Grammy

LOLA Young is single and looking for love after returning to the stage from her career break.

The Londoner triumphed with the Best Pop Solo Performance Grammy on Sunday night for her No1 hit Messy — and she won over even more fans with an emotional performance of the song.

But I can reveal she has well and truly moved on from the subject matter, all about the end of a previous relationship, and has signed up to dating app Raya.

And she has overhauled her life by cutting out booze.

I’ve seen her profile on the high-end matchmaking app, which features a handful of sultry photos, as well as one of her performing, and is linked to her official Instagram account.

But she still has an air of mystery, choosing to leave the “bio” section of her profile blank. It’s a change from September, when she said she was too busy to date.

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However, it’s fair to say it’s been a period of a lot of changes for Lola.

She took a four-month break after collapsing on stage in September, and only returned to the spotlight at a pre-Grammys party at the end of last week.

Now she is sober, I’m told industry pals Lily Allen and Sir Elton John, who are also teetotal, have been offering their support.

Lola revealed she had ditched alcohol when asked how she would be celebrating following her Grammys success.

She said: “I am going to have an In-N-Out burger with my manager and everyone. And I’m probably going to go out a little bit.

“I don’t drink, but it’s going to be fun anyway.”

Last year, she revealed she had to check into rehab to tackle a cocaine addiction in 2024, just as Messy was rising up the charts.

Then on her song d£aler, released last summer, she sang about the struggle of “tryna be sober.”

Now it sounds like things are finally looking up for her — and she seems in great spirits.

Speaking about her break, Lola said: “This is a very difficult industry to be in.

I took the time out to get better because there were a lot of things going on in my head, in my personal life, and we constantly have to be protected as artists.

“I had to make the decision to do it for myself — to be kind to myself and give myself space.”

“But now I am back. I feel better.

“I will do as much as I can to be good for my fans and to be good for the people that love me.”

She’s got Teyst

Teyana Taylor was my best-dressed star of the night, and it’s fair to say she probably has the busiest awards season of anyone.

She wore this stunning, sculptural Tom Ford dress but sadly lost out on the Best R&B Album prize for her record Escape Room, with the gong going to Leon Thomas’s Mutt instead.

Still, Teyana will have plenty more wins I’m sure. The multi-talented performer is the favourite to win Best Supporting Actress at the Baftas and the Oscars – after winning the same prize at the Golden Globes – for her role in One Battle After Another.

She joined a load of stars hitting the town, with Justin Bieber spotted in an open hoodie, having earlier performed his song Yukon in just some silver silk boxers.

That wasn’t half as mad k as Lady Gaga performing with a black bird cage on her head though.

Kesha wore an over-the-top head-dress to greet fans, while Miley Cyrus looked chuffed to pose with Bad Bunny.

And Tate McRae, Olivia Rodrigo and Bruno Mars all looked super-stylish as they headed out to the afterparties.

Those celebrity stylists have been working overtime.

All the goss at The Grammys

Cher added some laughs to proceedings when announcing the Record of the Year winner, claiming it had gone to Luther Vandross, despite the fact he died 21 years ago.

She got confused when reading out who had won, claiming she thought the name would be on the autocue and she wouldn’t have to open the envelope on stage.

But when she did, she saw the title Luther and said the late singer’s name instead.

Thankfully, winners Kendrick Lamar and SZA, whose song Luther samples the soul star’s version of If This World Were Mine, put two and two together and realised they had won.

And that was a relief, because it was seven more seconds before Cher exclaimed: “No, Kendrick Lamar!”

Sabrina’s tough love

She left the ceremony empty handed despite six nominations, although Sabrina Carpenter still sent pulses soaring during a racy performance of her hit Manchild.

But any new admirers should take note, she has no qualms about spilling the beans on her love life in her music.

Speaking backstage, Sabrina, who wrote her last album Man’s Best Friend about her ex Barry Keoghan, said: “I love really hard. If you f*** with me, there will be consequences.

“I feel pretty transparent going into any of my relationships that I write songs and I think they’re just as down for it.

“Also, most of the time, they’ve been pretty flattered. When they get a song written about them, good or bad, I think they’re just excited to get a shout out.

“I’m not scared of men in that sense. I am scared of men sometimes, but I’m not scared in that sense.

“I will attract exactly who I’m supposed to attract. And again there’s so much conversation around women that are honest and strong and opinionated and determined, focused.”

Winner Tyla will ao A-POP

Tyla celebrated her second Grammy win by announcing her new album will be called A-POP.

She won Best African Music Performance for Push 2 Start, having won the same gong in 2024 for Water.

Speaking backstage, she said: “I wanna announce that my sophomore album drops this summer and it’s called A-POP.”

Asked what fans can expect, she said: “Amazing new music. It’s going to be different. It’s me now. I just grew up… I’m now 24, I feel like a woman.

“I’ve got other things I want to say and other vibes I want to give, so yeah, it’s definitely a different vibe but I’m so excited.”

Charli XCX is a self-proclaimed “365 Party Girl” so I can see why her post-event bash was one of the most star-studded of the evening.

The Saint Laurent-sponsored event took place at Bar Marmont in West Hollywood – the go-to venue for luxury brands – and boasted a guestlist including Demi Lovato, Paris Hilton, Diplo and Rose.

Not so clever, Trevor

Donald Trump has threatened to sue Grammy host Trevor Noah over his jokes about him at the bash.

Noah, inset, said: “Song of the Year – that is a Grammy that every artist wants almost as much as Trump wants Greenland, which makes sense because since Epstein’s gone, he needs a new island to hang out with Bill Clinton.”

Posting on Truth Social, Trump wrote: “Noah said, INCORRECTLY about me, that Donald Trump and Bill Clinton spent time on Epstein Island. WRONG!!!

“I can’t speak for Bill, but I have never been to Epstein Island, nor anywhere close, and until tonight’s false and defamatory statement, have never been accused of being there, not even by the Fake News Media.

“Noah, a total loser, better get his facts straight, and get them straight fast.

