A lively crowd gathered outside the GRAMMY Museum on the evening of June 5, as the Los Angeles Double Dutch Club kicked off the second annual Hip-Hop Block Party with a high-energy performance that blended athleticism, rhythm and joy. As the jump ropes smacked the pavement and synchronized footwork mesmerized onlookers, the museum's entrance became an impromptu stage, setting the tone for the communal celebration to come.
Back for its sophomore outing, the Block Party returned bigger, bolder and with more intention. While last year's festivities were anchored by the 50th anniversary of hip-hop, this year's event broadened the scope, showcasing lesser-celebrated elements of the culture. The additions of new activations like live painting with Tyler Van Gotti, tap dancing and double dutch reflected the evolving vision of Schyler O'Neal, the Museum's Manager of Education & Community Engagement, for what's now become a signature celebration.
"Hip-hop is about being yourself," O'Neal tells GRAMMY.com, recalling a statement from D.M.C. of Run-D.M.C. during a visit to the museum years ago. "He said, 'If I was a ballet dancer, I'd be doing pirouettes over hip-hop beats.' That stuck with me. Hip-hop is a melting pot. It holds space for movement, fashion, raw expression… everything."
Between jam sessions, DJ sets and surprise performances, guests floated through the museum's revolving activations while enjoying a delicious spread of vegan tacos, mac and cheese, sweet treats and cocktails. It was a celebration of culture, but also of connection, made possible in part by a grant from the Department of Cultural Affairs.
"This event is successful when we're highlighting the community, so I wanted to figure out how to get more people involved," O'Neal emphasizes. "For me, the success of the event is when the community feels like it's their own."
That community energy pulsed throughout the museum, from the Ray Charles Terrace — where DJ R-Tistic kept the vibe alive with a seamless blend of old-school classics and contemporary bangers — to the galleries below where streetwear fashion shows, spoken-word poetry and live podcasting brought hip-hop's creative force to life. Here's a closer look at some of the night's standout moments.
All photos by Randy Shropshire/Getty Images for The Recording Academy.
Streetwear Took The Spotlight In A Bold Artist-Driven Fashion Installation
On the museum's third floor, hip-hop style didn't just take the stage — it owned it. Set against the backdrop of the museum's On the Red Carpet exhibit, which features iconic looks worn by GRAMMY winners Luther Vandross, Jon Batiste and Billie Eilish, the runway came alive as models strutted in colorful jerseys, polo shirts, bold denim bottoms, and statement eyewear. Emerging brands like Graciously Noticed, WEARHOUSE, breathe by Brandon, and Dstryr brought fresh energy and attitude to every look.
The fashion art installation was curated by renowned stylist Andrew McFarland and his sister, fashion event director Melissa McFarland, who together crafted a dynamic showcase celebrating hip-hop's influence on style, identity and self-expression. The activation also featured a powerful exhibit spotlighting two rising California brands: Packed Vision's new Jesus Wept collection and a dorm room-inspired installation from Harvard & Yale.
Following the first runway show, singer/songwriter Benjamin Carter took the mic for a soulful surprise performance that captivated the packed audience.
A Poetry & Open Mic Space Showcased Hip-Hop's Living Language
Steps away from the museum's immersive Sonic Playground exhibit, where guests could channel their inner producers and experiment with beats, loops and more, a different kind of creative exploration was going down. In an intimate corner of the gallery, seasoned poets took the stage to share their poignant works.
Hosted by award-winning poet Barbara Fant, the activation invited guests into a space of creative communion and vulnerability. During her opening poem, Fant moved the room with the line, "I hear God's voice trapped in the bass of my own faith."
Clapping, finger snaps and amens were encouraged to keep the energy high. "Poetry is all about building worlds. We are architects," Fant proclaimed. "The power of life and death is in the tongue."
Across a trio of dynamic 20-minute sets, acclaimed poets Yazmin Monet Watkins and Alyesha Wise shared the stage with emerging voices on the scene. During the open mic portion of the activation, Kmisha-V, an aspiring R&B singer, hit the stage to perform a soulful rendition of the Fugees "Killing Me Softly," drawing soft harmonies and playful Wyclef ad-libs from the locked-in crowd. In every form, the power of words was celebrated in the space, honoring the foundation of storytelling in hip-hop.
