uva campus tour dates

Office of Undergraduate Admission

Group tours.

With its blend of historic buildings and new, innovative research and learning spaces, the UVA School of Engineering and Applied Science is beautiful and inspiring. We welcome visitors to walk Engineers Way, take a tour or visit faculty and classes. And while you're here, enjoy the full University and Charlottesville experience.

Take an In-Person Tour

***summer tours *** .

They are offered by request, using the Summer Tour Request Form beginning Monday, May 20th.

During the academic year, engineering tours are offered Monday - Saturday (**with exceptions). Tours for the Spring 2024 semester ended on Tuesday, April 30, 2024.

• Tours are once a day at 1:00 p.m .
• All tours last about 50 minutes. 
• No reservation is required. 
• Visitors wishing to take a tour should meet at the entrance of Thornton Hall's A-Wing .  

**Please note: Tours are NOT available for home football game days and when classes are not in session .

For questions, contact the Engineering Guides at [email protected] Official University tours are conducted by the University Guide Service.

Driving Directions

From I-64: Following signs to the UVA Information Center, get off at exit 118B for the Route 29/250 Bypass. Go approximately 2 miles and take the off ramp for Route 250 East Business (Ivy Road). Turn right off the exit ramp and follow Ivy Road. At the fourth traffic light, turn right on Route 29 Business/Emmet Street. Continue 1/2 block just past the blinking light. Turn left into the University of Virginia Central Grounds Parking Garage at 400 Emmet Street South (hourly fees), which is directly in front of Newcomb Hall.

From I-66 via U.S. Route 29 North: Take I-66 from Northern Virginia past Manassas. Take the exit marked “Route 29 South - Gainesville.” Proceed to Charlottesville, where Route 29 becomes Emmet Street. Pass University Hall basketball arena on the right. Proceed straight through the traffic light at the intersection of Route 250 Business (University Avenue/Ivy Road). Continue 1/2 block just past the blinking light. Turn left into the University of Virginia Central Grounds Parking Garage at 400 Emmet Street South (hourly fees), which is directly in front of Newcomb Hall.

Getting to the Engineering Complex: From the University of Virginia's Central Grounds Parking Garage at 400 Emmet Street South (hourly fees), take the elevator up to the bookstore level. Walk on Newcomb Road toward McCormick Road and make a right on McCormick. Walk across the overpass/bridge. Thornton Hall is the first building on the left. Engineers Way is to the right of Thornton Hall and leads to the rest of the Engineering School complex — with the exception of the Department of Biomedical Engineering, which is housed near the Medical School.

The nearest public parking to the Engineering School is available for an hourly fee in the University of Virginia Central Grounds Parking Garage at 400 Emmet Street South .

To see other UVA visitor parking, click here.

Navigating the Engineering School - Map

UVA Engineering strives for a welcoming and accessible experience for visitors. See our map for details of buildings and amenities, such as restrooms and elevators.

Contact an Engineering Department

Faculty, staff and students are eager to share information about their departments. Contact your department(s) of interest to learn more.

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A Return to Grounds: In-Person Admission Tours Are Back at UVA

June 15, 2021 • By Jane Kelly, [email protected] Jane Kelly, [email protected]

• Jane Kelly, [email protected]
• Dan Addison, [email protected]

Rising fourth-year student Benjamin Trombetta welcomes students and families to UVA’s iconic Lawn in one of the first in-person admissions tours at UVA in 15 months. (All images by Dan Addison, University Communications)

The Virginia summer heat and humidity slowly grew more intense Monday under a haze of early morning sunshine as a tangle of high school students and their parents gathered for the first in-person college tours at the University of Virginia in 15 months.

There was a sense of excitement and anticipation in the air as small groups of visitors departed the grassy expanse outside Peabody Hall, which houses the Office of Admission, with their tour guides to walk the Grounds and learn about academic and student life at UVA.

As more and more people got vaccinated against COVID-19 this spring and the state lifted restrictions on gatherings, the Office of Admission began planning a new tour model.

“We’re really excited to invite our prospective families back to Grounds,” said Macy Lenox, an associate dean of admission who steered the resumption of tours. “For us, it’s an essential part of our mission and is something we truly enjoy doing.”

Related Story

The Gift of Closure: Reflecting on the Class of 2020’s Long-Awaited Final Exercises

Beginning Monday, UVA began offering two rounds of tours daily, in the morning and afternoon, in groups of 10, with pairs of interested students and one parent each. For now, officials are limiting the size of the tours, which historically included up to 30 people at a time. “This is in consultation with UVA leadership, who have been in consultation with health experts,” Lenox said. The summer tours, led by student interns in the Office of Admission], take place weekdays at 10 a.m. and 2 p.m. Interested families may register for their time preference .

For rising high school senior Togen Floch of Sterling, his tour of UVA was his very first college tour. He said he was drawn to UVA because of the programming in the School of Nursing. He and his mother, Pietra Gephardt, arrived in Charlottesville Sunday evening and spent some time getting the lay of the land on the Corner, a popular commercial district filled with coffee shops and restaurants just across the street from UVA’s Grounds.

Floch said he was overjoyed to be out in public with other people and mask-free. “I love it. I’ve spent half of high school online, so this is great,” he said, grinning widely. “I love the feeling of seeing people and being able to probably meet new friends that I could have if I come here next year.”

Students Lead the Tours

In a typical year, admissions tours begin with an information session with a dean of admission in the auditorium in Newcomb Hall Theater, followed by a tour of Grounds by upper-class students. This summer, information sessions will be held online, but 13 students will lead in-person tours, which Lenox said is the most popular part of the entire enterprise. (The 15-minute information session video will be emailed to registered visitors.)

