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missy_elliott_997164918.jpg

Missy Elliott

Photo by Paul Drinkwater/NBC/NBCU Photo Bank via Getty Images

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Missy Elliott's 'Da Real World' At 20 da-real-world-20-missy-elliott-champions-women-hip-hop-rookies-and-most-all%E2%80%94herself

'Da Real World' At 20: Missy Elliott Champions Women, Hip-Hop Rookies, And, Most Of All—Herself

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On her renowned second album, Missy "Misdemeanor" Elliott came back even louder, sharper, and more unapologetic than before, earning her rightful title as the (other) Queen B*tch of Hip-Hop and R&B
Mark Braboy
GRAMMYs
Apr 5, 2019 - 12:18 pm

You don't need to listen to Charli XCX to know that the year 1999 was more or less a battleground for pop-culture relevancy.

While much of the nation was going crazy over the hyper-futuristic film The Matrix, widespread Y2K hysteria, and the horrific mass shooting at Columbine High School that would lead to a national debate around violence lyrics in music, the growing musical counterculture—particularly around hip-hop and R&B—was catalyzing a bold changing of the guard.

Hip-hop continued to grow by way of the game-changing takeover of Cash Money Records, Eminem's meteoric rise and Dr. Dre's return, the East Coast renaissance while reeling from the tragic murder of the Notorious B.I.G., and arguably one of the most impactful class of women between the two black genres such as Mary J. Blige, Lil' Kim, Eve, Destiny’s Child, and, of course, Missy Elliott (among others). It was a perfect storm of women’s empowerment and rightfully reclaiming the narrative around black women, artists and fans alike, during the heights of several iconic hip-hop labels, including the house Missy and Timbaland built, Blackground Records.

After the Virginia native dropped her 1997 groundbreaking debut album, Supa Dupa Fly, Missy became more prolific as one of the most in-demand producer/artists between hip-hop and R&B while being tapped to work on songs from the Why Do Fools Fall In Love and Dr. Dolittle soundtracks, along with albums by Destiny’s Child, Ginuwine, Total, and Whitney Houston. And while eager fans were salivating for Missy’s long-awaited follow-up, Da Real World, few saw the pressure she endured due to fear of the dreaded "sophomore slump."

"It was my hardest album because by that time the expectations were a lot higher. Once you get over that sophomore album, you feel like you're staying. It was the toughest album to make," explained Missy in a 2014 Billboard interview. "I thought, 'What do people expect of me next?' There weren't any expectations for the first album. The second album was like, 'This first album has got all these great reviews so where I do go from here?' I was overthinking everything. I didn't think twice about videos, but yes for music. 'Ah, I don't like that.' I drove Tim crazy.'"

Missy "Misdemeanor" Elliott had already broken the mold for what was expected for a female rapper as an uber-talented quadruple threat singer/rapper/producer/songwriter while being carefree, plus-sized black woman who proudly owned her femininity and audacious sense of sexuality. At a time where most female rappers were expected to appeal to the patriarchal gaze and be side additions to their male counterparts, Missy not only stood as Timbo’s equal, she became a musical superstar all in her own separate context.

Sonically, she, Timbaland and the Blackground Records roster (Aaliyah, Ginuwine, Playa, et. al.) influenced the R&B landscape prior to 1999 (as Missy and Timbo proudly proclaimed on the opener "Beat Biters"). This time, in the face of adversity, Missy would come back even louder, sharper, and more unapologetic than before, earning her rightful title as the (other) Queen Bitch of Hip-Hop and R&B with Da Real World.

From its core sound to its overall tone, the album was an aggressive and non-compromising shift from Supa Dupa Fly. While Missy’s debut stood out a carefree, bouncy, and fun romp, Da Real World carried an increased and appropriately measured seriousness in its dark, futuristic and polished production, matured content, and overt political nature with her controversial and defying reclaiming of the word "bitch" without being too heavy-handed. Fans received Missy at her most unapologetic at the time while still having a fun, focused and eclectic body of work.

Reclaiming the word "bitch" wasn’t a new concept in pop or black music culture at the time: Evolving from Queen Latifah and Salt-N-Pepa’s lyrical stances against the word "bitch" and its derogatory context, female artists began to empower themselves and claim their own narrative by taking the word back.

Throughout the late '90s, rappers like Lil' Kim and Trina challenged the negative connotations and redefined it on Hardcore and Da Baddest Bitch, respectively, while Missy herself alluded to the theme on Supa Dupa Fly. That same year, in 1997, Meredith Brooks released the defiant radio anthem, "Bitch (Nothing In Between)," which went on to become one of the biggest smash hits of that decade, not to mention a defining song for a cultural revolution among women.

