Music's Biggest Night, the 54th Annual GRAMMY Awards, will air live from Staples Center in Los Angeles on Sunday, Feb. 12 at 8 p.m. ET/PT on CBS.

In the weeks leading up to the telecast, we will take a stroll down music memory lane with GRAMMY Rewind, highlighting the "big four" categories — Album Of The Year, Record Of The Year, Song Of The Year, and Best New Artist — from past awards shows. In the process, we'll examine the winners and the nominees who just missed taking home a GRAMMY, while also shining a light on the artists' careers and the eras in which the recordings were born.

Join us as we take an abbreviated journey through the trajectory of pop music from the 1st Annual GRAMMY Awards in 1959 to last year's 53rd Annual GRAMMY Awards.

45th Annual GRAMMY Awards
Feb. 23, 2003

Album Of The Year
Winner: Norah Jones, Come Away With Me
Dixie Chicks, Home
Eminem, The Eminem Show
Nelly, Nellyville
Bruce Springsteen, The Rising

There wasn't much point in going up against Jones, as the talented singer/songwriter prevailed in each of the "big four" award categories. Jones also won recognition as the third female in GRAMMY history to take home five awards in a single night, a trail previously blazed by Lauryn Hill in 1998 and Alicia Keys in 2001. (Alison Krauss has since repeated the feat, winning five GRAMMYs in 2008, and Beyoncé won six in 2009. Adele is up for six awards this year.) Even so, the other nominees all managed to come away with substantial "consolation" prizes. Eminem won Best Rap Album, as he did with his two previous albums, The Slim Shady LP and The Marshall Mathers LP. But when it came to generating controversy, Eminem couldn't hold a candle to the Dixie Chicks, who that same year would lose some fan and radio support after politically charged comments made by singer Natalie Maines. Still, the Chicks' Home was a critic's favorite and went on to win the Best Country Album GRAMMY. Meanwhile, Springsteen and his E Street Band reunited for The Rising, their first studio album in 18 years, which picked up the year's Best Rock Album award. And while Nelly's Nellyvilledidn't win any album awards, the St. Louis-born rapper's "Hot In Herre" took Best Male Rap Solo Performance, while "Dilemma," his duet with Kelly Rowland, won the year's Best Rap/Sung Collaboration.

Record Of The Year
Winner: Norah Jones, "Don't Know Why"
Vanessa Carlton, "A Thousand Miles"
Eminem, "Without Me"
Nelly Featuring Kelly Rowland, "Dilemma"
Nickelback, "How You Remind Me"

"Don't Know Why" was Jones' breakthrough single, an exquisitely memorable jazz ballad that peaked at No. 30 on the Billboard Hot 100 and went on to become her signature song. By comparison, Carlton's "A Thousand Miles" was clearly more pop than jazz, although her piano playing showed the kind of proficiency you might expect from GRAMMY-winning jazz guitarist Larry Carlton's niece. Eminem's "Without Me" sampled Malcolm McLaren's "Buffalo Gals" ("Two trailer park girls go 'round the outside ..."), while  Nelly's "Dilemma" (featuring Destiny's Child co-founder Rowland) considered the ramifications of always thinking about that other special someone, even when you're with your "boo." Rounding out the nominations were Canadian rockers Nickelback with "How You Remind Me," their lone Billboard Hot 100 No. 1 hit to date.

Song Of The Year
Winner: Norah Jones, "Don't Know Why"
Vanessa Carlton, "A Thousand Miles"
Alan Jackson, "Where Were You (When The World Stopped Turning)"
Avril Lavigne, "Complicated"
Bruce Springsteen, "The Rising"

"Don't Know Why" has now been covered by Pat Metheny, Smokey Robinson, and just about every jazz singer who's ever set foot in a nightclub lounge. The song was written by Jesse Harris, who recorded it for his 1999 album Jesse Harris & The Ferdinandos. A few years later, the ballad's plaintive yet understated sentiments would prove to be the perfect complement to Jones' vocals, ultimately assuring its place as a contemporary jazz standard. All of the other nominees in this category were written by the recording artists, ranging from Springsteen's Sept. 11 imagery ("There's spirits above and behind me/Faces gone black, eyes burnin' bright") and Jackson's tribute to the aftermath  of Sept. 11 ("Did you weep for the children/Who lost their dear loved ones"), to Lavigne's plea for a world less complicated ("Chill out, what you yelling' for?/Lay back, it's all been done before"). Lavigne co-penned "Complicated" with Lauren Christy, Graham Edwards and Scott Spock (aka the Matrix). "A Thousand Miles" took Carlton to No. 5 on the Billboard Hot 100, her highest-charting single to date. Jackson's "Where Were You …" reached No. 28 on the Billboard Hot 100. Springsteen took Best Rock Song honors for "The Rising."

