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The producers of the 1984 Grammys knew they needed to book a performance by Michael Jackson, who in 1983-84 was hotter than anyone had been in pop music since The Beatles in 1964-65. The need was made even clearer when the Grammy nominations were announced in early January, and Jackson set a new record with 12 nods.

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There was just one problem: Jackson didn’t want to do it. As Ken Ehrlich, who was producing the show for the fifth year (of a remarkable 40-year run) put it in his 2007 book At the Grammys!, “Even after his record nominations, Michael hadn’t said yes to performing, and without him, it could be wildly embarrassing.”

In an attempt to stave off that embarrassment, Jackson’s manager arranged what Ehrlich called “a very quiet, discreet meeting at his home for us to talk about what we wanted to do. We sat, Michael barely talking, and when he did, directing his words to the manager, and I knew that we were up against it. No matter where we went, it wasn’t going to be satisfactory. I left very discouraged.”

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Ehrlich had allies who were trying to convince Jackson to do it. As Ehrlich wrote: “The people at Epic Records, Michael’s label, wanted him to perform. His father wanted him to perform. [His sister] Janet, with whom I was then working at [the TV series] Fame, talked to him about performing. But no matter what kind of pressure was applied, there was no budging Michael. He wasn’t going to do it. … Even Quincy Jones, a great friend of the Grammys, was unable to sway him, and we went into the Grammy show Michael-less.”

John Denver hosted the show that year, promising “a show so hot it’s going to pop if we don’t get right into it.” I was at the Shrine Auditorium in Los Angeles that year covering the show for Billboard and remember it as a lively and entertaining show. A Jackson performance would have lifted the show even higher, but it did phenomenally well as it was. The show was seen by more than 51.67 million viewers – an all-time record for the Grammys that is unlikely to ever be broken.

Why was Jackson so resistant to performing on what was clearly shaping up to be his big night?

For one thing, he probably knew he didn’t need to perform to dominate the night. So, why take the risks that are in inherent in a live TV performance? (Taylor Swift may have made the same calculation when she declined to perform on this year’s ceremony.)

Also, Jackson may have been spooked by a widely reported accident that happened when he was filming a Pepsi commercial at the Shrine on Jan. 27. During a simulated concert, pyrotechnics accidentally set Jackson’s hair on fire, causing second-degree burns to his scalp.

In his book, Ehrlich suggested another reason: “And then we discovered that, as with other artists, he had felt mistreated in the past by the Grammy voting process, and this was his way of getting back.”

Jackson had indeed been underrecognized by Grammy voters. The Jackson 5 (and later The Jacksons) never won a Grammy. Jackson had never previously been nominated in a “Big Four” category – album, record and song of the year plus best new artist. Even the blockbuster Off the Wall was passed over for an album of the year nod. Jackson’s only Grammy victory to that point was a 1980 win for best R&B vocal performance, male for “Don’t Stop ‘Til You Get Enough.” So, he had a right to feel he hadn’t gotten his due from the Academy.

Jackson had also opted not to perform at the American Music Awards, which were also held at the Shrine (his home away from home that year) on Jan. 16. In his absence, Barry Manilow performed The J5’s “I’ll Be There.” Jackson had performed on the Motown 25: Yesterday, Today and Forever special which was taped on March 25, 1983. That was the show where Jackson moonwalked publicly for the first time during “Billie Jean” – a performance that brought him a Primetime Emmy nomination.

Jackson, who was 25 at the time – and as it turned out, halfway through his life – could not have been hotter than he was in 1984. His every move made news. The way it is with Swift now, it was with MJ back then, and he didn’t have a high-profile romance fueling the publicity flames.

Though Jackson didn’t perform on Grammy night, there were many cutaways to him, as he sat in the front row, accompanied by his date for the night, actress Brooke Shields; Emmanuel Lewis, the 12-year-old star of the hit sitcom Webster; and the legendary Jones, who produced Thriller (with Jackson credited as co-producer of three tracks). Lewis’ presence was an unspoken reminder that Jackson had also been a child star, landing his first No. 1 hit on the Billboard Hot 100 at age 11, fronting The Jackson 5.