UVA student Benjamin Trombetta led one of the very first tours Monday morning. He started by explaining to his group that UVA founder Thomas Jefferson “had the idea that learning doesn’t stop after you graduate.”

“So instead of freshman, sophomore and so on, you are a first-year, a second-year, a third-year,” he said. Or, like him, a rising fourth-year student.

The tour guides made stops on the Lawn; Newcomb Hall, which houses many student activity offices; and various other academic buildings and dorms.

At the outset, Trombetta asked students in his group where they were from. Two had traveled California; high school senior Delilah Dehan and her father Ben were rounding up a visit to schools in the mid-Atlantic, having already been to Davidson College and the University of North Carolina at Chapel Hill.

“It looks really pretty, and I’ve also looked at pictures and it has more hills than more of the schools around here,” Delilah said, making her way to the Lawn on crutches. A running injury had laid her up, but Dehan said she’s looking forward to getting back into the swing of things – and running hills is what she wants.

Trombetta said the tour guides are often asked about their favorite traditions at UVA. For him, the answers include Lighting of Lawn , a hugely popular student-led tradition founded after the Sept. 11, 2001 terrorist attacks to encourage unity. Trick-or-Treating on the Lawn , a massive Halloween event that draws thousands of community families, also makes that list. “Or even something as simple as singing ‘The Good Old Song’ when we score at a football game or sporting event” makes the cut, he said.

While at the outset, a total of 100 people will be invited to register for the daily admissions tours, Lenox said her team will continue to assess things. “Our hope is that as summer moves forward, as restrictions [possibly] lessen, that we’ll be able to increase the size of the tours,” she said. “But at this point, they are going to fill up fast, is what we’re expecting.”

UVA also offers a self-guided walking tour and an audio tour that touches on several things, from UVA traditions and the Rotunda to Greek life and academics.

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University News Senior Associate Office of University Communications

[email protected] (434) 243-9935

Article Information

May 30, 2024

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12 Must-See Places At UVA

With Spring rapidly approaching and the Rotunda looking more beautiful than ever, families will soon begin to make the drive, whether it’s seven hours or 30 minutes, to what Niche calls the fifth best big college in the country .

While the University of Virginia is not offering any tours at the moment, here are several places on Grounds all prospective students should visit independently before making the decision to apply.

1. The Rotunda

The Rotunda is an obvious choice, but it is obvious for a reason. This building that is constantly associated with the University and its designer Thomas Jefferson, is widely recognized as a hub for student life. Regardless of their year, students are drawn to this renowned building, one that is filled with historic architecture and study spaces that offer anyone who enters them a sense of solidarity with the students surrounding them.

2. The Lawn

Even more impressive than the Rotunda is the lawn that peacefully sits directly in front of it. Referred to by every student quite literally, ‘ the Lawn ’, this wide open, green space is a perfect way to observe and gain a holistic view of the student body. The Lawn is an eclectic meeting place where students gather year round to eat, play a sport, do work, listen to music, hold club meetings and everything in between.

3. Madison Bowl

Another popular meeting place and another crucial stop on this personalized tour is called Madison Bowl . Along Rugby Road, “Mad Bowl” is a symbol of Greek Life, one of the prominent social gathering places for these groups on campus. Greek Life has been a part of The University of Virginia since 1852. There are currently 32 fraternities on grounds and 15 sororities. If these organizations are not for you, take a trip to The Corner instead. The Corner in Charlottesville is filled with different restaurants, bars, shops, and other places for students to meet.

After visiting these cannot-miss sites, there are some lesser-known spaces that first-years have come to love:

4. Einstein Bros. Bagels

Einstein Bros. Bagels is a bagel chain and while it’s not Bodo’s, this bagel shop, located in both the Newcomb Bookstore and Rice Hall, is a location that many first- year students frequent. With the patio outside, students can get work done or finish their everything bagel before class.

5. Beta Bridge

Beta Bridge is a longstanding tradition at the University. It is an outlet for students to express themselves by painting a message on the bridge.

6. The Fralin Museum of Art

The Fralin Museum of Art at UVA , while closed now, is another unique and creative place on Grounds. It is a museum filled with contemporary art.

7. Food Trucks

There are also other popular places to eat on campus. The Food Trucks by The Amphitheater are where many first-years go to get food when they lack the motivation to eat dining hall food. Many also work beside it in the amphitheater when it is warmer outside.

8. Newcomb Starbucks

The Starbucks near Newcomb Dining Hall, which accepts Flex Dollars , is another place where students study, take classes, or sit on the patio while eating. Newcomb Dining Hall itself is also a great place to visit. It’s one of the main dining halls on campus along with O’Hill and Runk.  

9. The Aquatic & Fitness Center

The Aquatic Fitness Center or the AFC is a great place to see students working out and staying active. For UVA students it’s very important that they stay active, which is also reflected in the intramural sports clubs on campus.

10. Memorial To Enslaved Laborers

The University’s Memorial to Enslaved Laborers is a new addition to Grounds and as stated by the President’s Commission on Slavery and the University, is meant to “capture the tenure of those community conversations, honor the lives, labor, and resistance of the 4 to 5000 enslaved people who lived and worked at UVA at some point between 1817 and 1865.” 

11. The Library

When it is cold and people need a place to work, many students spend hours at the libraries on Grounds. While Alderman is currently under construction, both the Clemons Library   (affectionately known to students as “Clem” )  and the Charles L. Brown Science & Engineering Library (also known as the “Brown Library” ) are both great spaces to study.