“Get ready Noah, I’m going to have some fun with you!” Here we go again . . .

BEIJING — Beijing on Monday criticized the Dalai Lama ’s first Grammy win, describing the music industry award for an audiobook, narration and storytelling as “a tool for anti-China political manipulation.”

The Tibetan Buddhist spiritual leader, who lives in exile in India, took the award on Sunday for his book, “Meditations: The Reflections of His Holiness the Dalai Lama.”

He said in a statement on his website that he saw the award “as a recognition of our shared universal responsibility.”

“I receive this recognition with gratitude and humility,” he added.

China’s Foreign Ministry spokesperson Lin Jian said: “It is well known that the 14th Dalai Lama is not merely a religious figure but a political exile engaged in anti-China separatist activities under the guise of religion.”

“We firmly oppose the relevant party using the award as a tool for anti-China political manipulation,” he added.

The Dalai Lama, who is seen by many as the face of Tibet’s struggle for autonomy, has lived in exile since 1959, when Chinese troops crushed an uprising in the Tibetan capital of Lhasa.

China, which governs Tibet as an autonomous region, has been accused of trying to stamp out the Tibetan language, culture and identity.

Beijing and the Dalai Lama also spar over the spiritual leader’s eventual successor. Tibetan Buddhists believe the Dalai Lamas are reincarnations of a spiritual leader first born in 1391.

Beijing maintains the next Dalai Lama will be born in Tibet and recognized by the ruling Communist Party, whereas the Dalai Lama has said his successor will be from a free country and that China has no role in the process.

Bad Bunny’s “Débi Tirar Más Fotos” was named album of the year at Sunday night’s 68th Grammy Awards — the first time a Spanish-language LP has won the Recording Academy’s most prestigious prize.

Bunny delivered the speech primarily in Spanish.

“I want to dedicate this award to all the people who had to leave their homeland, their country, to follow their dreams,” he said as the audience rose to its feet.

“Puerto Rico, believe me when I say that we are so much bigger than 100 by 35 and there is nothing that exists that we can’t accomplish,” he said in Spanish. “Thank God, thank you to the academy, thank you to all the people who have believed in me throughout my whole career. To all the people who worked on this album. Thank you, mami, for giving birth to me in Puerto Rico. I love you.”

“For all the people who have lost a loved one and even then have had to continue moving forward and continue with so much strength, this award is for you all.”

Intricately arranged with the sounds of the singer and rapper’s native Puerto Rico, “Débi Tirar Más Fotos” was released to rave reviews in January 2025 and quickly reached No. 1 on the Billboard 200 album chart. Last summer, Bad Bunny supported the project with a 30-date concert residency at San Juan’s José Miguel Agrelot Coliseum; he followed that with the announcement of a world tour that avoided the United States, in part, he told I-D magazine, because of his concern that immigration agents might turn up at shows.

Prior to Sunday’s win, “Débi Tirar Más Fotos” — the title translates in English to “I Should Have Taken More Photos” — was named album of the year at November’s Latin Grammy Awards. Next weekend, Bad Bunny (whose real name is Benito Antonio Martínez Ocasio) will headline the halftime show at Super Bowl LX in Santa Clara.

He won earlier in the night for música urbana album and global music performance.

The other LPs nominated for album of the year were Justin Bieber’s “Swag,” Sabrina Carpenter’s “Man’s Best Friend,” Clipse’s “Let God Sort Em Out,” Lady Gaga’s “Mayhem,” Kendrick Lamar’s “GNX,” Leon Thomas’ “Mutt” and Tyler, the Creator’s “Chromakopia.”

In 2025, Beyoncé took the prize with “Cowboy Carter.”

Kendrick Lamar and SZA’s “Luther” was named record of the year at Sunday night’s 68th Grammy Awards, giving Lamar his second straight win in the category after he took it in 2025 with his smash-hit Drake diss, “Not Like Us.”

The Compton-born rapper is one of only four acts in Grammy history who’ve gone back to back in record of the year, along with Billie Eilish, U2 and Roberta Flack.

Built on a prominent sample of Luther Vandross and Cheryl Lynn’s 1982 duet “If This World Were Mine” (itself a cover of the song Marvin Gaye and Tammi Terrell introduced in 1967), “Luther” is from Lamar’s sixth studio album, “GNX,” which came out in November 2024.

“Luther forever,” Lamar said while accepting the speech. Cher announced the winner after accepting the Lifetime achievement award, at first just reading off Vandross’ name.

The song — which was produced by Jack Antonoff, Bridgeway, M-Tech, Roselilah, Sounwave and Kamasi Washington — spent 13 weeks atop Billboard’s Hot 100, longer than any other single in 2025. On Spotify, “Luther” has been streamed more than 1.3 billion times.

The other songs nominated for record of the year were Bad Bunny’s “DTMF,” Sabrina Carpenter’s “Manchild,” Doechii’s “Anxiety,” Billie Eilish’s “Wildflower,” Lady Gaga’s “Abracadabra,” Chappell Roan’s “The Subway” and “Apt.” by Rosé and Bruno Mars.

As it turns out, ‘80s pop star Kate Bush and fictional girl group Huntr/x from “KPop Demon Hunters” have a lot in common.

Over the last several years, Netflix has positioned itself as one of the few video streaming services focused on making an impact in the music industry.

From the surprise revival of older songs like Bush’s “Running Up That Hill” and Metallica’s “Master of Puppets” in shows like “Stranger Things,” to streaming the most originally produced music documentaries, there’s no doubt Netflix’s audience is musically in tune.

Last summer Netflix hit another level with the overwhelming success of “KPop Demon Hunters.” The animated movie, featuring fictional K-pop idols who fight the forces of evil, has become the most streamed Netflix movie with more than 480 million views since its release in June. But its success wasn’t limited to the viewership.

The soundtrack, full of punchy K-pop melodies and inescapable earworms, is the first to top the Billboard charts since 2022, when Disney’s “Encanto” created a similar frenzy. Huntr/x is also up for five Grammys at the awards ceremony Sunday.