Jackson dressed regally, as if seeking to live up to his preferred appellation, the King of Pop. (Writing in Rolling Stone decades later, Andy Greene took a less respectful tone, saying he looked like “the captain of the disco navy.”)

Near the top of the show, Denver explained that the big buzzwords of the past year had been “videos, Boy George and Michael…” Denver didn’t even need to finish the sentence. Fans in the audience screamed out the star’s last name.

Jackson won a record eight Grammys in 1984, seven for his work on Thriller and one for narrating a children’s recording, E.T. The Extra-Terrestrial. That’s one more than Paul Simon had won in 1971, the year of the first live Grammy telecast.

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Jackson won five of the eight awards on the telecast – including two in categories that are rarely presented on-air – producer of the year, non-classical and best recording for children. He and Jones were co-winners in those two categories, and in two other categories that Jackson won on the air that night – album and record of the year. So, the two men, who were 25 years apart in age and looked very much like father and son, made a lot of trips up the stage together.

Without a Jackson performance to trumpet, the producers had to get creative. They booked performances by all five of the nominees for best pop female vocal performance. That smart decision gave the show a thematic element that Jackson was not part of, which helped to broaden the show’s focus. It helped that the nominees in that category that year were exceptionally strong and varied.

Donna Summer had the first performance of the night with her terrific hit “She Works Hard for the Money,” which she performed wearing a pink waitress outfit. (She wore a similar outfit on the album cover and single sleeve.) It was a big production number and got the show off to a rousing start.

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Performances by the other four nominees in the category were sprinkled throughout the show. Bonnie Tyler sang her thundering power ballad “Total Eclipse of the Heart.” Linda Ronstadt, backed by Nelson Riddle and his orchestra, crooned “I’ve Got a Crush on You,” the 1928 Gershwin tune that was a highlight of What’s New, her 1983 hit collection of standards. Sheena Easton sang her trendy “Telefone (Long Distance Love Affair).” Irene Cara performed “Flashdance…What a Feeling,” which was so good you could forgive it for borrowing so heavily from the Summer hit playbook.

Four of these songs had been top 10 hits on the Billboard Hot 100. The exception was Ronstadt’s ballad, which was featured on an album that stunned the industry by spending five weeks at No. 3 on the Billboard 200 over the peak holiday sales period. The award went to Cara, who went on to win an Oscar for best original song on April 9 for co-writing the song.

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In an unfortunate development, the first three winners on the telecast were no-shows, because they were on tour, we were told – Sting for song of the year for “Every Breath You Take” (the only Big Three award Jackson didn’t win); The Police for best rock performance by a duo or group with vocal for Synchronicity; and Duran Duran for best video album for Duran Duran. (The fact that the latter category was presented on-air was a sign of the times. Two and a half years after MTV’s debut, video was driving the music business.)

Fortunately, Jackson and Jones were in the house to accept the fourth award of the night, producer of the year, non-classical, which was presented by Toto, the previous year’s winners in the category.

Jackson shared the spotlight on his five trips to the podium, calling up his sisters – Janet, then 17; La Toya, 27; and Rebbie, 33, as well as CBS Records president Walter Yetnikoff (“the best president of any record company,” Jackson said of the man who strong-armed MTV into adding the “Billie Jean” video). In a poignant moment, Jackson remembered R&B pioneer Jackie Wilson, who had died five weeks earlier at age 49. “Jackie Wilson was a wonderful entertainer. He’s not with us anymore, but Jackie, where you are, I’d like to say I love you and thank you very much.”

The 1984 Grammy telecast was just the second to run three hours. CBS had bumped the Grammys from two to three hours the year before so they could have extra time to mark their 25th anniversary. The show has run three hours (or more) ever since.

