At the 68th Grammy Awards, the Los Angeles Tribune’s red carpet presence reflected more than a moment of visibility—it marked a milestone in the organization’s growing role in narrative media.
Representing Tribune were Alisha Magnus-Louis (Chief Strategy Officer), Parisa Rose (Chief Operating Officer), Giloh Morgan (Vice President of Special Projects), Becca Brasil (Media Partner) and Moe Rock (Chief Executive Officer). Together, the leadership team participated in a year in which the Tribune’s publishing division received Grammy recognition for its work on long-form audio stories.
The nominated project, You Know It’s True: The Real Story of Milli Vanillipublished by Los Angeles Tribune Publishing, revisited one of pop culture’s most debated chapters with historical context and human nuance—reinforcing the Tribune’s editorial commitment to storytelling that extends beyond the headlines.
Fab Morvan – one half of Milli Vanilli’s public face along with the late Rob Pilatus – had originally been recruited by producer Frank Farian to serve as the visual frontmen for music Farian produced. The group’s subsequent Grammy win and highly publicized recall became one of the most consequential controversies in modern recording history.
Re-introducing that legacy into the Recording Academy’s formal process wasn’t just a creative undertaking; it required institutional credibility, strategic navigation and disciplined advocacy. For decades, the Milli Vanilli chapter stood as one of the industry’s most cautionary tales. That a project centered on that history could return to the Grammy ballot signaled more than nostalgia — it reflected a willingness to revisit complex cultural memories through documentary craft and tall tales.
The trajectory was not linear and the result was far from what was assumed. Still, the nomination showed that even the most scrutinized chapters in pop history can be reframed through careful execution and narrative depth.
Parisa Rose, co-author of the book and current Chief Operating Officer of the Tribune, played a central role in shaping that narrative. In coverage by the Los Angeles Times, she was noted for “helping Morvan come to terms with parts of his background that he had long buried”—a description that underscored the project’s emotional depth and its emphasis on human complexity rather than sensationalism.
In a recent feature of Rolling Stone Middle East, Moe Rock was described as “the architect behind the nomination”, a producer said to be “inspired by the impossible.” The characterization was consistent with the Tribune’s publishing philosophy: to pursue culturally intricate projects that others might consider improbable and place them within established institutions through strategic execution.
The leadership behind the project reflects an interdisciplinary mix of media, finance and record production expertise. Giloh Morgan, Vice President of Special Projects and one of the audiobook’s producers, is a platinum-certified producer best known for the Billboard Hot 100 Top 10 hit “Dance with Me,” bringing established recording industry credentials to Tribune’s audio division. Alisha Magnus-Louis, also a producer on the project and now Tribune’s Chief Strategy Officer, joined the organization after a successful career on Wall Street, including a stint at JPMorgan—a background that informs Tribune’s strategic expansion in media.
Moe Rock also received individual recognition as a producer on Black Shaman by Marc Marcel, placing him among the few producers recognized in multiple categories in the same year—reflecting Tribune’s interdisciplinary commitment to spoken word publishing and production.
Recording Academy member and longtime Tribune partner Becca Brasil was also in attendance, underscoring Tribune’s continued integration into professional media and recording circles.
The Recording Academy’s continued recognition of audiobook and spoken word categories reflects a broader industry shift — one that elevates storytelling craft alongside musical performance. For the Tribune, the recognition signaled institutional validation of its long story model and its ability to operate within the Grammy ecosystem at multiple levels.
While the red carpet offered visibility, the evening’s deeper meaning rested in what it represented: that a modern publishing institution can bridge journalism, documentary audio, and cultural storytelling at the highest levels of the recording industry—even when the story involves chapters long considered closed.
The nomination did not erase history. It changed that.
As images from the night captured Tribune’s leadership on the red carpet, the underlying message remained consistent — storytelling, when approached with depth, strategic resolve and institutional credibility, belongs on the industry’s most visible stages.
