles. Physical product in any configuration (standard, special edition, limited edition, or boxed sets), of any genre of music, released for the first time during the eligibility year (even if recordings were previously released) is eligible provided the packaging is predominantly new.
“The elements judged in this category include the package design, photography and/or graphic art of the entire package as well as any materials included. If the album art/packaging has been previously released, or is being reissued with only minimal new design elements, it is not eligible.
“An entry in this category is eligible if the physical product release during the applicable eligibility period either meets the general distribution requirement or was made available for purchase solely via the applicable artist’s website or such artist’s record company’s website, so long as the release meets all other eligibility requirements, is sold as a stand-alone product, and the sales link is available to all consumers (e.g., fan club-only releases or releases through a subscription series are not eligible).
The rule for Best Album Cover: “An art director’s award – for albums only. This category recognizes excellence in cover art for albums of recordings in any genre of music, released for the first time during the eligibility year (even if recordings were previously released).
“The elements judged in this category include the creativity, design, illustration, photography, and/or graphic art of the album cover.
“The album cover must be predominantly new: If the album cover art has been previously released, or the recording is being reissued with only minimal new cover art, is not eligible.
“Eligible album covers can be from digital-only or streaming-only full-length releases as well as albums that have physical configurations. Submission of an album cover in this category would not disqualify the physical package of the same release from being submitted in best recording package. Eligible entries for this category require a high-resolution digital file of the album cover be uploaded with the entry.”
In addition, the Package Craft Committee is changing from three regional committees to one national committee.
Kendrick Lamar will be making his grand return to Australia this year, with the rapper announcing new dates for his ongoing Grand National Tour.
Lamar announced on Wednesday (June 11) that he will be performing two headline dates while in Australia this December, with stadium shows set for Melbourne’s AAMI Park on Dec. 3 and Sydney’s Allianz Stadium on Dec. 10.
The newly-announced headline shows follow on from Lamar’s inclusion on the Spilt Milk Festival lineup which arrived in early May. Also featuring Doechii, Sara Landry, Dominic Fike and Schoolboy Q as headliners, the festival will take place across Ballarat, Perth, Canberra and the Gold Coast between December 6-14.
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The forthcoming shows will be Lamar’s first visit to Australia since The Big Steppers Tour in 2022, though unlike his current run of North American dates, they will feature Lamar in solo mode as opposed to his co-headlining status with SZA.
Lamar’s nascent tour dates also arrive in the wake of his latest batch of honors, this time coming from the BET Awards on Monday (June 9).
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Having been nominated for a total of ten awards across six categories, Lamar ended the evening as the most awarded artist, with the ceremony at Los Angeles’ Peacock Theater resulting in five trophies going his way, including album of the year, video of the year, best collaboration (with SZA), best male hip hop artist, and video director of the year (with Dave Free).
Additionally, in February 2025, in the wake of Lamar’s Grammy Awards success, his 2024 single “Not Like Us” re-entered the Australian ARIA charts and gave the rapper his first No. 1 single in the country.
Kendrick Lamar – 2025 Australian Tour Dates
Dec. 3 – AAMI Park, Melbourne, VIC, AustraliaDec. 6 – Spilt Milk Festival, Ballarat, VIC, AustraliaDec. 7 – Spilt Milk Festival, Perth, WA, AustraliaDec. 10 – Allianz Stadium, Sydney, NSW, AustraliaDec. 13 – Spilt Milk Festival, Canberra, ACT, AustraliaDec. 14 – Spilt Milk Festival, Gold Coast, QLD, Australia
People watching the 67th annual Grammy Awards, which aired three months ago today, contributed nearly $10 million for Los Angeles wildfire relief efforts. MusiCares reports that that money has made its way to recipients across the region, helping both music professionals and the broader local population affected by the horrific event.
MusiCares has distributed $6,125,000 to more than 3,100 music professionals across Los Angeles. In addition, $3,969,005 has been directed to three community-based organizations: California Community Foundation, Direct Relief and Pasadena Community Foundation.
In addition to the $10 million contributed by Grammy telecast viewers, MusiCares and the Recording Academy raised another $16 million during Grammy weekend thanks to the MusiCares Fire Relief campaign and the annual Persons of the Year gala, which this year honored the Grateful Dead. MusiCares has allocated $6 million of that $16 million to long-term fire relief efforts, while the other $10 million from Persons of the Year gala will be used for MusiCares’ year-round mission delivery.
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“The music community does amazing things when it comes together,” Harvey Mason jr., Recording Academy and MusiCares CEO, said in a statement. “This outpouring of love and support was humbling, whether it was performing or participating on the show, making contributions or donating their time and items for fundraisers. We are grateful for this amazing community and the Grammy viewers who felt inspired to give.”
Laura Segura, executive director of MusiCares, added: “What moved us most in the days following the Grammy telecast wasn’t just the scale of support, it was the spirit behind it. Thousands of people gave what they could, and together, their generosity became a lifeline for those in crisis, which reached far beyond our industry. That’s why we partnered with trusted community organizations who are helping Angelenos across the region access the care, resources and support they need to rebuild.”