The 1984 show marked the first time in 12 years that the Academy presented lifetime achievement awards. They had probably stopped because of severe time constraints on the telecast, but now that they had more airtime to fill, they were able to resume this tradition. The 1984 honorees were rock pioneer Chuck Berry, then 57, and, posthumously, jazz saxophonist Charlie Parker and Italian conductor Arturo Toscanini.

Berry, who had blazed a trail for Jackson and other Black superstars of the modern era, performed his 1955 classic “Maybelline,” after which George Thorogood and Stevie Ray Vaughan performed “Roll Over Beethoven,” before all three teamed for “Let It Rock.” In his performance, Berry did his famous duckwalk. How great would it have been to have the duckwalk and the moonwalk on the same show?

Herbie Hancock performed his instrumental hit “Rockit.” The performance replicated the acclaimed video, which was directed by Kevin Godley and Lol Creme. As Ehrlich recounted in his book: “We located the original robots [that were featured in the video], worked on a system of making them work live (it had taken four days to tape the video) and it was far and away the performance of the show. The crowd loved it.” “Rockit” went on to receive a video of the year nod at the inaugural MTV Video Music Awards later that year.

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Wynton Marsalis, 22, performed both jazz and classical numbers, underscoring his versality. He was the first person to perform songs nominated in two different genres on the telecast. Marsalis wound up winning for both best jazz instrumental performance, soloist and best classical performance – instrumental soloist or soloists (with orchestra).

The show cut away twice to London where Boy George of Culture Club and Joan Rivers provided comic relief. In their first segment, they read the rules (an awards-show custom that seems to have fallen by the wayside). Rivers offered a humorous explanation for reading the rules: “Every one of the nominees out there should know why they lost out to Michael Jackson.”

Rivers’ jokes were topical, at least, including a reference to a MJ/Paul McCartney song that had topped the Hot 100 for six weeks in December 1983 and January 1984. “I am thrilled to be on a music show because I know very little about music. I thought the song ‘Say Say Say’ was Mel Tillis trying to do the National Anthem.”

In their second spot, Culture Club was awarded best new artist (over Eurythmics, among others). The presenters were Cyndi Lauper, the previous year’s winner, and Rodney Dangerfield. Boy George’s acceptance speech was an instant classic: “Thank you, America, you’ve got taste, style and you know a good drag queen when you see one.”

Cross-dressing was a recurring theme on the show. Annie Lennox was dressed as Elvis, complete with sideburns, for Eurythmics’ performance of “Sweet Dreams (Are Made of This),” which had been a No. 1 hit on the Hot 100.

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Walter Charles, from the company of the Broadway smash La Cage Aux Folles, performed that show’s standout song, “I Am What I Am,” in full cross dress, joined by cast member Jamie Ross. The show’s stars Gene Barry and George Hearn did not make the trip to Los Angeles, a decision they may have regretted when they saw the ratings. La Cage went on to win the Tony for best musical on June 3.

Denver teamed with Floyd the Muppet (Jerry Nelson) of The Muppets to perform “Gone Fishin’” from their album Rocky Mountain Holiday, which was nominated for best recording for children (and lost to you-know-who).

Other performers on the telecast were Big Country (doing their pop/rock hit “In a Big Country”), The Oak Ridge Boys’ (the Hot Country Songs-topping “Love Song”), Phil Driscoll (the classic Christian hymn “Amazing Grace”) and Albertina Walker with the Pentecostal Community Choir (“Spread the Word”).

As is often the case with Grammy telecasts, the show honored the past, while looking to the future. Jones announced that year’s five inductions into the Grammy Hall of Fame, including such immortal hits as Glenn Miller & His Orchestra’s “In the Mood” and Hank Williams’ “Your Cheatin’ Heart.”

The Academy’s then-president Mike Melvoin held up a vinyl LP and then a shiny silver object and announced “This is the new compact disc.” Despite Melvoin’s enthusiastic pitch, CDs didn’t surpass LP sales until 1987 and didn’t surpass cassette tapes to become the top medium for music until 1991. Melvoin also announced a trustees award for the late composer and conductor Béla Bartók.