12. Scott Stadium

If you are not tired from visiting each of these amazing places on Grounds, take a drive past Scott Stadium . This massive arena makes you feel as though you are a part of something larger than yourself, which is exactly what The University of Virginia is all about.  

With the COVID-19 pandemic making these locations emptier than usual, it’s a great time to mask up and explore these places safely. Here’s our Guide to Grounds series if you prefer to tour the University in the comfort of your home!

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• Home  /  Admissions  / Tours & Info Sessions

Tours & Info Sessions

Rn to bsn info sessions.

• RSVP for the June 26 at 10 AM Zoom info session
• RSVP for the July 24 at 4 PM Zoom info session
• RSVP for the August 8 at 6 PM Zoom info session

Student-led tours for prospective UVA nursing students are available September to April on Mondays, Wednesday, and Fridays, and begin at 12:15 PM in the first-floor lobby of Claude Moore Nursing Education Building. Tours are available by appointment only in the summer months. Please email Deirdre Vandross to schedule a tour..

We also encourage all prospective undergraduate students to join a University tour through UVA's Office of Undergraduate Admission .

Parking is free after 5 p.m. on weekdays or all day weekends in McLeod Hall garage (202 Jeanette Lancaster Way, Charlottesville), and we encourage visitors to park there. UVA Medical Center garage is for patient parking only. Paid parking also is available at the Central Grounds Visitors Parking Garage, a 15-20 minute to walk to the School of Nursing.

School of Nursing Admissions Team

UvA Campus Tour

Experience our campuses with the UvA Campus Tour

How does it work?

• Use the button below to access an overview of the Campus Tours.
• Select the Campus Tour you want to take.
• Go to the starting point of the Campus Tour on the relevant UvA campus. This starting point will appear on the screen of your smartphone when you open the Campus Tour.
• If you’re unable to come to Amsterdam, you can take a virtual Campus Tour.
• Each Campus Tour lasts around three quarters of an hour.

Which Campus Tour should I select?

The information for each study programme will tell you which campus you need to go to for your lectures. Select the programme of your choice, scroll down and look for ‘Location’ under ‘Facts and figures’.

Take the Campus Tour together with your friends

You can also play the Campus Tour as a game together with your friends. Are you feeling competitive? Try and reach the top of the leader board.

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Become a Guide

The University Guide Service is a volunteer tour-giving organization that provides the admissions and historical tours of the University of Virginia. UGS is a special-status organization that embodies a spirit of student self-governance and seeks to foster a sense of unity and cohesion among its members. Each Guide has the privilege and responsibility to craft and present their own, unique tours as they see fit and we encourage our Guides to tell stories from their individual experience at UVA.

We want to hear your story and encourage you to give a trial tour during the upcoming semester's recruitment cycle!

Every semester, we recruit first through third year undergraduate students to serve as both admissions and historical tour guides.

Click here to learn about the Spring 2024 recruitment cycle: information, important dates, fact sheets, and FAQs about recruitment.

Click here to learn more about what it’s like to be a Guide

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2025 GRAMMYs To Take Place Sunday, Feb. 2, Live In Los Angeles; GRAMMY Awards Nominations To Be Announced Friday, Nov. 8, 2024

The 2025 GRAMMYs return to Los Angeles on Sunday, Feb. 2. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8. Learn more about the key dates and deadlines ahead of Music's Biggest Night.

Music's Biggest Night is back! The 2025 GRAMMYs will take place Sunday, Feb. 2 , live at Crypto.com Arena in Los Angeles, the Recording Academy announced today. The 2025 GRAMMYs will broadcast live on the CBS Television Network and stream live and on demand on Paramount+. As well, nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8, 2024 . See the full list of key dates and deadlines for the 2025 GRAMMYs, officially known as the 67th Annual GRAMMY Awards, below.

Key dates for the 2025 GRAMMY Awards season are as follows:

Sept. 16, 2023 – Aug. 30, 2024 Product Eligibility Period The period by which recordings are submitted for GRAMMY consideration. All releases must be available for sale, via general distribution, to the public by this date and through at least the date of the current year’s voting deadline (final ballot) to be eligible for the 2025 GRAMMY Awards.

July 8, 2024 – Aug. 23, 2024 Media Company Registration Period Media companies must apply for registration with the Recording Academy to submit recordings.

July 17, 2024 – Aug. 30, 2024 Online Entry Period All eligible recordings must be entered prior to the close of the Online Entry Period, regardless of the public release date.

Oct. 4, 2024 – Oct. 15, 2024 First Round Voting First Round Voting determines all the GRAMMY nominees for each GRAMMY Awards year.

Nov. 8, 2024 Nominees Announced for the 2025 GRAMMY Awards Announcing the official nominees list for the 2025 GRAMMYs.

Dec. 12, 2024 – Jan. 3, 2025 Final Round Voting Determines the GRAMMY winners across all categories revealed on GRAMMY night.

Feb. 2, 2025 2025 GRAMMY Awards Music's Biggest Night, recognizing excellence in the recording arts and sciences.

This February, the 2024 GRAMMYs proved to be an epic, history-making night. Women dominated the 2024 GRAMMYs : For the second time in four years, women won in the majority of the General Field Categories, winning Album Of The Year ( Taylor Swift ), Song Of The Year ( Billie Eilish ), Record Of The Year ( Miley Cyrus ), and Best New Artist ( Victoria Monét ). Elsewhere, Taylor Swift broke the all-time record for most GRAMMY wins in the Album Of The Year Category after winning for Midnights . Tyla won the first-ever GRAMMY Award for Best African Music Performance , one of three new GRAMMY Categories that debuted this year .