A Popping Hip-Hop Trivia Game Drew An Enthusiastic Crowd
It was standing room only on the fourth floor as guests packed in for one of the most spirited events of the evening — the official launch of Urban MusIQ: A Game Night For Music Nerds.
Backed by a steady soundtrack of hip-hop classics, the competitive energy was palpable in the room. Participants submitted answers in real time through an app as MJ, the game's charismatic creator/emcee, delivered multiple choice questions covering everything from deep cuts to more widely known cultural moments, like, "How many times did Ying Yang Twins pull up to the club?" (Fifty-leven, for those curious.)
Laughter and lively debates echoed throughout the space thanks to a live leaderboard, which kept the stakes high and everyone engaged. In a surprise twist, the event's own DJ R-Tistic clinched a win, earning cheers and serious bragging rights for the night.
Audience Members Joined The Fun During A Live Taping Of The Culture United Podcast
In the Clive Davis Theater, guests gathered for the first-ever live taping of the Culture United podcast — and they came ready to participate. Award-winning music journalist and content director Justin L. Hunte led a lively, no-holds-barred conversation on L.A. hip-hop and beyond, joined by a sharp panel of industry insiders, including Curtiss King, DJ Hed, Jen de Leon, and Jason Martin.
The discussion touched on one of the week's biggest music stories: Pusha T's claim that Def Jam tried to censure Kendrick Lamar's verse on the new Clipse record, prompting the duo to part ways with the label. Shortly after that news broke, their manager clarified that Def Jam's parent company, UMG, had actually bought the duo out of their deal. This sparked a larger conversation among the panel about whether artists truly need major label backing to succeed on radio and in international markets.
Polite disagreements gave way to passionate exchanges, with a few heckles from an enthusiastic audience member. It was hip–hop discourse at its finest: informed, unfiltered and fueled by community energy.
The Syncopated Ladies Reminded Us That Tap Dance Is Not A Thing Of The Past
On the rooftop stage, Leslie "Big Lez" Segar, the Dance Activation Director, set the scene for one of the evening's most electrifying performances: a set from the Syncopated Ladies, an all-female tap ensemble led by Emmy-nominated choreographer Chloé Arnold.
"For so many years and decades, we've seen men in tap shoes killing it. Gregory Hines, Sammy Davis Jr., Fred Astaire," Segar told the crowd. "Remix. It's the ladies' turn!"
The crowd erupted as the ensemble tapped with precision and swagger to tracks by Victoria Monét, Beyoncé and Queen Latifah, a vibrant tribute to the enduring connection between tap and hip-hop. "Tap dance is a regional American street dance born out of the need for freedom," Arnold explained mid-performance. "We improvise and freestyle just like hip-hop. So it's time to tap in."
She then led the crowd in a rhythmic call-and-response before closing out the set with syncopated power and undeniable joy.
An All-Star Lineup Led A Powerhouse Krump Session
As night fell over Downtown Los Angeles, the Ray Charles Terrace was only about to heat up. Guests were asked to form a half-circle on the dance floor — not just to watch a performance, but to take part in a krump session, where shared energy and crowd interaction are key.
At the center was Tighteyex, an influential pioneer of the dance style. Alongside him were a crew of dancers, including Malice and Larry "RUIN" Combs, who picked up the energy with buck hops, chest pops, rumbles, and more.
The crowd was locked in, their cheers, gasps and shouts of encouragement rising with every rhythmic explosion. For many, it wasn't just entertainment; it felt like you were witnessing a spiritual transmission, passed from the dancers to the crowd through sheer energy.
"Krump means a lot to me," Combs shared with GRAMMY.com after the set. "I've been doing it for more than half my life — since I was 12 or 13. It's taken me all over the world. The only places I haven't been are Africa and Australia. I dance, teach and spread the word about the krump movement. I've met so many people I call family in other parts of the world."
As the celebration wound down, guests gathered for a rooftop jam session — a joyful, free-flowing dance floor that brought together organizers, performers and attendees alike. It was the perfect close to a night built on rhythm and unity.
"I enjoy seeing people just having a good time and asking, 'Yo, when is the next one?'" says O'Neal. "We need this every year… so get ready for the next one."