The show was not glitch-free. As Ehrlich relates in his book, Summer’s limo had stalled blocks away from the Shrine. Summer, who was set to perform the opening number, got out of the limo and hot-footed it to the venue. “She ran into the house, winded, about two minutes before the hard wall rose on the number,” Ehrlich remembered. “But it was a big score.”

Mickey Rooney (another former child star), who co-presented the award for best cast show album, hammed it up to the point that director Walter C. Miller asked Ehrlich “to go out onstage and pull him off, anything we could do to end this embarrassing moment.” In his book Ehrlich wrote, “To this day I can’t tell you whether Mickey was a little hammered or he’s just that way.”

Classical clarinetist Richard Stolzman, who was set to present the classical awards, had been ill-served by the accountants working the show: “He opened the envelope to find it empty, and vamped … until one of the accountants rushed out onstage to give him the right envelope,” Ehrlich remembered.

The glitches and Jackson’s decision not to perform were forgotten when the ratings came in.

Will the Grammys ever reach such a vast audience again? It’s highly unlikely. The only Grammy telecast that got anywhere close to the 51.67 million who tuned in in 1984 was the 2012 telecast, which attracted 39.9 million viewers. There were two main draws that year – a red-hot Adele, who won six awards, and Whitney Houston, who had died the previous afternoon. Viewers wanted to see how the Grammys would handle something they couldn’t possibly have foreseen.

Rewatching the 1984 telecast 40 years later, I was struck by how much the Grammys have changed. Back then, the show still attempted to cover all genres on the telecast, including jazz, classical and gospel. It still attempted to give on-air recognition to the winners of pre-telecast awards, something that became more difficult as the number of categories ballooned. There were 67 categories in 1984. There were 94 this year. And the show was not as fast-paced. Clip packages, showing the nominees in each category, went on much on much longer than they do now.

I was also struck by how many of the night’s biggest stars are no longer with us – Jackson, Denver, Summer and Cara, as well as Chuck Berry, Stevie Ray Vaughan, Albertina Walker and Walter Charles. I guess 40 years is a long time, though in some ways it seems like yesterday.

So, was Jackson right to decline to perform on the biggest night of his career? That’s impossible to answer, but here’s what Ehrlich wrote in his book, which was published two years before Jackson’s death: “To this day I wonder whether the show that he saw up on the stage that night made him feel as through he had missed the boat by not performing. On the other hand, he was to perform a few years later and give one of his greatest-ever television performances, so perhaps he was right in spurning the 1984 show since the Academy had done the same to him in previous years.”

Indeed, Jackson performed two songs – “The Way You Make Me Feel” and “Man in the Mirror” – on the 1988 Grammy telecast, which was held at Radio City Music Hall in New York. His performance that night will always stand as Exhibit A to anyone who wants proof of his artistry and command when he was at the peak of his powers.

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Grammy telecast performance videos are rolling out on YouTube and other sites following a 10-day window in which most were available for viewing only on select sites.
All cleared Grammy performances were previously approved for posting on Grammy.com and CBS.com as well as on The Recording Academy, CBS and artists’ and labels’ Instagram and Facebook accounts for 10 days, according to the Academy. After this 10-day run, they are approved to also post on other platforms including YouTube. This is the third year the Academy has had a “first-dibs” deal with Meta, which owns and operates Facebook and Instagram.

The Recording Academy posted the vast majority of Grammy-night performances on Grammy.com on Feb. 6, two days after the ceremony at Crypto.com Arena in L.A. The videos are featured in a post headlined “Watch All the Performances From The 2024 GRAMMYs: Tracy Chapman & Luke Combs, Billie Eilish, Olivia Rodrigo & More.”

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That post included all but three performances from the three-and-a-half-hour Grammy telecast. Missing are Travis Scott’s “My Eyes,” “I Know?” and “So Fe!n” (the latter song featuring Playboi Carti); Billy Joel’s “You May Be Right” (featuring Laufey); and Stevie Wonder and Tony Bennett’s “For Once in My Life” and “The Best Is Yet to Come” from the extended In Memoriam segment.