The 2024 GRAMMYs also celebrated the return of music legends , including Tracy Chapman , Joni Mitchell and Celine Dion , and ushered in new music icons-in-the-making like Victoria Monét, Samara Joy and Tyla. Relive some of the must-see moments and memorable, heartwarming acceptance speeches from the 2024 GRAMMYs. And rewatch all of the performances and key highlights from the 2024 GRAMMYs all year long on Live.GRAMMY.com .

Learn more about the upcoming 2025 GRAMMY Awards season and the annual GRAMMY Awards process .

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2024 GRAMMYs: Taylor Swift Makes GRAMMY History With Fourth Album Of The Year Win For 'Midnights'

2024 GRAMMYs: Billie Eilish Performs An Ethereal Rendition Of "What Was I Made For?"

2024 GRAMMYs: Watch Olivia Rodrigo Bleed Her Soul Dry With Dramatic "Vampire" Performance

SZA Wakes Up The 2024 GRAMMYs With A Performance Of "Snooze" & "Kill Bill"

2024 GRAMMYs: Luke Combs & Tracy Chapman Team Up For A Surprise Duet Version Of "Fast Car"

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2024 GRAMMYs: Watch Joni Mitchell Deliver Heartwarming Performance Of "Both Sides Now" In Her GRAMMY Stage Debut

U2 Performs "Atomic City" & Transports The 2024 GRAMMYs To Las Vegas

2024 GRAMMYs In Memoriam: Stevie Wonder, Lenny Kravitz & More Pay Tribute To Late Icons

2024 GRAMMYs: Billie Eilish Wins GRAMMY For Song Of The Year For "What Was I Made For?" From The 'Barbie' Soundtrack

2024 GRAMMYs: Miley Cyrus Wins The GRAMMY For Record Of The Year for "Flowers"

2024 GRAMMYs: Victoria Monét Wins The GRAMMY For Best New Artist

2024 GRAMMYs: Jack Antonoff Wins GRAMMY For Producer Of The Year, Non-Classical For The Third Year In A Row

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Overheard Backstage At The 2024 GRAMMYs: What Jack Antonoff, Laufey & Other GRAMMY Winners Said

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2024 GRAMMYs: Miley Cyrus Wins First-Ever GRAMMY For "Flowers"

Billie Eilish Wins Best Song Written For Visual Media For "What Was I Made For?" (From 'Barbie The Album') | 2024 GRAMMYs Acceptance Speech

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boygenius Celebrate Their Three GRAMMY Wins At The CNB "First Look" Cam At The 2024 GRAMMYs Premiere Ceremony

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Killer Mike Wins Best Rap Album For 'MICHAEL' | 2024 GRAMMYs Acceptance Speech

2024 GRAMMYs: Tyla Wins First-Ever GRAMMY Award For Best African Music Performance

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Boygenius Wins Best Rock Song For ​​"Not Strong Enough" | 2024 GRAMMYs Acceptance Speech

Burna Boy, Tyla And Africa's Moment At The 2024 GRAMMYs

Photo Courtesy of the Recording Academy and GRAMMY Museum

215 Quarterfinalists Announced For The 2025 Music Educator Award

Today, the Recording Academy and GRAMMY Museum announced a total of 215 music teachers as quarterfinalists for the 2025 Music Educator Award. This prestigious award is given to current educators—from kindergarten through college in both public and private schools—who have made a significant and lasting contribution to the field of music education and who advocate for the ongoing inclusion of music education in schools. This year’s quarterfinalists hail from 202 cities and were chosen from more than 2,400 initial nominations. Additionally, 159 legacy applicants from 2024 are also eligible for this year’s award.

Semi-finalists for the 2025 Music Educator Award will be announced later this year. The ultimate recipient will be celebrated during GRAMMY Week 2025.

A collaborative effort between the Recording Academy and GRAMMY Museum, the Music Educator Award invites nominations from students, parents, friends, colleagues, community members, school deans, and administrators. Teachers may also nominate themselves, and those nominated are invited to complete a more detailed application.

Each year, one recipient is selected from among 10 finalists and recognized for their profound impact on students' lives. The 11th annual honoree will be flown to Los Angeles to attend the 67th GRAMMY Awards and participate in various GRAMMY Week events. The nine other finalists will receive a $1,000 honorarium, and the schools of all 10 finalists will receive matching grants. Additionally, fifteen semi-finalists will be awarded a $500 honorarium with matching school grants.

Read More:   8 Artists Who Were Inspired By Their Teachers: Rihanna, Adele, Jay-Z & More

The Music Educator Award program, including the honorariums and matching school grants, is supported by the Chuck Lorre Family Foundation this year. Additional backing comes from the American Choral Directors Association, National Association for Music Education, NAMM Foundation, and National Education Association, which support the program through outreach to their members.

Learn more about the Music Educator Award and see the full list of the 2025 Music Educator Award quarterfinalists and legacy applicants below:

QUARTERFINALISTS

Legacy applicants.

Photo: Paul Natkin/GettyImages

Revisiting ‘Private Dancer’ At 40: How Tina Turner’s Liberation Album Remains A Musical Salvation

Released in May 1984, ‘Private Dancer’ was a musical tour de force. The record saw Tina Turner shed her assured vocal talents, exposing some fragility while adding in some sultriness too, to share a powerful tale of finally finding liberation.