Best New Artist
Winner: Norah Jones
Ashanti
Michelle Branch
Avril Lavigne
John Mayer

Did we mention this was a good year for Jones? It was also another good year for female solo artists, whose unprecedented reign over the Best New Artist category reached its seventh consecutive year thanks to Jones' victory. But all things must pass: The streak would be broken a year later by Evanescence who, apart from frontwoman Amy Lee, had far too much testosterone to continue the tradition. The other Best New Artist nominees proved to have successful GRAMMY debuts this year. Ashanti took Best Contemporary R&B Album honors for her self-titled release; Branch won Best Pop Collaboration With Vocals for her teaming with Carlos Santana for "The Game Of Love"; Mayer picked up Best Male Pop Vocal Performance honors for "Your Body Is A Wonderland"; and Lavigne earned an impressive five nominations her first year out.

Come back to GRAMMY.com on Feb. 6 as we revisit the 48th Annual GRAMMY Awards.

Follow GRAMMY.com for our inside look at GRAMMY news, blogs, photos, videos, and of course nominees. Stay up to the minute with GRAMMY Live. Check out the GRAMMY legacy with GRAMMY Rewind. Explore this year's GRAMMY Fields. Or check out the collaborations at Re:Generation, presented by Hyundai Veloster. And join the conversation at Facebook, Twitter, and YouTube.

In 2020, Megan Thee Stallion solidified herself as one of rap's most promising new stars, thanks to her hit single "Savage." Not only was it her first No. 1 song on the Billboard Hot 100, but the "sassy, moody, nasty" single also helped Megan win three GRAMMYs in 2021.

In this episode of GRAMMY Rewind, revisit the sentimental moment the Houston "Hottie" accepted one of those golden gramophones, for Best New Artist.

"I don't want to cry," Megan Thee Stallion said after a speechless moment at the microphone. Before starting her praises, she gave a round of applause to her fellow nominees in the category, who she called "amazing."

Along with thanking God, she also acknowledged her manager, T. Farris, for "always being with me, being by my side"; her record label, 300 Entertainment, for "always believing in me, sticking by through my craziness"; and her mother, who "always believed I could do it."

Megan Thee Stallion's "Savage" remix with Beyoncé also helped her win Best Rap Song and Best Rap Performance that night — marking the first wins in the category by a female lead rapper.

Press play on the video above to watch Megan Thee Stallion's complete acceptance speech for Best New Artist at the 2021 GRAMMY Awards, and remember to check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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When a band achieves global success like Nickelback, fans may think they know them. It may be a cliché, but how well does any fan really know their favorite band? That's a question that both serious devotees and detractors will find themselves asking in light of the new documentary, Hate To Love.

Directed by The Sound Of Scars director Leigh Brooks, the feature film shows how the band worked incredibly hard to escape their far-flung small town of Hanna in Alberta, Canada, and braved the rough terrain — and sometimes brutal weather conditions — to build up their name North of the border before being signed to Roadrunner Records in 1999. It also chronicles the backlash they faced when their success and their music put them in the crosshairs of internet haters and meme creators everywhere.

While Hate To Love does not break down all the reasons for the vitriol in extremely specific details (although a media montage does show how some of their fans also get mocked for liking them), the film shows what it's like to be facing that disdain both virtually and publicly. And most importantly, it offers a new perspective: Nickelback's.

"People will create the narrative if you don't supply it," bassist Mike Kroeger tells GRAMMY.com. "I think that that's where some of that negative sentiment came from — much less [from] what we're doing, and more from a vacuum of information."

As he suggests, Hate To Love film was a chance for Nickelback to reveal some aspects of themselves and their career. We get to learn a lot more about Mike and his famous frontman brother, Chad Kroeger, along with guitarist Ryan Peake, and drummer Daniel Adair, and the different types of adversity that they have all faced — the many years toiling away in clubs, the hateful "corporate rock" tag that was foisted on them, the effect it had on their kids, their serious medical scares, and even personal insecurities among members of the group.  

But what makes the film most impactful is that we also get to hear from their parents, children, relatives, management, and media people. The culmination of personal stories and anecdotes from those on the outside helps humanize Nickelback in a way they've never been able to amid the mockery — and will win over anyone who has loved (or hated) to love them. Mike calls it a "tell most";  it's not about airing all the dirty laundry, it's about showing them as people.  

After the doc briefly hit select theaters on March 27 and 30 (it first premiered at the 2023 Toronto International Film Festival (TIFF)), Hate To Love will be available to stream on VEEPS starting April 12. To commemorate the doc's release, Mike Kroeger sat down with GRAMMY.com to break down what he hopes both fans and naysayers will take away from Hate To Love.

