How the Los Angeles Wildfires Will Transform the 2025 Grammys 

An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)
An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)
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How the Los Angeles Wildfires Will Transform the 2025 Grammys 

An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)
An aerial view of homes destroyed in the Palisades Fire on January 27, 2025, in Pacific Palisades, California. (Getty Images via AFP)

The Grammy Awards will look a little bit different this week.

Each year, the Recording Academy hosts a multitude of events to welcome the music industry during Grammy week and record labels do the same. However, many institutions have canceled their plans — Universal Music Group, Sony, Spotify, BMG and Warner Music Group among them — and instead are allocating resources to help those affected by the devastating Los Angeles-area wildfires.

The Grammys will still take place on Sunday at the Crypto.com Arena in Los Angeles but now will focus its attention on helping wildfire victims.

How will Grammy week differ in 2025?

Within days of fires ravaging the Pacific Palisades and Altadena neighborhoods, the Recording Academy and its affiliated MusiCares charity launched the Los Angeles Fire Relief Effort with a $1 million dollar donation. According to a letter sent to members on Jan. 13, thanks to additional contributions, they’ve already distributed $2 million in emergency aid.

Once the fund was set up, Recording Academy CEO Harvey Mason jr. said they began focusing on reformatting what Grammy week would look like — many conversations conducted "on the road, mobile-y, virtually" as staffers had evacuated their homes.

"That process has really consisted of reaching out to just listen and learn from a lot of people — state officials, local officials, the governor’s office, the mayor’s office, the fire department. We talked to hotel managers, just really trying to get a grasp on what was happening currently. What did they project was going to happen in the next week to 10 days? Would it be safe to have a show?"

Ultimately, the Recording Academy decided to condense its pre-Grammy week plans to just four events, each featuring a fundraising element.

On Friday, MusiCares, an organization that helps music professionals who need financial, personal or medical assistance, will hold its annual Persons of the Year benefit galacelebrating the Grateful Dead.

On Saturday, the Special Merit Awards Ceremony and Grammy nominees' reception will still take place, followed by Clive Davis' pre-Grammy fundraising event.

Then the Grammys take the stage on Sunday.

Events like the annual pre-Grammy Black Music Collective event, Grammy advocacy brunch, and others scheduled to take place at the immersive pop-up Grammy house have been canceled.

"We thought consolidating the events would allow us to have more impact," Mason explains. "And we just don’t feel it was the right time to have social gatherings or places to party or schmooze and just hang out. We wanted to have our events be places that could be purposeful and impactful. Some of the party settings, we decided to fold down into our fundraising efforts."

How has the Grammy award show been reformatted?

"Obviously, we can’t have a normal show in the midst of people’s belongings being burned or loss of life or other things like that. At the same time, canceling would not have helped," Mason says.

"We needed to raise money. We needed to show unity and come together around music. We need to support the city of L.A. (Over) 6,500 people work on our shows and ancillary gatherings. So, once we decided to move forward, it was really a conversation with (Grammy producers) Ben Winston, Raj Kapoor and Jesse Collins and myself. And we started to think about, ‘How do we make the show have the greatest impact?’"

They decided the path forward was to still give out awards and host performances to give viewers and attendees a bespoke concert experience. But most importantly, the show could raise awareness, drive donations and resources to funds that benefit people in need.

And the conversations are ongoing. "We have some great things in the show that will definitely help to raise funds," he assures. "It will honor some of the heroes that have been protecting our lives and our homes. It will hopefully shine a light on some people that need more help and more services."

Don't expect a traditional telethon, but he says the show will feature announcements and activations in the arena.

"Hopefully we’ll be talking about things that have been pledged from the sponsors or from the community," he adds.

How many Recording Academy members were affected by the fires?

"We know right off the bat that we’ve got almost 3,000 requests for help from our members or people in the music community," Mason says. "So that was just in the first few days."

The immediate needs have been "the basics," as he explains. "Food, water, shelter, the bare necessities to live."

"The next phase will involve, you know, where they’re going to live, how are they going to replace maybe damaged or destroyed instruments, studios. How will they make a living? I’m sure there’ll be some mental health component that people may need assistance with. But it’s really across the board. But the early, immediate relief is around just the bare necessities."

Has anything like this happened before?

There's no shortage of natural disasters, and they affect the music community too. Mason brings up the COVID-19 pandemic as a recent example. With MusiCares, they were able to contribute "over $40 million to people who needed help." They have the infrastructure to provide assistance quickly.

However, he notes, the Grammys are the first major award show taking place after the wildfires, which means "there's no playbook for this."

"But I’ve always said it all changes if the fires were to continue, or possibly got worse, or the winds changed. So, I always want to reserve that right. We’re not going to go blindly forward if things are unsafe or if it feels inappropriate," he says.

But consider the fundraising, the economic and financial impacts, and the possibility of unity, "It all makes sense for us to move forward."



Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
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Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.


Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
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Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.


'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
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'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)