“We get permission from artists and their teams prior to posting any post-show performances,” says an Academy spokesperson. “We do not obligate these [permissions as a condition for] performing on the telecast. Approvals are all secured following the live telecast for individual performances.”

Another Joel performance (his new single “Turn the Lights Back On”) is in the bundle of videos that went up on Grammy.com. Additionally, three other tributes from the extended In Memoriam segment are included: Annie Lennox’s “Nothing Compares 2 U” (featuring Wendy & Lisa), Fantasia Barrino’s “Proud Mary” and Jon Batiste’s “Ain’t No Sunshine,” “Lean on Me” and “Optimistic.” Missing completely is Scott, who was nominated for best rap album for Utopia, but lost, in an upset, to Killer Mike’s Michael. Scott’s track record at the Grammys currently stands at 0-10.

Two songs that were performed at this year’s Premiere Ceremony, the event preceding the Grammy telecast where the vast majority of awards are presented, are also in the bundle of clips available on Grammy.com. They are “Luna de Xelajú” by Gaby Moreno & El David Aguilar and a cover of Prince & the Revolution’s “Let’s Go Crazy” by Pentatonix, J. Ivy, Larkin Poe, Jordin Sparks and Sheila E.

In addition to the videos already mentioned, the bundle also includes Tracy Chapman & Luke Combs’ “Fast Car” (which Chapman previously performed at the close of the 1989 Grammy telecast), Joni Mitchell’s “Both Sides, Now” (which, remarkably, was her first performance ever on the Grammys), U2’s “Atomic Bomb” (live from the Sphere in Las Vegas) and Billie Eilish’s “What Was I Made For?” (which she is expected to perform again at the Oscars on Mar. 10).

Also in the bundle are Dua Lipa’s “Training Season” and “Houdini”; Miley Cyrus’ “Flowers”; SZA’s “Snooze” and “Kill Bill”; Olivia Rodrigo’s “vampire”; and a three-song set from Burna Boy, 21 Savage and Brandy: “On Form,” “City Boys” and “Sittin’ on Top of the World.”

Grammy telecast performances weren’t widely available after Music’s Biggest Night until 1994, when the Recording Academy released 47 of them on a four-CD set entitled Grammy’s Greatest Moments through Atlantic Records. There were corresponding videotapes released (through A*Vision Entertainment) for the first two CDs in the set. I wrote the liner notes for those four CDs, which included such prized performances as Aretha Franklin’s “Bridge Over Troubled Water” (from the first live Grammy telecast in 1971), Barbra Streisand & Neil Diamond’s “You Don’t Bring Me Flowers” (1980) and Tina Turner’s “What’s Love Got to Do With It” (1985).

In 1996, a live performance from that year’s Grammy telecast was released as a single that became a top 10 hit on the Billboard Hot 100. Alanis Morissette’s “You Oughta Know,” recorded live on Feb. 28 at the 38th annual Grammy Awards at the Shrine Auditorium in Los Angeles, was released as a double-A-sided single with “You Learn.” The single debuted and peaked at No. 6 that July 27.

Gracie Abrams, Fred again.., Ice Spice, Jelly Roll, Coco Jones, Noah Kahan and The War and Treaty may be disappointed that they didn’t win the Grammy for best new artist on Sunday (Feb. 4), but they shouldn’t despair. No less a Grammy GOAT than Taylor Swift came up short when she was nominated in that category 16 years ago.
When Cyndi Lauper (who had won in the category in 1985) and Miley Cyrus (who won her first two Grammys just last night) announced the winner for best new artist at the 50th annual Grammy Awards on Feb. 10, 2008, the award went to the gifted but troubled Amy Winehouse.

Winehouse was widely expected to win. She went into the night with six nominations, more than any of the other best new artist nominees that year. Fellow nominee Feist had four, Ledisi had two and the two remaining nominees, Swift and Paramore, each had just that one nod.