Three Of The Members Suffered Major Medical Crises

Mike suffered a near-fatal stroke at age 41 while working out. He spent two weeks in the hospital and several months recuperating. Chad had to have surgery for his vocal cords; while the official diagnosis for what happened was not revealed — and Mike says it was called so many different things during that time that he can't remember — the singer was not allowed to speak for a month. Daniel developed a rare neurological condition that affected his right arm up to his neck, and in turn he thought his career with the band was over.

But Chad rallied around his bandmates to support them, as they did for him.

"I feel like all of these fragile human moments that we had — my brain blowing up, my brother's vocal cords going bad, and Daniel's very complex condition — and also with COVID, we got shown in a very short period of time how fragile this situation is, and how lucky we are to be able to do this," Mike says. "This can be taken away at any time. I think it made everybody just a little more sensitive to [knowing] this is a gift, this is just a totally awesome gift to be able to do this for a living. It's absurd."

Only guitarist Ryan Peake has not had a major medical issue. "That we know of," the bassist quips. "He's the most likely to have a health crisis and not tell anyone."

Firing Previous Drummer Ryan Vikedal Was Painful For Them

Vikedal played with the band on their second through fourth albums, 1998's The State, 2001's Silver Side Up, and 2003's The Long Road. During the doc, we learn that Vikedal started to suffer from burnout, and his bandmates sensed that things weren't working; they now both acknowledge the chemistry was not there anymore. As the group prepared to make their fifth album, 2005's All The Right Reasons, they made a difficult change that their drummer didn't expect and fired him.

"It was terrible," Mike admits. "It was really, really hard. It's like firing a member of your family. It is business, and the decision to let him go was not a personal one. It was more of like, Hey, we can see this is not functional, and we're going to act before this just falls apart. We felt that that was coming, that if we pretended that everything was fine and kept doing that, probably sooner rather than later something was gonna happen."

Of course, it's never just business, and Mike concedes that. "We're not firing a person out of personality conflict," he says. "Of course, it's personal. There's no way to say, Hey, man, no hard feelings, right? Yeah, right."

The doc also reveals how Peake visited Vikedal years later to try to mend fences — one Ryan to another — and the old bandmates hashed things out and renewed their friendship.

Daniel Adair, who previously played with 3 Doors Down, took many years to shed the "new guy" title in his own mind. The turning point was when the band supported him during his neurological struggles rather than letting him go which is what he feared. They wanted him to stay as he was part of their family.

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Crowd-Commanding Frontman Chad Kroeger Is More Sensitive Than You Might Think

In the documentary, the singer and guitarist reveals that while he can shrug or laugh off 90 percent of the barbs and insults hurled their way, some of it hurts. 

As the doc shows, Chad is a workaholic who has spent a lot of time in the studio; unlike his bandmates, he is not married with children, so their priorities can be different at times. When he was a kid, Chad got in trouble with the police for a lot of petty crimes like theft and breaking and entering, although as his brother jokes, "He never got arrested for working too hard."

Something deeper is also at play. "The Chad that I know is still the boy who just wants love," says Mike. "He was the bad kid that a lot of kids weren't allowed to play with... nevertheless, it's still tragic that you kind of feel unworthy. I know that that's a typical male condition to feel unworthy — and I have it, a lack of self-worth. 

"When you take a person who already has a stunted self-worth — maybe the impostor syndrome isn't all of it, that maybe you actually don't feel that you deserve this — you've got to work harder and harder and harder to justify the gifts," he continues. "The problem during COVID was that purpose was removed. And then who are you? Who am I if we don't do this? Who's Chad, who's Ryan, who's Daniel, who are we? Now what's our function? What's our purpose? It was kind of difficult."

The Internet Has Been A Blessing And A Curse For Them

The film makes a good case for paralleling the storm of vitriol against the band and the rise of social media in the mid-2000s. Mike says they could arguably be Patient Zero for cyberbullying, which his brother says spilled out in the real world when people would shout out insults at him in public. Mike and Ryan's children also speak about being hated at school simply because their dads were in the band.

The bassist admits that he thinks the dearth of real information about Nickelback and where they're coming from led to a narrative created by others. At the same time, he admits, "I think we can wear some of the responsibility for that. All of our biggest and favorite rock groups went through this. Long before social media, Jon Bon Jovi and his band were getting beat up by the hate stick just because they were successful. Every guy wanted to be them, and every girl wanted to be with them, and thus they must be destroyed. [Laughs.] That's what happens to you."

But in Mike's eyes, hitting it big in an internet-driven era hasn't been all bad. "I don't think we would have broken through in the first place without the controversial Napster file sharing situation," he suggests, "because a lot of people heard of us for the first time on Napster and on these file sharing platforms. So I think that there's been externals that have worked in our favor, very much so."