“How it all came about was a miracle,” says Terry Britten , the co-writer and producer of Tina Turner ’s “ What’s Love Got To Do With It .” 

The enduring single on Turner's 1984 album Private Dancer , released 40 years ago this month, was the songstress' ultimate emancipating act. It liberated her from the strictures of a music career bound to former husband Ike Turner , and debuted a new, self-possessed persona that highlighted her own rich talents as a solo artist. Decades on, the album remains a searing testament to resilience and the power of raw, honest expression.   

Private Dancer , her fifth solo outing, was the beginning of Turner's renaissance and next era. Still, some of its most powerful songs — including “What’s Love” — almost didn’t make the cut. In fact, the song’s woeful quality and halted vocals proved an obstacle for Turner. 

“After all this time, I’ve realized what the problem was and why she didn’t like it: because she was so damn vulnerable in it,” Britten tells GRAMMY.com. “She’d never been that vulnerable before in a song.” 

Turner had long wrestled with her public image and allowing listeners into her inner world. Despite her success in the '70s and the subsequent 1976 breakdown of her abusive marriage to Ike (which left her penniless), followed by less successful Las Vegas revue shows, Turner was wary of conceding defeat. 

Her career revival was largely born after Turner had made a cameo appearance in 1982 on the synth-inspired remake of The Temptations ' “ Ball of Confusion .” Masterminded by pop band Heaven 17’s Martyn Ware, the song netted Turner a singles deal with Capitol Records. Her next pairing with Ware, a remake of Al Green ’s “ Let’s Stay Together ,” was a runaway success, charting at number six in the UK and No. 26 on the Billboard Hot 100, in late 1983 and early 1984 respectively.

Chart success had eluded Turner for years, so by February 1984 Capitol quickly demanded a full album — with two weeks to deliver it. With Turner already on tour in the UK then, her manager, Roger Davies , raced around London seeking potential tracks. Davies had been old friends with Britten back in Australia, and reached out about available songs. 

Co-written with Graham Lyle , Britten's "What’s Love” had been skipped over by British rock singer Cliff Richard. Its rumination on sexual over romantic desire awaited a new voice. 

Turner's powerhouse vocals gave the track the justice it so called for. Just as her vocal prowess was put on display, "What's Love" also underscored Turner's ability to bring both fragility and sultriness to a song. The combination would soon propel Turner to worldwide domination. 

In the studio, Britten leaned on Turner’s dancing background to make the meditative ballad work. Turner struggled with the song’s languid rhythm, so Britten suggested she jog on the spot. “We jogged at the mic,” he says. “Soon enough, she got it!” 

Britten believes “What’s Love” showed Turner, for the first time, how empowering vulnerability could be. “She realized she could act out these songs,” he reflects. “The whole direction of her career changed in that moment.” 

Released in May 1984, “What’s Love” slowly scaled the charts, competing for prime position with the likes of Prince ’s “ When Doves Cry ” and Lionel Ritchie ’s “ Stuck on You .” “What’s Love” ultimately landed at No. 1 in August 1984 — staying there for three weeks — and fast-tracked Turner’s forceful musical renaissance. 

The arrival of Private Dancer only galvanized the transformation. 

The album was a mixture of old and new, figuratively stitching together a reinvigorated yet still rock ’n’ roll Turner. There were completely new tracks and sounds, like the synth-infused “What’s Love” and spunky, pulsating “Show Some Respect” (another Britten number). Covers of the Beatles ’ “ Help! ” and David Bowie ’s “ 1984 ,” meanwhile, were reimagined with searching gospel energy and symphonic orchestral strings.

There was an emphasis on storytelling across Private Dancer , with lyrical explorations of respect, love, and desire, paired with Turner’s frayed timbre. “ I Might Have Been Queen ” was penned by Jeannette Obstoj and Rupert Hine in response to hearing Turner’s life story. From a youth picking cotton in Tennessee to her years as a double act with Ike, Obstoj took Turner’s trying life (and lifelong interest in Ancient Egypt) to craft an earthy narrative textured by stories of grief and self-understanding. The stomping funk result was an anthemic tribute, celebrating Turner as she sang proudly of being a “sole survivor.” 

Allowed into Turner’s inner sanctum, listeners could better understand and relate to the singer’s past life — whether these were real stories or imagined tales. Songs like “Private Dancer,” seemingly about a dancer who keeps a firm psychological distance from her job as a means of self-protection, couldn’t help but be tied back to Turner’s former life as the mistreated singing partner to Ike. Turner’s coarse vocals — retelling regret with the ballad “ Better Be Good to Me ,” or celebrating self-confidence on “Show Some Respect” — underscored her toughness as she sang about respect and recognition. 

Tina Turner’s emotional depth and lyrical confessions resonated with critics and listeners, affirming Turner as sensitive, soulful and, above all, an iconic solo artist. The success of the record at the 1985 GRAMMYs only affirmed Turner's status. 

Britten, who won two gramophones for his work and joined Turner on stage to collect the GRAMMY for Record Of The Year, said that the audience — there and even at home watching — manifested her three wins that night. “In between introductions, you could hear the whole crowd going, ‘Tina! Tina! Tina!’” he says. “It was like the whole auditorium wanted her to win. In fact, they willed her to win.” 

The entire musical project was a frenzied worldwide phenomenon: the confident comeback story of a 45-year-old liberated woman. Private Dancer represents a rare redemption for a female artist over 40 — a script contemporaries have taken cues from.   