The breakout single, “Golden,” which spent eight weeks at No. 1 on the Billboard Hot 100, is nominated for song of the year, the first time a Netflix production has been nominated in one of the Grammys’ big four categories.

Music and movies always have enjoyed a symbiotic relationship. Think of classic tunes like “Over the Rainbow” in “The Wizard of Oz” and “My Heart Will Go On” in “Titanic” that became generational hits.

Now, Netflix and other global streaming platforms have taken the synergy to another level, creating new opportunities for recording artists to showcase their music.

“All of a sudden, people are discovering music they didn’t know before,” said Ian Eisendrath, the “KPop Demon Hunters” music supervisor. “I think that people got hooked on the film, which hooked them on the soundtrack, which led to the discovery of other music.”

Eisendrath said the movie, produced by Culver City-based Sony Pictures Animation, was not expected to be “a slam dunk commercial success. It was a risk.”

Though geared toward children, the movie drew a vast audience of all ages.

“It hit all kinds of angles, the music, the story, the characters, the visuals — [Netflix] was very interested in a film that would have wide-ranging appeal to all the quadrants of movie watchers,” Eisendrath said.

In the streaming era, music supervisors like Eisendrath play an increasingly important role in the success of projects like “KPop Demon Hunters,” said Robert Fink, the chair of music industry programs at UCLA’s Herb Alpert School of Music.

He said over the last 10 years, the role has become about more than just finding a song to match a scene.

“They nurture artists in the way that record labels used to do,” Fink said. “They have artists that nobody knows about, or can get some people to write songs for [the project], which might then become a way that those artists and those songs become successful in the industry.”

The singing voices behind Huntr/x aren’t those of the lead actors. They belong to rising musicians Ejae, Audrey Nuna and Rei Ami. Ejae has written songs for major K-pop groups like Twice, Le Sserafim and Red Velvet, while Nuna and Ami have experience as solo artists.

Though they weren’t a group before the film, they have since performed together on the “The Tonight Show Starring Jimmy Fallon,” “Saturday Night Live” and in the Macy’s Thanksgiving Day Parade.

The soundtrack earned global appeal, with more than two thirds of its streams originating from outside the U.S., according to data from entertainment industry analytics firm Luminate. “Golden” scored a record 20 weeks at No. 1 on the Billboard Global charts. The popularity of the movie and its music helped boost music consumption on a global scale.

“KPop Demon Hunters” already is faring well this awards season: It won two Golden Globes and received two Oscar nominations for best animated feature and original song.

Justin Kamps, the music supervisor on “Bridgerton,” noticed a similar trend when new seasons of the Regency-era romance series drop. The period piece is famous for playing quaint orchestral covers of contemporary pop artists such as Billie Eilish, Pitbull and BTS. Its latest season is set to feature covers of Third Eye Blind, Coldplay and Usher.

According to Spotify, both the Vitamin String Quartet, the group behind the covers, and the original artists’ songs, like Eilish’s “Happier Than Ever” and BTS’ “Dynamite,” experienced spikes in listening after the show’s release.

“Music and streaming has grown together. It’s great for artists, because the moment that a song is featured in a project, it could be an incredible boost to their streaming numbers and get them discovered,” Kamps said.

Perhaps one of the most memorable examples of this dynamic happened in 2022, when “Stranger Things” featured Bush’s “Running Up That Hill.” Overnight, everything changed for both Bush and Netflix.

Nora Felder, the show’s music supervisor, called the moment “the perfect storm.”

“It exploded through the stratosphere. We didn’t expect that. We were focused on looking for something that told the narrative. It felt like it had been bigger than ever before,” Felder said.

“Running Up That Hill” received roughly 22,000 daily streams on average before it was featured in the show, according to Luminate. Following its star turn, the song it peaked at 5.1 million streams in a single day — nearly 40 years after its release. It entered the Billboard Hot 100 for the first time and hit 1 billion streams in 2022. The track then spawned viral trends on TikTok and pulled the ‘80s star into contemporary pop culture.

Throughout its five-season rollout, “Stranger Things” continued to influence what viewers were listening to. Felder said the draw of its soundtrack is a mix of nostalgia for older viewers who might have grown up in the ‘80s (the era in which the show is set) and an introduction to a new sonic world for younger listeners. According to Luminate, 28% of Gen Z discovers music through series that are exclusive to streaming.

When Felder works with other studios, she said music can feel like a “last consideration” or like “there wasn’t enough money being put in the music budget.” But with Netflix, music seems to be a priority, as she’s been able to license tracks from David Bowie and Fleetwood Mac and two Prince songs (which played in the “Stranger Things” series finale).

“Netflix is very careful, and for some projects, music is more of a main character than others,” Felder said. “I do feel like Netflix especially has been very careful to try and apply the budget accordingly and take a look at projects and [realize] that music could really be an added force.”

Netflix’s musicality will be put to the test during Sunday’s Grammys broadcast, as the girls of Huntr/x face off with Lady Gaga, Sabrina Carpenter, Kendrick Lamar and SZA, as well as Bad Bunny, Bruno Mars and Rosé. The Grammys will air live from the Crypto.com Arena on CBS and Paramount+.

During the summer of 1998, a 19-year-old rapper named Eve (formerly known as Eve of Destruction) received a phone call from her producer friend Scott Storch about an opportunity to hop on a record with the Roots.

The hip-hop band from Philadelphia, formed by Black Thought and Questlove, was bubbling at the time and Eve, a known battle rapper in the city, was excited to work together on a song called “You Got Me.”

After tweaking the verse that Black Thought, the band’s lead MC and co-founder, wrote for her, Eve laid down her vocals, rhyming the lyrics “Another lonely night? / It seems like I’m on the side, you only lovin’ your mic.”

“It was really exciting,” Eve said, while lounging on a couch in a Hollywood residence. The rapper, actor and fashion designer has been based in London for the last decade. “I think that was my most professional setting because they obviously were already signed.”