They Don't Need To Be Compared To Anybody Else

At one point in the film, Chad says, "I play Nickelback songs to Nickelback fans. So I don't have to go and win over someone who doesn't like my band. That sounds like some very strange form of torture, probably for both of us."

His brother remarks to Grammy that some of the disdain thrown their way comes from "an outgrowth of another condition" about how the public perceives rock stars. He points to bands like Queen and U2 or a performer like Prince, and how they are archetypal musicians and rock stars who people think have a special or unusual quality to them.

"Then they look at us and they're like, What makes these guys so [special]? Why do they deserve this? They're just normal guys. Why them?" Mike muses. "And I don't disagree with that. It's true. We are just normal guys. We're not Prince, we're not weirdos. So then the question is: Why should anybody think that we're that special? And the answer is they shouldn't. They just shouldn't. We don't think they should. It just turns out people really like the music, and I don't want to argue with that. I'm not mad at it."

There Are Things About Them You Will Simply Never Know — Nor Should You

As Mike explains, being in Nickelback is a brotherhood — and there are some things that will stay only between them.

"I think you just go through so many guttural, gritty, sometimes emotional, sometimes tragic situations, that after a while, you look at the team around you, and you just go, We're together. We've experienced these things with people that we work with in this tight group that other people just can't understand. 

"We have an encyclopedia of inside jokes inside this group," he adds. "There's also an encyclopedia of life experience that we only have in common with each other. Nobody's wives know this stuff. Nobody's families know this stuff. The public doesn't know this stuff. We know each other on a level that no one else gets to share. There is still that element of being a gang."

Even if all is not revealed in Hate To Love, the film offers some insight into what makes them tick. They know that their music was overexposed in the early to mid-2000s. They know that some people don't like their music period. But they're not the first band to elicit strong reactions, and they're not a "corporate rock" media creation. They're small-town dudes who made a mark on the rock world, whether you love, hate, or hate To love them.

"[For] anybody who thought that Nickelback was just a big monolith thing that doesn't care what anybody thinks and just hoovers up money and cranks out hits," Mike declares, "this documentary humanizes us in a way that is not about humiliating us — but it's about the humility of the band."

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Amongst Beyoncé's expansive catalog, "Halo" is easily one of her most iconic songs. Today, the 2009 single is her most-streamed song on Spotify; it was her first video to reach one billion views on YouTube; and it helped her set one of her GRAMMY records in 2010.

In this episode of GRAMMY Rewind, watch the superstar take the stage to accept Best Female Pop Vocal Performance for "Halo" in 2010 — the year she became the first female artist to win six GRAMMYs in one night.

"This has been such an amazing night for me, and I'd love to thank the GRAMMYs," she said, admitting she was nervous before taking a deep breath.

Before leaving the stage, Beyoncé took a second to thank two more special groups: "I'd love to thank my family for all of their support, including my husband. I love you. And I'd like to thank all of my fans for their support over the years."

The five other awards Beyoncé took home that night were for the coveted Song Of The Year ("Single Ladies (Put A Ring On It)") and four R&B Categories: Best Contemporary R&B Album (I Am... Sasha Fierce), Best R&B Song ("Single Ladies"), Best Female R&B Vocal Performance ("Single Ladies"), and Best Traditional R&B Vocal Performance (for her cover of Etta James' "At Last"). 

As of 2024, Beyoncé has won the most GRAMMY Awards in history with 32 wins.

Press play on the video above to relive Queen Bey's "Halo" win for Best Female Pop Vocal Performance, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

With Hasten Down the Wind, Linda Ronstadt became the first female artist with three million-selling albums in a row — and furthered her legacy as one of the pioneers of women in rock music.

The album also helped Ronstadt snag her second GRAMMY, as it won Best Female Pop Vocal Performance in 1977. (The year prior, she took home Best Female Country Vocal Performance for her cover of Hank Williams' "I Can't Help It (If I'm Still in Love With You).")

In this episode of GRAMMY Rewind, relive the moment Linda Ronstadt won Best Female Pop Vocal Performance for Hasten Down the Wind in 1977.

Ronstadt kept her acceptance speech short and sweet: "I'd especially like to thank Peter Asher," the producer of the pop rock LP. "Thank you," she added with a smile.

To date, Ronstadt has won 11 GRAMMYs and received 27 nominations. In 2011 and 2016, respectively, she received a Latin GRAMMY Lifetime Achievement Award and a GRAMMY Lifetime Achievement Award.

Press play on the video above to watch Linda Ronstadt take the stage to accept Best Pop Vocal Performance at the 19th Annual GRAMMY Awards and remember to keep checking back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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