Madonna enjoyed a return serve with her revealing 1998 spiritual album Ray of Light , a record that saw her achieve renewed commercial success — and perhaps most important to her, critical acclaim. After the abject failure of 2001’s Glitter , Mariah Carey stormed the charts (and GRAMMYs) in 2005 with her confessional but defiant album, The Emancipation of Mimi . Janet Jackson , no longer suffering public shame after the infamous Superbowl incident and finally free to release music under her own label, returned revealing a more mature, reflective artist with 2015’s Unbreakable . Each album privileged some aspect of self-exposure and sonic difference to mount a comeback where audiences were invited in.    

Publicly sharing some vulnerability while also celebrating fortitude, continues to enliven the story of Private Dancer — and the listening experience decades on. After Tina Turner's death in 2023, critics reappraised the record and the seismic impact of “What’s Love.” Some said the song was an enduring “call to action” on finding independence, while others concluded that Private Dancer alone “lifted [Turner] into the pop stratosphere.” 

The record represents one of history’s greatest musical comebacks. Its emotional depth, paired with a tough if sometimes frayed sound, gave listeners a deeply resonant tale about overcoming. 

“She gave me such trust,” Britten says of recording with Turner. “I can’t tell you what a moving experience it was.” With Private Dancer , Turner entrusted listeners with her own vulnerable admissions, many of which continue to resonate and inspire today. 

Remembering The Artistry Of Tina Turner, "The Epitome Of Power And Passion"

Photo: David Kaptein

10 Essential Tracks By Richard Thompson: "Night Comes In," "Shoot Out the Lights," "1952 Vincent Black Lightning," & More

Richard Thompson's gobsmacking guitar playing, keen storytelling and evocative voice changed folk and rock forever. Ahead of new album 'Ship to Shore,' press play on 10 essential tracks.

Richard Thompson remains something of a cult rocker rather than a bona fide rock star — but there are few similarly worthy candidates for the genre's personification on earth.

First of all, he's one of rock's undersung triple threats. "Richard's been one of my favorite guitar players for a very long time," said Jeff Tweedy , who produced and played on Thompson's 2015 album Still. "When I think about it, he's also one of my favorite songwriters and favorite singers."

Thompson's 2021 memoir, Beeswing , renders him something like rock's Forrest Gump: By the tender age of 19, he'd co-founded Fairport Convention , seen Hendrix shred and turned down a birthday invite from Paul McCartney .

He had also pretty much solidified his artistry as an emotion-forward, English-Scottish yawp who was equally virtuosic on acoustic and electric guitar. And Thompson's probing lyrics continue to twist the knife, again and again .

His guitar work has inspired scores of imitators, but nobody's played the instrument like Thompson. In retrieving the bagpipe's drone, his music didn't become old-timey or quaint; rather, it enabled him to tear the roof off.

Crank up his introductory calling card "Roll Over Vaughn Williams"; his roiling last album, 13 Rivers ; and anything in between: Thompson's electric guitar will spin your head like a top. And on the acoustic, he's muscular, searching and incisive: both his Acoustic Classics discs will ravish you.

Happily, Thompson is still making some of the strongest music of his career. His new album, Ship to Shore , is a taut yet spacious new offering. After the sturm und drang of the modern-rocking 13 Rivers , mellower, rootsier tracks like "Freeze," "The Day That I Give In" and "Life's a Bloody Show" seem to loop back to the artist's essence.

With a whopping 19 studio albums since the early 1970s — six with his ex-wife Linda Thompson — to boil down Thompson's discography into essential tracks is a bit daunting. From here, seek out underrated '80s albums like Hand of Kindness ; middle-of-the-road yet satisfying '90s works like Mock Tudor , and of course, his inspired work in the 2010s and 2020s.

But for now, if you're a Thompson newbie, read on for 10 songs you must hear by the three-time GRAMMY nominee.

"Roll Over Vaughn Williams" ( Henry the Human Fly , 1972)

"If [ Henry the Human Fly ] was a statement of intent, then the opening track was the distillation of the statement," Thompson wrote in Beeswing .

Indeed, while "Roll Over Vaughn Williams" isn't the strongest song he ever wrote, it's a perfect opening salvo: a 22-year-old Thompson, emancipated from English folk-rockers Fairport Convention, sounds his strange, beautiful clarion call.

"Live in fear," Thompson commands between bramble-like guitar runs — a thesis he'd fully air out on I Want to See the Bright Lights Tonight , his first classic album.

"The Calvary Cross" ( I Want to See the Bright Lights Tonight , 1974)

I Want to See the Bright Lights Tonight is typically bandied about as Thompson's masterpiece, with or without Linda. Arguably, that honorific might go to Shoot Out the Lights ; when Thompson's age caught up to his precocious, world-weary persona, the results were pure magic.

That's nitpicking, though. Front to back, I Want to See the Bright Lights Tonight is phenomenal, and a crucial entryway to Thompson's musicality and worldview.

Every song is terrific, but the doomy, circuitous "The Calvary Cross" is the first to smack you in the face. (It also invents Jason Molina, right down to the fragile whine in the Magnolia Electric Co. frontman's tenor.)

"The End of the Rainbow" (I Want to See the Bright Lights Tonight, 1974)

Probably the darkest non-metal song ever written by a 23-year-old, "The End of the Rainbow" begins with Thompson addressing "you little horror/ Safe at your mother's breast."

The unknowing infant has no idea what they're in for: your father is a bully, your sister is a whore, tycoons and barrow boys will take everything you've got. "Every loving handshake is just another man to beat," Thompson sings, steely-eyed — knowing too much, too early.