When the song, which is featured on the Roots’ career-defining “Things Fall Apart” album, was released in 1999, it was the first time the world heard Eve’s voice — but no one knew it was her. To her surprise, she wasn’t listed as a contributing artist on the track.

She was also surprised to find out that Jill Scott, a poet and rising neo-soul singer from Philadelphia who wrote and sang the initial hook, was replaced by Grammy-winning singer Erykah Badu. After receiving the wrong address for the shoot, Eve wasn’t featured in the music video either.

In 2000, the Roots and Badu won a Grammy for “You Got Me,” but because Eve wasn’t listed on the track, she didn’t receive an award. By this time, Eve was signed to Ruff Ryders and promoting her debut album “Let There Be Eve…Ruff Ryders’ First Lady” including her breakout single “Want Ya Want,” so although it hurt her feelings at the time, she moved past it, she said.

“There was no time to kind of go back and think about it,” said Eve, who opened up about the situation in her 2024 memoir “Who’s That Girl.” After years of seeing each other and even performing the song together, she and Questlove spoke about the matter for the first time when she made an appearance on his podcast and apologized to Eve for the oversight. “We were extremely inconsiderate, insular and uncommunicative with each other that things like that always spilled on the sidelines,” the drummer said on the podcast. (Questlove wasn’t available for comment further at the time of publication.)

(Allen J. Schaben/Los Angeles Times)

Last fall, Eve received another unexpected phone call — this time from the Recording Academy. After hearing Eve talk about the “You Got Me” situation on Ebro Darden’s podcast, the Recording Academy wanted to give her an award for her contributions to the track.

“They were like, ‘Listen, we didn’t even know about this situation at all until we heard the podcast,’” Eve recalled.

After 26 years, Eve was given a golden gramophone Thursday night during the Recording Academy Honors presented by the Black Music Collective in front of a star-studded audience. For her, the award feels like “validation in a way to that little girl, to little Eve,” she said. “She deserves that.”

She added, “Whatever is yours can’t miss you.”

Ahead of the ceremony, Eve spoke to The Times about coming up in the Philadelphia music scene as a teenager, what the “You Got Me” situation has taught her and what receiving this award means to her now. She also talked about the impact of her second studio album, “Scorpion,” which turns 25 this year, and what it was like to bring her toddler son on tour with her for the first time.

This interview has been lightly edited for length and clarity.

You grew up in West Philly at a time when so many future greats were coming up at once — the Roots, Jill Scott, Bilal and Scott Storch. When you were just a teenager, you were hanging out at studios with some of them and attending jam sessions at Questlove’s house. What did the energy in Philly feel like back then?

It was amazing because music was everywhere. I knew that I wanted it to be my life, so every weekend I was doing something. I should’ve been going to school, but I was going to the studio because I knew that I wanted music to be my life. And in Philly, there was always something going on whether it was a block party or a jam session or an open mic night. I was at everything.

Scott Storch was the person who called you about getting on the Roots’ “You Got Me” record. What was your reaction when you got that call?

When you are young, there’s that no fear thing. I remember being excited, of course, but also like, “Yes! I’m supposed to be here,” not from a cocky place but more affirmative. It was really exciting, but it was also very professional. I think that was my most professional setting because they obviously were already signed. I’d never been around that before, so I remember [being] like “This feels like the business.”

(Allen J. Schaben/Los Angeles Times)

You were around 19 or 20 at that time, right?

I must have been around 19 because I would’ve gotten signed and dropped [from Aftermath] when I was 18. [laughs]

At that time you were in between record deals, so it must have felt like a big opportunity.

Absolutely. You know what’s funny, I probably just took it for granted in the sense of like “Oh yeah, this is the start.” They are signed. It’s funny because I think back on the situation and I guess I thought it was gonna pop off from there. That’s why all the events that happened afterward were like “Ugh.”

Take me back to the day that you laid down your verse. Who was in the studio with you?

I’m pretty sure Black Thought and Jill [Scott] were there. Even if not the whole session, I don’t know if I’d come in if she’d finished or whatever, but I’m pretty sure she was there.

How did your verse come together?

I had this whole thing in my head, but Black Thought had a whole verse already. But then I was like, “I’m not gonna just say your verse.” Now, I have a writer sometimes, but back then, especially because I was a battle rapper, it was like I can’t say somebody else’s bars. That’s not real. So he had this whole thing and then I kind of tweaked it to make it feel and sound like me.

I had a lot of audacity back then. I really did. [laughs] Because most people would be like “Yeah, cool.” Also, I was like if I’m going to put my voice on this, I really want to feel like me. I have thought about this [situation] so much now, and I’m sure that also attributed to them being like, “We don’t need to reach out. We don’t need to make sure it’s OK” because the majority of it was written by him. Not that that’s an excuse because there is no excuse.

When was the first time that you realized you didn’t receive credit for the song? If I’m not mistaken, I think Jill Scott found out that her vocals were replaced by Erykah Badu after she heard it on the radio.

I think it was kind of the same thing. It all happened so fast like, “Oh, the song is out.” I probably heard it around the same time and thought “Oh, that’s not Jill. Oh, that’s Erykah Badu.” It was such a weird timeline because I did the song a year or a few months before, and then by the time I heard the song, I was living in Harlem and I was signed to Ruff Ryders.

The song went on to win a Grammy for rap performance by a duo or group in 2000, but because you weren’t credited, you didn’t receive an award. In your book, you talk about how this situation lined up with you being dropped from Aftermath Entertainment and moving back home from L.A. How did you deal with all of this emotionally?