The bookings on the telecast reflected the nominations. Winehouse was invited to perform two songs, “You Know I’m No Good” and “Rehab.” (The performance was beamed in by satellite from a London studio when a work visa for Winehouse to enter the U.S. didn’t arrive in time.) Feist performed her hit “1234” on the telecast. Swift wasn’t invited to perform on the show, but she did at least get to co-present an award (best rap/sung collaboration) with Juanes.

Winehouse won five awards on the night. In addition to best new artist, she won record and song of the year and best female pop vocal performance for “Rehab” and best pop vocal album for Back in Black. She was the fifth female solo artist to land five awards in one night, following Lauryn Hill, Norah Jones, Alicia Keys and Beyoncé.

Here’s the thing people sometimes forget: Awards are a snapshot in time. They can’t predict the future. Who could have known that Swift would build (and build and build) as an artist, demonstrating amazing resilience, determination, ambition, grit and focus? Who could have known that Winehouse’s career would come to a tragically premature end with her death at 27 in 2011?

Winehouse had fully broken through commercially and had shown her full creative potential by the time of Grammy voting that first year. Back to Black entered the Billboard 200 at No. 7 in March 2007 (ultimately peaking at No. 2 in the wake of the Grammys). “Rehab” reached No. 9 on the Hot 100 in June 2007, well before the voting period began.

Swift’s development took much longer. Her debut album, Taylor Swift, didn’t crack the top 10 on the Billboard 200 until November 2007 (when it was in its 55th week on the chart). It ultimately peaked at No. 5 in January 2008. Swift didn’t land her first top 10 hit on the Hot 100 (“Change”) until August 2008.

The situation with Swift and Winehouse is similar in some ways to the situation with the Carpenters and Elton John at the very first live Grammy telecast on March 16, 1971. Karen and Richard won best new artist, besting Elton, country crossover star Anne Murray, R&B and Broadway star Melba Moore and The Partridge Family, then winding up the first season of their hit TV series. At the time of voting, Carpenters were headed for their third smash hit in a row, with “For All We Know” following “(They Long to Be) Close to You” and “We’ve Only Just Begun.” At that same point, Elton had just landed his first top 10 hit, “Your Song.”

Carpenters went into Grammy night with four nods, plus an additional nod for Richard for his arrangement of “Close to You,” a little-known Bacharach-David song from 1963 that he turned into a standard, earning the respect of no less an arranger than Bacharach himself. By comparison, Elton had three Grammy nods that year.

Voters at the time of course could not have known that Karen would later develop an eating disorder that she would battle for the last eight years of her life, leading to her death at age 32 in February 1983. (Elton also battled personal demons, as he has freely acknowledged.)

All four of these artists were/are tremendous talents. It’s a shame that they have to be pitted against each other like this, but that’s the nature of awards.

The thing to remember is that all career trajectories are different. To look once more at the best new artist nominees from 16 years ago, Feist has yet to land another nomination after the four nods that greeted her breakout hit “1234.” Winehouse won just one more Grammy after her five-award sweep – a posthumous win for best pop duo/group performance in 2012 for “Body and Soul,” a collaboration with Tony Bennett. Ledisi didn’t finally win her first Grammy until 2021. Paramore has won three Grammys – best rock song for “Ain’t It Fun” nine years ago and two more just last night: best rock album for This Is Why and best alternative music performance for the title track.

Swift is now up to 14 Grammys. In 2010, she became the youngest artist to win album of the year (a record that has since been eclipsed by Billie Eilish). In 2016, she became the first woman to win album of the year twice as a lead artist. In 2021, she became one of just four artists to win album of the year three times. And last night she became the first artist to win four times in that category.

I guess the old saying is true: It’s not where you start, it’s where you finish.

Question for you: Why do Grammy voters love Taylor Swift for album of the year, but have yet to give her song of the year?