"Night Comes In" ( Pour Down Like Silver , 1975)

The year I Want to See the Bright Lights Tonight dropped, the Thompsons converted to Sufism. Their faith would inform a couple of inessential albums, like 1978's First Light and 1979's Sunnyvista — but first, they'd release a work of gobsmacking potency and spirituality.

Pour Down Like Silver is the only Thompsons album that truly goes toe-to-toe with Shoot Out the Lights . Its first masterpiece, "Night Comes In," is a long walk home — a majestic meditation on Thompson's Sufi initiation.

"Lose my mind in dance forever," he sings, as the languid verse flows into the vertiginous chorus. "Turn my world around."

"Dimming of the Day" ( Pour Down Like Silver , 1975)

Bonnie Raitt , Emmylou Harris , David Gilmour , and others covered this astonishing ballad for very good reasons.

"Dimming of the Day" is a love song genuinely worthy of the Old Testament, sung with quiet power by Linda, accompanied only by her husband's acoustic guitar, backing vocal, banjo, and other light overdubs.

Has there ever been a lyric of romantic devotion like "You pull me like the moon pulls on the tide"? Or "I'm living for the night we steal away"?

The track concludes Pour Down Like Silver with a perfect denouement in a solo guitar performance of James Scott Skinner's "Dargai." Six years later, the Thompsons would smack down their romantic dream for good.

"Shoot Out the Lights" ( Shoot Out the Lights , 1982)

"I know people call Shoot Out the Lights a break-up album, but I can honestly say that was never the intention," Thompson later told Uncut . "[The songs] were all written a year before we split up, so people can think what they like."

Luckily, this pesky fact doesn't undermine the unique power of Shoot Out the Lights — a perfect, eight-song monument to disillusionment featuring Richard's sharpest writing and Linda's most empathetic singing.

The title track, one of Thompson's ultimate guitar showcases, is an unquestionable highlight. The lyrics, about some sort of crepuscular gunman sneaking through the night, are beside the point; his neck-snapping soloing tells the entire story.

"Wall of Death" ( Shoot Out the Lights , 1982)

Much like Thompson, rock heroes R.E.M. knew how to conjure pop catharsis from the shadows; it's no surprise they recorded a killer version of "Wall of Death."

Shoot Out the Lights ' astonishing closer tosses Richard and Linda into a highly metaphorical fun fair. There's Noah's Ark! The mouse! The crooked house! But the doomed couple opt to whirl in a loop, caught in centrifugal force, wherever it may lead.

The best part of "Wall of Death" is when Thompson launches into his solo, cracking like a bullwhip, as the ride cymbal doubles up, barrelling the album — and this musical couple — toward its end. The Tunnel of Love ends here.

"1952 Vincent Black Lightning" ( Rumor and Sigh , 1991)

For all of the absolute bangers and weepers above, Thompson's most revered song by some margin actually came along during the '90s.

After his requisite '80s wilderness period, Thompson slugged out the deliciously new wavey Rumor and Sigh , which gave him a hit with the jangly sardonic "I Feel So Good." The other lynchpin track was "1952 Vincent Black Lightning," a popular knockout despite never being a single.

The fictional story of James' bequeathment of the titular motorbike to Red Molly re-cemented Thompson as a consummate storyteller, his avuncular voice and percolating guitar driving it all home.

"The Ghost of You Walks" ( You? Me? Us? , 1996)

As with many Thompson deep cuts, he bettered "The Ghost of You Walks" on the must-have Acoustic Classics Vol. 1 and Vol. 2 . But this version on You? Me? Us? will do similar heartwork on you, from its butterflies-inducing arpeggios to Thompson's tender chorus.

"Blue murder on the dance floor / French kisses in the rain," Thompson sings, at a relationship's dimming of the day. "Blood wedding in the water 'til I see you again / Dutch courage is the game." Plainly, "The Ghost of You Walks" is one of the most beautiful songs Thompson ever wrote.

"She Never Could Resist a Winding Road" ( Still , 2015)

Jeff Tweedy has found himself on the shortlist to give lifers a jolt in the studio; he's helmed albums by Bill Fay , Mavis Staples , Low, and more. Still arguably holds up the best, possibly because Thompson's personality permeates it completely.

Still has a lighter touch than most of the albums that surround it, which means Thompson's sticky melodic instincts take the forefront.

The opener, "She Never Could Resist a Winding Road," makes an ancient-sounding melody gloriously unspool, culminating in an exhilarating solo by Thompson.

Still 's title says it all: Thompson isn't simply an old master still doing the thing. As on the wondrous Ship to Shore , he's revered equally for what he's creating right now .

15 Essential Tracks By Paul Simon: "The Sound of Silence," "The Boxer," "Bridge Over Troubled Water," & More

Photo: Michael Ochs Archives/Getty Images

5 Things You Didn't Know About 'Crosby, Stills & Nash': The Folk-Rock Classic At 55

Featuring classics including "Suite: Judy Blue Eyes," "Wooden Ships" and "Helplessly Hoping," Crosby, Stills and Nash's self-titled 1969 debut album is the ultimate entryway to the folk-rock supergroup. Here are five lesser-known facts about its making.

They'd been on ice since 2015, yet the death of David Crosby in 2023 forever broke up one of the greatest supergroups we'll ever know.