I feel like I had a month that I was just [felt] — I don’t know if I’d call it depressed — deflated. I really felt like damn, this was it and now I’m back home. I was just in L.A. in a condo with a nice bank account. Now I’m back at my mom’s house in my pajamas and I gotta catch the bus. What the hell is happening to my life? [laughs] That was horrible so I was wrestling with my feelings and my sadness, but my mom was great. My mom has always been my rock. She was supportive and she [didn’t] tell me to get over it. She kind of just let me wallow in it, but [she was] positive as well like, “Maybe that wasn’t the time.” It was crazy, but I will say, I needed it. I’m happy that happened because I wouldn’t have the career I have now. Like going back to the Aftermath thing, if I had come out then, I wouldn’t have the career that I have now. I feel like I did need to be humbled because it was definitely the Philly attitude that got me fired, that got me dropped. [laughs] My name at the time was Eve of Destruction, my battle rap name, so it was the time that I sat with my feelings and I was like if I get this chance again who is it that I want to be as an artist? Who do I want to show the world? I didn’t want to take on a title. I was like I’m just going to show them myself. I’m going to show them Eve.

Some fans knew that you didn’t receive credit on this track, but others found out for the first time when you talked about it last year during an appearance on Ebro Darden’s podcast.

It’s crazy how many people are mad about it for me. I had friends who were like, “Girl, so what’s going to happen?” [laughs] But it is a funny thing. Why wasn’t I mad enough? Or was it — this is the over-analyzer [in me] — one of those moments where I just wanted to forget about it. Because, yeah, my feelings were definitely hurt if it was a fake address. Or did we get the address wrong? So maybe I was like, “I’ll just put it on the back burner,” but Ebro definitely did not. And you know what, I’m happy he didn’t because sometimes it takes for a person to be your champion or your cheerleader in certain things and I do appreciate it.

“You Got Me” is one of the Roots’ biggest songs to this day. Was it weird hearing it played everywhere when it first came out?

During that time I did not see them. It was very weird. That song had come out, I was doing my thing, but we ran in different circles hip-hop-wise. I guess we just never crossed paths. I never really saw them. I think they were on tour by then and I was with Ruff Ryders. We didn’t see each other until years later because we have performed that song now three times probably at separate points in my career, which is also weird. [laughs]

That is weird.

It’s weird. I don’t know what’s wrong.

Now, 26 years after “You Got Me” won a Grammy, you are finally receiving your award and honored at the Black Music Collective Recording Academy Honors. What was your reaction when you found out?

It was weird at first because the [academy] called a lot of different people. They called like four different people because they wouldn’t tell anybody why they wanted to talk to me. Finally, I think Swizz [Beatz] was probably the last person they called. Then we got on the phone and I remember I was having martinis in London. It was a FaceTime [call] and I was standing under a lamp. It was not professional on my side and I was trying real hard not to be tipsy. I was like, “This is so cool. Thank you, guys.” [laughs] My friend, who I was with, was like “What did you have to take a call for?” and I was like “Girllll.” So it was a fun night. I came home and told my husband, fell asleep and when I woke up, I completely forgot about it. Then my friend texted me and was like “Do you remember?” and I was like “Oh s—! Yeah!” It’s just such a cool thing and since then it’s been like “Wow.” They said, “We could send you the Grammy, but we’d like to give it to you.” It’s really nice. It’s a really interesting feeling because obviously it’s been so long, something that I thought I was done with, in a way, so it feels good.

What did they tell you exactly?

They were like “Listen, we didn’t even know about this situation at all until we heard the podcast.” It was the podcast that I did with Ebro when they were like “Oh nah.” Even Swizz was like “Sis, we gotta make this happen. That’s not cool.” And I was like “OK, cool.”

Does receiving this award now feel like reconciliation at all? Or maybe validation?

In a way, validation to that little girl, to little me. It sounds a bit cheesy, but she deserves that. It’s a great moment. I’m still wrapping my head around it in a way especially since I’ve been away from music for so long and for this to be happening like this is very cool.

(Allen J. Schaben/Los Angeles Times)

What have you learned or taken away from this situation?

I think I’m honestly still processing because I was joking, but kind of not, like I want to talk to my therapist about why I let this go. What was it? Why did I think, “Oh nah, it’s cool. We squashed it.” But it’s like no, this is bigger than that. But good s— comes to good people and I know for sure I definitely deserve it. [laughs]

In other exciting news, this March marks the 25th anniversary of your second album, “Scorpion.” What memories rush back to you when you think about that time of your life, living and working in Miami?

Oh my God. There’s so many. It was so fun. I remember the house we rented. I had one Yorkie, then I bought her a friend in Florida. It was silly s— that I remember and then just being in the studio day and night. Then the Marleys were on the other side. It was just a good time. I was fully in it. It was a lot of pressure because it was like “We gotta get this album done now.” It’s when I really think I felt the business of music in the sense of like, “We gotta meet these deadlines. We gotta get this album out,” which was stressful but I was still naive enough, I think, to still be having fun. I was going out. I met Trina. Trina is my girl. Overall, it was a really good time.

Between experimenting with new sounds, crossing genres with artists like Gwen Stefani, and making the theme red, “Scorpion” felt very intentional. Reflecting back, what did that era represent for you personally beyond the music?

I feel very lucky that Ruff Ryders always allowed me to artistically do what I wanted to do. They never said things like “Oh this might not work.” And even sonically, they weren’t the ones who were fighting back, it was more like executives and Interscope, but for me “Scorpion” means red. Red is a scorpion color. We gotta come out stinging, but I also want to show that I’ve grown, that I’ve matured and really show what my ear is. I felt really lucky that they didn’t fight me on it. They let me do exactly what I needed to do. It felt collaborative because that’s how Ruff Ryders worked anyway. There were people in and out of the studio all the time, but it made it good because sometimes a conversation led to a hook or a verse.

Last year you went on tour with Nelly, Ja Rule and Chingy, and you brought along your son. What was it like having him there with you, seeing you on stage?

It was grueling. I ain’t gone lie. It was amazing, but being on tour with a toddler is different. That being said, the reason I said yes to doing the tour is because he’s young enough that I can kind of tote him around, but he’s old enough that he can remember. Seeing him on the side of the stage was like “Oh, my little baby.” It was also fun. Like everybody on that tour had bangers, so even me performing or being backstage and hearing Ja or hearing Nelly or hearing Chingy, it was a good tour. The crowd showed up. It was a really cool tour too because in some places, it was like generations of people together like the kids and the moms, and then there were a lot of young people, and I was like “Oh, I love this.”