The best thing about the Recording Academy’s Special Merit Awards, where they dispense Lifetime Achievement Awards and other career-capping honors, is the warm way the recipients reach across genres and generations to acknowledge each other. And so it was when the 2024 honors were presented on Saturday (Feb. 3) at the Wilshire Ebell Theater in Los Angeles.
Hip-hop innovator DJ Kool Herc, who received a Trustees Award, spied fellow honoree Gladys Knight in the front row and said of “Midnight Train to Georgia,” her 1973 classic with the Pips – “now, that’s flow.”

Ice Cube also praised Knight and the gospel singing group The Clark Sisters in his remarks, in which N.W.A received a Lifetime Achievement Award.

“We knew when we started to do music in 1985/1986 that a Grammy was not in the cards for the type of music we were doing, and we were cool with that. We can’t sing like Gladys or hold a note like The Clark Sisters. We wanted to make sense of the world around us, Long Beach, Compton, Watts.”

He noted that when N.W.A started out they had their lane all to themselves. “We didn’t think the whole world would be doing it. We thought it was ours. What it showed was when you do your thing, the world will come to you and you don’t have to go to the world.”

N.W.A is the fifth rap group to receive a Lifetime Achievement Award from the Recording Academy in the past eight years, following Run-DMC, Public Enemy, Grandmaster Flash & the Furious Five and Salt-N-Pepa. (In addition, Slick Rick, who rose to prominence in Doug E. Fresh & the Get Fresh Crew, was honored on his own last year.)

In welcoming the audience to the Special Merit Awards, Ruby Marchand, the Academy’s chief awards and industry officer, said “This ceremony is a highlight of Grammy Week, so heartfelt.” That’s the right word for it. Especially since the Grammy Awards scaled up to arenas in 1997 when they were held at New York’s Madison Square Garden for the first time, the Special Merit Awards are seen as the warmer, more intimate show, with good feelings all around. Perhaps that’s because it’s not a competition and because these acknowledgements usually come late in the honorees’ careers, when they are in a reflective mood.

Four of the honors were presented posthumously – Lifetime Achievement Awards to Donna Summer, Tammy Wynette, Eazy-E of N.W.A and a Technical Grammy Award to sound engineer Tom Kobayashi. In addition, attorney Joel Katz, who received a Trustees Award, “[is] addressing his health concerns,” in the words of fellow attorney Jason M. Karlov, who accepted for him.

Dr. Dre, being honored as a member of N.W.A sent a text message, read by Harvey Mason, jr. CEO of the Recording Academy, in which he explained that the ceremony fell on his daughter’s birthday and he put family first, but nonetheless said “I’m honored to receive this award with my N.W.A brothers.”

Two well-chosen guest artists introduced segments. Bone Thugs-N-Harmony, who had a No. 1 smash on the Billboard Hot 100 in 1996 with “Tha Crossroads,” a tribute to Eazy-E, presented the award to N.W.A. The members said that N.W.A “changed music, culture and America forever.” And Shelby Lynne presented the award to one of her idols, Wynette. Lynne also sang a good bit of Wynette’s “Stand By Your Man,” which she correctly called “a country classic for the ages.”

Wynette’s award was accepted by Tamala Jones, her daughter by George Jones. The daughter credited the Showtime miniseries George & Tammy for being a factor that may have helped Wynette, who died in 1998, finally receive this award. George Jones received the honor in 2012.

Bruce Sudano, who was married to Summer for more than 30 years, accepted Summer’s Lifetime Achievement Award, along with their daughters Mimi, Brooklyn and Amanda. He said the phone call in which he was notified of the honor stirred “feelings I didn’t anticipate. My body filled with pure joy, connected to a tear in my eye. It’s gratifying for us that, more than 10 years after her passing, her voice and music are still omnipresent in the zeitgeist.”

He credited Universal Music Group and Warner Chappell, among others, for coming up with creative ways to keep her music alive. “I’m grateful that she continues to inspire young fans, [whether newcomers or] beautiful Beyoncé and her Summer Renaissance.”

The Summer segment ended when her daughter Mimi sang a few ethereal lines from Summer’s 1977 dance/electronica classic “I Feel Love.”