MusiCares reports that the median contribution during the Grammy telecast was $53.50.
The Grammy telecast, which was held less than a month after the wildfires broke out on Jan. 7, included several segments dedicated to raising awareness of the crisis. Two of the night’s performances were specifically inspired by the events – Dawes’ opening performance of Randy Newman’s “I Love L.A.” and Bruno Mars and Lady Gaga bypassing their own nominated smash “Die With a Smile” to perform the Mamas & the Papas’ “California Dreamin’.”
While MusiCares responded within days of the fire’s outbreak to provide immediate assistance, the long-term needs of music professionals are only now coming into sharper focus. From loss of work and instruments to the emotional toll of displacement and trauma, the wildfire tragedy continues to affect lives. MusiCares continues to provide aid through customized case management, mental health support and financial assistance to those with lasting need.
MusiCares Fire Relief funding comes from multiple sources, of which the Grammy telecast was the largest. Fire Relief distributions are made as part of an independent and confidential client case management model overseen by MusiCares. MusiCares expects many more millions to be distributed over the coming year as they continue to serve the fire victims.
To address the broader community impact beyond the music industry, MusiCares and the Recording Academy partnered with three organizations already embedded in the neighborhoods hardest hit by the fires. Here are quotes from leaders in those organizations on the status of recovery efforts.
California Community Foundation (CCF)
“Recovery isn’t just about rebuilding homes,” said president and CEO Miguel Santana. “People who lost their homes also lost schools, churches, stores — the places that connected them to their neighbors to form the community they treasured. As we bring activity back to places like a park, a church, or a school, people can re-connect as a community. Those chances to be together can give people strength and hope as they continue the difficult process of rebuilding their individual lives.”
Direct Relief
“Recovery from wildfires involves more than rebuilding physical infrastructure—it requires addressing complex social challenges such as housing instability, food insecurity, and healthcare disparities,” said Dr. Byron Scott, CEO. “Community health centers and free and charitable clinics serve as vital anchors, providing not just medical care but comprehensive support including mental health counseling, housing assistance, and nutritional services.”
Pasadena Community Foundation (PCF)
“Nonprofits in Pasadena, Altadena, and Sierra Madre have been our partners on the ground for more than 70 years,” said Jeannine Bogaard, VP of community impact. “Throughout the last three months, PCF has seen these organizations meet the moment in countless ways—disbursing cash assistance and emergency supplies, securing stable housing, addressing the unique challenges of older adults, rescuing and tending to lost and injured pets, and so much more.”
For more information on the MusiCares Los Angeles Fire Relief Effort or to donate, visit www.musicares.org.
Kendrick Lamar had a big night at the 2025 Grammys on Feb. 2, winning in all five categories he was nominated in with his smash single and video “Not Like Us.” Lamar could be headed for another big Grammy night next year. He could become the first solo male rapper to win album of the year, for his sixth solo studio album, GNX. The only rap artists to win in that category to date are Lauryn Hill, in 1999 for The Miseducation of Lauryn Hill, and OutKast, in 2003 for Speakerboxxx/The Love Below.
If Lamar wins three Grammys, he would tie Jay-Z for the most career Grammys won by a rapper (25). If he wins four, he’ll set a new record (unless Jay also adds to his Grammy collection). The standings among rappers are currently: Jay-Z (25), Ye, formerly Kanye West (24) and Lamar (22).
Trending on Billboard
As we noted in a previous post, if Lamar wins record and/or song of the year for either “Luther” or “Squabble Up,” coming on the heels of his wins in those categories with “Not Like Us,” he’ll make history. He would become the fourth artist to win back-to-back awards for record of the year, following Roberta Flack, U2 and Billie Eilish, and just the second songwriter to win back-to-back awards for song of the year. D’ Mile won in 2021 for co-writing H.E.R.’s “I Can’t Breathe” and in 2022 for co-writing Silk Sonic’s “Leave the Door Open.”
If Lamar wins best rap performance, that would be his eighth victory in that category, extending his lead as the artist with the most wins there.
But Lamar could make history even before the Grammys are presented next year. If GNX is simply nominated for album of the year – which seems almost certain – Lamar would make Grammy history. He would set these records. (The years shown are the years of the Grammy ceremonies.)
First Rapper to Land Five Album of the Year Nods as a Lead Artist
Lamar was nominated for album of the year for good kid. m.A.A.d. city (2014), To Pimp a Butterfly (2016), DAMN.(2018) and Mr. Morale & the Big Steppers (2023). If he is nominated for a fifth time, he would pull ahead of Ye, who has received four album of the year nods as a lead artist – for The College Dropout (2005), Late Registration (2006), Graduation (2008) and Donda (2022).