What else do you have coming up?

Listening to new music and discovering new artists. I am excited about this 25th anniversary because we are going to do some really fun stuff with it and we’re talking about some re-imaginings with it. Just touch some of the songs that people love and give it a bit of life. What else? I don’t know. I’m just “momming.” That’s my favorite thing right now. He’s getting so big. I cannot believe he’s about to be 4. Watching him grow is nice.

This time 36 years ago, Fabrice Morvan was preparing for his first Grammy Awards. It had been a wild few years for the 23-year-old Parisian and his best friend Robert Pilatus from Germany. The duo known as Milli Vanilli had rocketed to fame, going from obscure dancers in Munich to dominate the pop music scene. Not only were they nominated for best new artist, but they were expected to perform live. Underneath it all, the pair were quickly reaching their breaking point.

Don Henley’s “The End of the Innocence” was nominated for both song and record of the year. Indeed, for the tens of millions of Milli Vanilli fans who bought their records, the 1990 Grammy ceremony marked an end of innocence of sorts. To this day, Milli Vanilli are the only artists in the history of the Grammys to have their award revoked.

L-R: The pop duo Milli Vanilli comprised of Fab Morvan and Rob Pilatus, the subject of the Paramount+ documentary Milli Vanilli, streaming on Paramount+ beginning October 24, 2023.

(Ingrid Segeith/Ingrid Segeith/Paramount+)

“Rob and Fab,” as they were known, never sang — live or in studio — on any of the smash hit singles from their 6x platinum debut North American album, “Girl You Know It’s True.” Their Grammy performance was them lip-synching to a playback.

The real singing was done by paid session vocalists John Davis, Brad Howell and Charles Shaw while Rob and Fab captivated with their charisma, athletic dance moves and eye for style. In the wake of the fallout, Milli Vanilli remained steadfast that what they did was wrong. There was, in fact, plenty of blame to go around even if Rob and Fab suffered the brunt of it.

“They removed the platinum records from the wall at Arista,” says Morvan, now 59. He is perched on the edge of a poolside lounge chair from a boutique hotel in the heart of Hollywood. It’s a sunny December day, but he’s dressed all in black with glasses to match, slim fingers adorned with a custom silver skull ring. He loves the sunshine, but offers for my sake to move somewhere in the shade. Able to pass for decades younger, he now basks in life on the other side of infamy.

“They say the truth will set you free. The truth takes the stairs while the lies take the elevators. And that is true,” Morvan said. “So finally, after 35 years, my truth comes to the surface.”

(Stephen Shadrach)

Now, in a redemption as astounding as his rise, Morvan is back in the running for the 2026 Grammys as the only person in Recording Academy history nominated after a prior revocation.

This time, the voice is unmistakably his. Nominated in the audio book, narration, and storytelling recording category for his memoir “You Know It’s True: The Real Story of Milli Vanilli,” Morvan’s lilting French dialect and soft tone are hypnotizing and he has a natural knack for storytelling. The recording was performed alone in his home studio.

“They say the truth will set you free. The truth takes the stairs while the lies take the elevators. And that is true. So finally, after 35 years, my truth comes to the surface,” he contends. “And people, they get it, they understand that.”

Sadly, Rob Pilatus isn’t here to see it. Unable to handle the fallout and struggling in addiction, he died in 1998. In one of the more moving parts of his memoir, Morvan speaks to his former partner, laying bare for the first time some of the more unhealthy aspects of their relationship but in a way that makes clear his love for Pilatus runs deep.

After Pilatus’ death, Morvan tried his best to move on. He taught French at a Berlitz school for a while when not performing at small venues. “I’m not even looking at becoming big,” he told Times journalist Carla Rivera in a 1997 profile. He even had a stint on radio hosting “Fabrice’s Fabulous Flashbacks” for KIIS-FM. But he always returned to making music.

“Music was always there with me,” he says, his excitement building. So when it came to moving forward in life, and, I said, ‘OK, what am I going to do?’ Music kind of popped up and said, ‘Hey, show me how much you love me.’ And then I worked on that, and I learned how to play guitar, and I learned how to produce, and I learned how to write … it allowed me to take the pain away, to remove it.”

But after 20 years in Los Angeles, Morvan felt it was time to leave “Hotel California,” as he calls it, for opportunities in Europe. In a follow-up Zoom call from his home in Amsterdam, he confides that he almost felt like giving up, but figured maybe a change of scenery was what he needed.

“I was very disillusioned,” he says, headphones crowning his dreadlocked updo. “I found a producer that I could work with and build something with, but due to certain circumstances, it didn’t come together. So I met some Dutch people that wanted to launch a fashion line. And I heard that Holland was a place where dance music was evolving.”

Becoming a DJ, he played festivals and kept Milli Vanilli’s legacy alive, performing with a live band.

Morvan with his wife Tessa van der steen and their four children

While preparing for a project about 15 years ago, Morvan met his current partner, Tessa van der Steen, who is Dutch and works as a health and fitness coach and alternative medicine practitioner. Together, they have four children: a 12-year-old boy, 9-year-old girl, and a set of 4-year-old twin boys.

During Milli Vanilli’s heyday, powerful male (mostly white) figures held the cards, but in this phase of his life it’s women who play big roles. Not mentioned in his book is Kim Marlowe, who Morvan says, in the 1997 Times article was his manager and best friend. They at one point married; Marlowe quietly filed for divorce in L.A. in 2024.

Van der Steen, however, is the love of his life. She had no idea who he was when they first met, he was simply “Fabrice.” And according to Morvan, she is fiercely protective. “Fab is the most loving partner and father I could ever imagine,” Van der Steen writes over email. “We are soulmates. We have been together for more than 15 years. We understand each other, and it happens often that we are thinking of the same things, without saying a word.” She champions his efforts to release original music and continue performing.