Summer was the first female artist to win Grammy Awards in four different genres: R&B (“Last Dance”), rock (“Hot Stuff”), inspirational (“He’s a Rebel” and “Forgive Me”) and dance (“Carry On”).

Knight spoke emotionally about family in accepting her Lifetime Achievement Award. She noted that her mother would never allow her to sing “easy.” It had to come from a deeper place. All credit, then, to Gladys Knight’s mother for encouraging her daughter to find the perfect blend of “pain and glory” that has always been her trademark.

In 1974, Gladys Knight & the Pips became the first group to win Grammys in both pop and R&B categories the same night.

Laurie Anderson accepted her Lifetime Achievement Award with an eloquent speech. “I make music that doesn’t have a snappy name,” she said. “‘Multi-media’ is the one I dislike the least. ‘Experimental’ sounds like I’m making things in a laboratory that might explode.”

She also related three rules to live by that she and her late husband, Lou Reed, came up with.“1) Don’t be afraid of anyone. 2) Get a really good bullshit detector. 3) Be really tender.”

Anderson could win a competitive Grammy on Sunday, one day after accepting this honorary one. She is nominated for best historical album for Words & Music, May 1965 (Deluxe Edition). Anderson is one of two of this year’s Special Merit Awardees who are current Grammy nominees. Karen Clark-Sheard of The Clark Sisters is nominated for best gospel performance/song for “God Is Good.”

Peter Asher, who received a Trustees Award, had scanned the list of previous recipients of that award, and said he found it “intimidating.” Citing in particular The Beatles, Mo Ostin, Ahmet Ertegun, Sir George Martin, Lou Adler, Carole King and Clive Davis, he said “the phrase ‘We are not worthy’ comes to mind when I get this award.”

In a video setting up the presentation, the Grammys reached back to a clip from the 1990 telecast where Asher won producer of the year, non-classical for the second time. “I would like to thank the artists I worked with,” he said. “They could very easily have made the records without me, but I certainly couldn’t have made them without them.”

There were moments of humor in the proceedings. Sound engineer Tom Scott, who received a Technical Grammy Award in tandem with his late partner Tom Kobayashi, had to sheepishly admit that even he sometimes has technical issues. “I had this [acceptance speech] on my cell phone, but it’s on a little red zone that says it has 5% power, so I had to fall back on analog,” he said, as he pulled out a printed copy of his remarks to read.

Jason M. Karlov, an attorney at Katz’s law firm, Barnes + Thornburg, said this in accepting Katz’s Trustees Award, which are generally given to non-performers. “I’ve heard Trustees Awards are not for performances but if you’ve ever known Joel, it’s a performance.”

Karlov also said that Katz feels that “his most prideful work is his 41 years of service on behalf of the Academy.” As an outside general counsel for the Recording Academy, Katz is credited with leading the negotiations for the Grammys’ 10-year, $500 million deal with CBS in 2016. (The Academy has rewarded a handful of Grammy insiders with Trustees Awards over the years, including Christine Farnon, the Academy’s first full-time employee; Pierre Cossette, who was instrumental in turning the Grammys into a live telecast; Walter C. Miller, the show’s longtime director; and Ken Ehrlich, who produced or executive produced the telecast for 40 years.)

K’naan’s “Refugee” was the Best Song for Social Change Award Honoree.This award, now in its second year, honors songwriter(s) of message-driven music that speaks to the social issues of our time and has demonstrated and inspired positive global impact.

“Refugee,” which K’naan co-wrote with Steve McEwan and Gerald Eaton, serves as a tribute to refugees around the world. K’naan, 45, was nominated in a comparable category, best video with a message, at the 2012 MTV Video Music Awards for “Is Anybody Out There?,” a collaboration with Nelly Furtado.

Annie Ray of Annandale High School in Annandale, Virginia, received the 2024 Music Educator Award presented by the Recording Academy and Grammy Museum. Ray serves as both the orchestra director and performing arts department chair at Annandale High School in the Fairfax County Public School (FCPS) system. “Orchestra is much more than just a class – it’s a second family,” Ray said.