First Black Male Artist to Land Five Album of the Year Nods as a Lead Artist
If he is nominated for a fifth time, he would become only the second Black artist to receive five album of the year nods as a lead artist. Beyoncé was nominated for I Am…Sasha Fierce (2010), Beyoncé (2015), Lemonade (2017), Renaissance (2023) and Cowboy Carter (2025), winning for the latter album. This would obviously make Lamar the first Black male artist to achieve this feat.
As noted, Ye has received four album of the year nods as a lead artist. Black or biracial artists who have received three album of the year nods as a lead artist are Ray Charles, Stevie Wonder, Michael Jackson, Whitney Houston, Mariah Carey, H.E.R. and André 3000 (counting two albums with OutKast).
First Solo Artist to Be Nominated for Album of the Year With Five Consecutive Studio Albums
Lamar would become the first solo artist – from any genre – to be nominated for album of the year with five consecutive studio albums. Donald Fagen was nominated for album of the year with five consecutive studio albums — but that combined solo albums and albums he recorded as half of Steely Dan. He was nominated with Steely Dan’s Aja (1978) and Gaucho (1982), then his first two solo albums, The Nightfly (1983) and Kamikiriad (1994), and finally Steely Dan’s Two Against Nature (2001), which won. He issued no other studio albums in those years, so these five nominated albums were consecutive releases.
We need to quickly add that album release patterns were very different in the 1960s. Artists often had multiple albums in one year. In that era, it’s best to look at consecutive years with an album of the year nomination instead of consecutive studio albums to be nominated.
The Beatles are the only act in Grammy history to receive a Grammy nomination for album of the year in five consecutive years. They were nominated for the Help! soundtrack (1966), Revolver (1967), Sgt. Pepper’s Lonely Hearts Club Band (1968, which won), the Magical Mystery Tour soundtrack (1969) and Abbey Road (1970).
Barbra Streisand was nominated for album of the year in four consecutive years. She was a contender for The Barbra Streisand Album (1964, which won), People (1965), My Name Is Barbra (1966) and Color Me Barbra (1967). People competed in 1965 with the original cast album from Streisand’s Broadway triumph, Funny Girl. (That nomination went to the composers of the score.)
Elton John and Brandi Carlile’s new collaborative album Who Believes in Angels?seems to have a good shot at a Grammy nomination for album of the year. Carlile was nominated in the category with both of her last two solo studio albums – By the Way, I Forgive You (at the 2019 ceremony) and In These Silent Days (2023). John was nominated three times in his 1970s heyday, with Elton John (1971), Caribou (1975) and Captain Fantastic and the Brown Dirt Cowboy (1976).
Who Believes in Angels? was produced by Andrew Watt, who won a Grammy for producer of the year, non-classical in 2021 and was nominated for album of the year the following year for his work on the deluxe edition of Justin Bieber’s Justice.
What’s more, Ben Winston, one of the executive producers of the annual Grammy telecast, also served as an executive producer of An Evening With Elton John and Brandi Carlile, which aired on CBS on Sunday April 6. Does that give the album an edge in the Grammy voting process? No. But it shows that it’s front-and-center in terms of Grammy consciousness.
It may seem early to be thinking in terms of Grammy nominations, but it’s actually not all that early. We’re more than seven months into the Grammy eligibility year, which runs from Aug. 31, 2024 to Aug. 30, 2025.
If Who Believes in Angels? receives an album of the year nod, John will have a 55-year span of nominations in that category, which would put him in second place on the list of artists with the longest span of nods in that category. Tony Bennett has the longest span – 59 years from I Left My Heart in San Francisco (a nominee at the 1963 ceremony) to Love for Sale, his collab with Lady Gaga (a nominee at the 2022 ceremony). Ray Charles would fall to third place. His nods span 43 years, from Genius + Soul = Jazz (1962) to Genius Loves Company (2005).
Who Believes in Angels? is vying to become the 12th collaborative album to receive a Grammy nod for album of the year. It would be the third pairing where one artist was a generation older than the other. John is 35 years older than Carlile. There was a 60-year age gap between Bennett and Gaga; a 23-year age gap between Robert Plant and Alison Krauss.
You may have noticed that John’s double-album opus Goodbye Yellow Brick Road, widely regarded as his most classic work, was not listed among his nominees for album of the year. You may be wondering: How can that be? The album was released on Oct. 5, 1973, just 10 days before the end of the eligibility year, a bit late for it to register its full impact. John was nominated the following year with Caribou, a solid album, but not in the same league with Goodbye Yellow Brick Road. While Goodbye Yellow Brick Road should have been nominated, it probably wouldn’t have won. Stevie Wonder, then at his creative and commercial peak (and on a history-making Grammy roll), won that year for Innervisions.
Here’s a complete list of the 11 collaborations that have received album of the year nods, working backwards. Will Who Believes in Angels? join them? Place your bets. All chart references are to the Billboard 200; the years shown are the years of the Grammy ceremony.
2022: Tony Bennett & Lady Gaga, Love for Sale
Image Credit: Kevin Mazur/Getty Images for LN