In recent years, changes in culture, technology and the music industry have opened up conversations casting Rob and Fab in a more sympathetic light. Morvan himself took part in the well-received 2023 Paramount+ documentary “Milli Vanilli.” That same year, “Girl You Know It’s True,” a well-made biopic directed by Simon Verhoeven, came out.

And Morvan was caught off guard when Ryan Murphy featured Milli Vanilli prominently in his 2024 series on the Menendez brothers, a move introducing the group to new generations unfamiliar with the story. Motivated by the renewed interest, he recorded a stripped down, acoustic version of the Diane Warren-penned hit “Blame It on the Rain.”

As recently as November, Milli Vanilli came up in the zeitgeist, sparked by a comment on X by veteran producer Jermaine Dupri commenting on AI “artists” charting on Billboard.

Of course there are still detractors, but in an era in which public cancellations abound and apologies are scrutinized for any whiff of inauthenticity, Milli Vanilli’s wrongdoings can now seem quaint.

Benjamin Matheson, assistant professor at the University of Bern’s Institute on Philosophy, studies collective shame and writes on celebrity apology. He offers the startling thought that certain fans might be more willing to forgive a moral wrong, even an egregious one like unlawful intercourse with a minor in the example of director Roman Polanski, as opposed to artistic deception because it can be seen as more authentic.

“I think that perhaps,” Matheson writes over email, “Milli Vanilli suffered because they were an early ‘created’ pop band, and the public hadn’t been acclimatized to this kind of music. Whereas now I think people are much more comfortable with autotuning, AI music, and so on — though I’d love it if there was a bit more push back on this kind of thing.”

Morvan has plenty of thoughts on the state of the music industry past and present. He welcomes the change in perspective, and while he doesn’t live in regret, looking back, he would give his younger self a little advice.

“Keep working on your craft now. No matter what, and don’t ever start drugs. And don’t let your buddy Rob start with that. With those two, things would have been different.”

The pop duo Milli Vanilli comprised of Rob Pilatus(left) and Fab Morvan are the subject of the Paramount+ documentary Milli Vanilli, streaming on Paramount+ beginning October 24, 2023.

(Paul Cox/Paramount+/Paul Cox/Paramount+)

When the Los Angeles Tribune editorial staff selected “Girl You Know It’s True” as its movie of the year, Morvan met Parisa Rose, his co-writer and executive producer for the recording of the memoir. Rose, a first-time author and mother of two, first met Morvan when she interviewed him for the quirky paper — now in its fourth revival. She is now chief operating officer of the Tribune, which has expanded to include a publishing house.

Rose, who grew up in Pasadena, helped Morvan reckon with parts of his background he had long buried. One of the most compelling parts of the memoir is when he breaks the fourth wall, narrating letters to individuals from his past.

“You need to say everything you have never said before to them that you’ve always wanted to say,” she says of the exercise they conducted for the interludes. “You need to know that this is the last conversation you will ever have with them. And you need to imagine they are sitting across from you now.” Reached over the phone, Rose said she also helped with research, uncovering details on the seaside sanatorium in France where Morvan spent much of his early childhood.

A great part of Morvan’s motivation for the memoir was to leave a legacy for his kids. His oldest son is getting into music and recently found an old Milli Vanilli vinyl and plays it along with Daft Punk and Michael Jackson. Remaining “zen” about the idea of winning, he’s enjoying the moment. And the big dreams never die. He plans to tour in the next year and come back to perform in America. And who knows? Maybe one day he can play Coachella.

He’s particularly thrilled over his Grammy outfit, a collaboration with Spanish designer Helen López, whom he previously worked with on a Milli Vanilli-inspired line. “When you’ll see what I’m wearing … you’ll see that I don’t play,” he says with a twinkle in his eye. “No matter what the outcome in life, you have to just be, be in the moment. Enjoy the moment. Whatever happens will lead you to something else. I have no expectations.”

Pop artist Kii Arens made a name for himself in music over the years, creating concert posters for bands and vocalists such as Radiohead, Elton John, Dolly Parton, the Weeknd, Sonic Youth, Tame Impala, Diana Ross and more.

That work is taking center stage at Arens’ new downtown Los Angeles gallery, FAB LA, in a show titled “And the Winner Is.” Curated by Arens and featuring poster art of Grammy winners, the exhibition is set to open Friday, two days before the 2026 Grammys descend on the city, and just in time to welcome plenty of visiting celebrity faces to the gallery’s third-ever event.

A glittering party scene is part of every exhibition Arens hosts, dating back to his previous gallery, LA-LA Land, which he opened two decades ago on Santa Monica Boulevard in Hollywood and ran until its lease came up last year.

FAB LA officially launched in October with “XO, LA: A Love Letter to Los Angeles,” an exhibition that reflected the eclectic voices and existential challenges that define L.A. culture with paintings, illustrations and mixed media works by Shepard Fairey, Corita Kent, Anthony Ausgang, Ashley Dreyfus, Paul Frank and others.

Pop artist Kii Arens lays on his desk in his new gallery, FAB LA, inside the historic Fine Arts Building on 7th Street in downtown Los Angeles. Posters from his new show, “And the Winner Is,” feature images of Grammy winners just in time for the big awards show.

(Genaro Molina / Los Angeles Times)

The flamboyant “Mick Rock’s Rocky Horror Art Show” followed in December. The exhibition was among the last events marking the famous cult film’s 50th anniversary, and featured Rock’s famous photographs alongside pieces by pop star designer Michael Schmidt and digital portraitist Plasticgod. As with previous events at LA-LA Land, the opening attracted rockers, drag queens and club world cognoscenti.

DJs Sean Patrick (Simon Says) and Chris Holmes (Paul McCartney’s touring DJ, and creative collaborator with Cosm) manned the decks, and “RuPaul’s Drag Race All Stars” winner and podcaster, Alaska Thunderf—, performed as Tim Curry’s Dr. Frank-N-Furter, dancing and prancing around the grand environs.