Which means Crosby, Stills & Nash 's five-decade career is now capped; there's no reunion without that essential, democratic triangle. (Or quadrangle, when Neil Young was involved.) "This group is like juggling four bottles of nitroglycerine," Crosby once quipped . Replied Stephen Stills , "Yeah — if you drop one, everything goes up in smoke."

Looking back on that strange, turbulent, transcendent career, one fact leaps out: there's no better entryway to the group than their 1969 debut, Crosby, Stills & Nash , which turns 55 this year. Not even its gorgeous 1970 follow-up, Déjà Vu — which featured a few songs with one singer and not the others — their sublimation was about to blow apart, leaving shards to fitfully reassemble through the years. (The Stills - Young Band, anyone? How about the Crosby- Nash gigs?)

Pull out your dusty old LP of Crosby Stills & Nash , and look in the eyes of the three artists sitting on a beat-up couch in their s—kickers. The drugs weren't yet unmanageable; any real drama was years, or decades away. Do they see their infamous 1974 " doom tour "? The album cover with hot dogs on the moon ? That discordant, Crosby-sabotaged " Silent Night " in front of the Obamas (which happened to be the trio's last public performance)?

At the time of their debut, the three radiated unity, harmony and boundless promise — and classic Crosby, Stills & Nash cuts like "Suite: Judy Blue Eyes" bottled it for our enjoyment forever. Here are five things you may not know about this bona fide folk-rock classic.

There Was Panic Over The Cover Photo

As silly as it seems today — nobody's going to visually mistake Crosby for Stills, or Stills for Nash — that the three were photographed out of order prompted a brief fire alarm.

"We were panicked about it: 'How could you have Crosby's name over Graham Nash?'" Ron Stone of the Geffen-Roberts company recalled in David Browne's indispensable book Crosby, Stills, Nash And Young: The Wild, Definitive Saga Of Rock's Definitive Supergroup. (The explanation: it was still in flux whether they were going to be "Stills, Crosby & Nash" instead.)

The trio actually returned to the site of the photograph to reshoot the cover, but by that time, that decrepit old house on Palm Avenue in West Hollywood had been torn down. (It's a parking lot today, in case you'd like to drag a sofa out there.)

It Could Have Been A Double Album

At one point during Crosby, Stills & Nash 's gestation, the idea was floated to render it a double album — one acoustic, one electric.

"Stephen was pushing them to do a rock-and-roll record instead of a folk album because he was the electric guy," session drummer Dallas Taylor said, according to Browne's book. "He wanted to play." (Back in the Buffalo Springfield, Stills and Young would engage in string-popping guitar duels on songs like "Bluebird," foreshadowing Young's impending electric workouts with Crazy Horse .)

Happily, the finished product blended both the band's electric and acoustic impulses; rockers like "Long Time Gone" happily snuggled up to acoustic meditations like "Guinnevere" sans friction.

Famous Friends Were Soaking Up The Sessions

As Browne notes, there was a "no outsiders decree" as this exciting triangulation of Buffalo Springfield, Hollies and Byrds members was secretly forged.

But rock royalty was in and out: at one point, Atlantic Records co-founder Ahmet Ertegun rolled up in a limo with an "eerily quiet" Phil Spector . Joni Mitchell , Cass Elliott , and Judy Collins also turned up — and, yes, Judy Collins, Stills' recent ex, was the namesake for the epochal "Suite: Judy Blue Eyes."

"It started out as a long narrative poem about my relationship with Judy Collins," Stills said in 199 1. "It poured out of me over many months and filled several notebooks." (The "Thursdays and Saturdays" line refers to her therapy visits. "Stephen didn't like therapy and New York," Collins said in the book, "and I was in both.")

"Long Time Gone" Almost Didn't Make It On The Album

Crosby's probing rocker "Long Time Gone" meant a lot to him. He'd less written than channeled it from the ether, immediately after the assassination of Robert F. Kennedy.

"It wasn't just about Bobby," he told Browne in the book. "He was the penultimate trigger. We lost John Kennedy and Martin Luther King, and then we lost Bobby. It was discouraging, to say the least. The song was very organic. I didn't plan it. It just came out that way."

It was always considered for Crosby, Stills & Nash , but it was proving hard to capture it in the studio. It might have died on the vine had Stills not sent Crosby and Nash home so he could work on the arrangement — which took an all-nighter to get right.

When he played the others his new arrangement, an exhilarated Crosby tossed back wine, and dove into the song "with a new, deeper tone," as Browne puts it — "almost as if he were underwater tone, almost as if he were underwater and struggling for air."

Ertegun Boosted The Voices — And Thank Goodness He Did

For all the prodigious, multilayered talent in Crosby, Stills & Nash, it's their voices that were at the forefront of their art — and should have always been.

However, the original mix had their voices relatively lower in the mix; Ertegun, correctly perceiving that their voices were the main attraction, ordered a remix, and thank goodness he did. The band initially pushed back, but as Stills admitted, "Ahmet signs our paychecks." As they say, the rest is history.

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• 1 2025 GRAMMYs To Take Place Sunday, Feb. 2, Live In Los Angeles; GRAMMY Awards Nominations To Be Announced Friday, Nov. 8, 2024
• 2 215 Quarterfinalists Announced For The 2025 Music Educator Award
• 3 Revisiting ‘Private Dancer’ At 40: How Tina Turner’s Liberation Album Remains A Musical Salvation
• 4 10 Essential Tracks By Richard Thompson: "Night Comes In," "Shoot Out the Lights," "1952 Vincent Black Lightning," & More
• 5 5 Things You Didn't Know About 'Crosby, Stills & Nash': The Folk-Rock Classic At 55