There are galleries all over Los Angeles, but few can be described as works of art unto themselves. FAB LA is that and more.

Its majestic headquarters are housed inside downtown’s historic Fine Arts Building — a breathtaking palace-like structure with a 100-year history of craftsmanship and creativity.

Located near the intersection of 7th and Flower streets, the landmark building was featured in the 2009 film “(500) Days of Summer,” a hidden gem overshadowed in recent years by hectic street life, chain food spots and bustling business energy. Used primarily as an office building, its ornate design, carvings and sculptures — including a ground floor fountain with frolicking bronze youths — hadn’t invited much public attention or appreciation.

Pop artist Kii Arens catches some air in front of the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designated a Historic-Cultural Monument in 1974 and restored in 1983.

(Genaro Molina / Los Angeles Times)

That changed late last year when Arens took over the first two floors.

“Historically, artists lived and worked inside this building,” he said during a recent opening. “This idea really resonated with me.”

Originally from St. Paul, Minn., Arens moved to L.A. in 2004 and promptly opened LA-LA Land. The Hollywood showroom debuted on election night 2004 with a group exhibition called “Happy War,” featuring anti-war works and Fairey as DJ. Wild and kitschy shows followed with opening fetes dedicated to colorful subjects including Andy Warhol, circus clowns, and Canadian television creators and puppeteers Sid and Marty Krofft.

In addition to creating art and DJing, Arens is also a musician, and his eclectic music projects reflect his nostalgic proclivities. They include a rock outfit called FLIPP, which he describes as, “the Sex Pistols meets the Spice Girls,” as well as a pop-duo called Jinx, and solo work that counts 4 Non Blondes’ Linda Perry as a collaborator.

Arens is a largely self-taught visual artist. His work has always leaned toward entertainment figures and musical subject matter, which led to major commissions for album covers and tour poster art — some of which will be featured in the upcoming exhibition at FAB LA.

Poster prints of Elton John, left, and Jim Morrison, by Pop artist Kii Arens are part of his latest show, “And the Winner Is,” which features poster art of Grammy winners and is on display in Aren’s new gallery, FAB LA, which opened late last year.

(Genaro Molina / Los Angeles Times)

When LA-LA Land’s lease expired, Arens sought a new place that would embrace his experimental energy. He also wanted a unique backdrop for showcasing imagery that “treats pop culture as a shared memory for all to take in,” he said. “Something worthy of being preserved, not just consumed.”

The Fine Arts Building’s longtime real estate representative, Gibran Begum, was looking for the same thing. Preservation was part of the conversation when the two connected, but both were also focused on revitalization and augmenting the structure’s old-world charms with something fresh and modern. The goal was to once again bring art lovers to the neighborhood.

A cohesive arts event had been lacking in the area since the monthly Downtown Los Angeles Art Walk scaled down in the face of traffic and permit issues, and more recently COVID closures. The event recently resumed, and though it’s much smaller Arens said he has high hopes for its growth, and for FAB LA’s place in its future.

As does Begum, who calls the Fine Arts Building “a rare and special space.”

“The second you enter, you’re somewhere else, it’s almost like walking into something in Florence, Italy,” Begum said. “We were looking for someone to help rejuvenate and reenergize it and who understood the culture of it.”

Pop artist Kii Arens strikes a pose inside the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designed in the Romanesque revival style by architects Albert R. Walker and Percy A. Eisen, who also created the Beverly Wilshire Hotel in Beverly Hills.

(Genaro Molina / Los Angeles Times)

Designed in the Romanesque revival style by revered architects Albert R. Walker and Percy A. Eisen, who also created the nearby Oviatt Building as well as the Beverly Wilshire Hotel in Beverly Hills, the building’s exterior is embellished with dramatic columns and arches. Its interior features gargoyles, griffins and other mystical figures by sculptor Burt W. Johnson, as well as hand-crafted tiles by Ernest Batchelder and murals by Anthony B. Heinsbergen. A vintage elevator ferries guests between floors.

The opulent building opened on Dec. 8, 1926, attracting an estimated crowd of 27,000, and was named a Historic-Cultural Monument in 1974.

Though various artists have shown in the building over its 100-year history, FAB’s vibrant vision, focused on the intersection of design and fine art media, feels like the right fit for the current moment.

“I almost feel like the ghosts of some of the artists are looking down at me and smiling, knowing that what they loved is happening here again,” Arens said.

This includes immersive gatherings, which are a big part of Arens’ plans for FAB. “We’ll have movie premieres, live music events, poetry and I definitely want to have fashion,” Arens said. “The room would make a great runway!”

Charity is also part of the picture.

“And the Winner Is,” serves as a fundraiser for Oxfam, which works to relieve global poverty. Arens said he’s been hosting charity events for the group for the last five years — always right around the Grammys.

“We’ll have a bunch of amazing vinyl records donated by Rhino, and we’ll have clothing donated from famous musicians. Matt Pinfield is DJing and so is Jeffrey Ross,” Arens said.

A poster of Liza Minnelli by Pop artist Kii Arens is part of his latest show, “And the Winner Is” which features poster art of Grammy winners and opens over Grammy weekend.

(Genaro Molina / Los Angeles Times)

The exhibition, which closes March 8, will feature some of what Arens calls his “greatest hits,” including an ebullient Liza Minnelli portrait, and other significant prints such as a black-light poster design of Dolly Parton, and a Van Halen print representing Eddie Van Halen’s famed red-, black- and white-splattered “Frankenstein” guitar design on a notebook.

“I’m into simplifying images until they become familiar, immediate and emotional,” Arens said of his work. “I like to strip images down to what people recognize instantly. The feeling comes first, then I’m focused on evoking optimism, color and joy.”

Up next: A show in April in association with the animation studio Titmouse and dedicated to the art of animation.

“In this moment where everything feels disposable, I want to make something that is solid, something you stand in front of, not scroll past,” Arens said.