Upon its release, Da Real World expanded on Brooks' concept in a broad and direct fashion. Her lead single, "She’s A Bitch," where she raps, "She's a bitch/ When you say my name/ Talk mo' junk but won't look my way/ She's a bitch/ See I got more cheese/ So back on up while I roll up my sleeves,” shows Missy reclaiming the word for the sake of empowerment, rallying against the double standard of male hip-hop artists being allowed to be aggressive and assertive while female rappers were, even to this day, expected to err on the side of demure.

Missy was well aware of the double-standard at the time, telling Interview Magazine, "Women are not always taken as seriously as we should be, so sometimes we have to put our foot down. To other people that may come across as being a bitch, but it’s just knowing what we want and being confident. If I’m paying people and they’re not handling my business right, I have to check them."

"For a guy, though, it’s just considered aggressive," she continued. "You don’t hear people call males 'bitches.' But I’ve heard that people talk that way about Chaka Khan. And Aretha Franklin: If it was cold in the studio, she’d put the mike down and leave. Someone who sees her act like that may say, 'She’s a bitch,' but she just means business when she says, 'Yo, please have the heat up when I get here.' Of course, nobody’s gonna call her a bitch to her face. But I hear makeup artists all the time saying, 'Oh, I had to do such-and-such’s makeup. She’s a bitch.'"

Era contemporaries were likewise eager to join in the conversation. On the smooth "Throw Your Hands Up (Interlude)," Lil' Kim bluntly brought its significance home when she proclaimed, "Ya see 'bitch' is a strong word and only strong bitches can use that muthafuckin’ terminology. Bitch! I mean if u can't wear the name, then don’t try to use it."

From her music videos to her physical appearance and fashion, Missy re-invented the wheel she had already re-invented after shedding pounds due to a health scare while going for an edgier and space-age look which was inspired by her then-favorite film at the time and cultural juggernaut, The Matrix. The videos for Da Real World only amplified the album’s dynamite sound and themes by bringing the explosive songs to life.

Starting with the visuals for "She’s A Bitch,” Missy's one-of-a-kind, highly animated treatments (often directed by Hype Williams) were still as outlandish as they were with Supa Dupa Fly, but edgier without sacrificing any of the charm that drew the masses in the first place. For example, the two million-dollar video for "She’s A Bitch" was a more dynamic contrast to the mellow and trippy treatment for "I Can’t Stand The Rain." Instead of a "trash back," Missy donned a fearsome, all-black outfit and even painted her face the same color amid a semi-apocalyptic landscape.

Meanwhile, the electrifying “Hot Boyz (remix)” was given the hip-hop Evel Knievel treatment with Missy in her glitzy racing outfit amid a burning, exploding structure. Those visuals in particular made a lasting impression on young millennials who grew up watching the beloved 24-hour music video channel, The Box.

While the music itself did not step any further outside, well, the box, compared to Supa Dupa Fly (and one could argue that sonically, the ambition is a bit stagnant), Da Real World still displayed her extraordinary versatility as Missy travels seamlessly through between hip-hop and R&B. Deep cuts like the dancehall-driven "Mr. DJ," "Stickin’ Chickens," and its chart-topping single, "All In My Grill," sound as exciting, slick, and organic as Supa Dupa Fly’s "Best Friends" and "Sock It 2 Me." And lyrically, there’s a healthy array as broad as a Wingstop platter of intense flows and bars ("Beat Biters," "Hot Boyz"), immersive concepts, ("You Don’t Know"), honeyed melodies, and twerk-friendly bangers.

While veteran music critics like Touré made a valid point, that Missy comes off as "unfocused lyrically," as her own bars don't necessarily outshine any of her world-class hip-hop collaborators, her over-the-top delivery, flow, clever, and easily infectious songwriting made up for that. She even admitted her own weakness in her raps in the previously quoted piece with Interview.

"The rapping is cool, but my lines aren’t all that fly. People like Biggie Smalls or Jay-Z who say stuff that you have to rewind and listen to twice and be like, 'Wow, what made them say that?' or 'I would have never thought about saying that'—those are rappers I really look up to. As far as flows, I can give you flows all day," she explained.

Da Real World, on its 20th anniversary should be a cherished hip-hop and R&B album for not only its ultra-polished, futuristic sound, but in its strong collaborations. Besides the memorable battle-of-the-sexes features from the returning Lil' Kim, Da Brat, and Aaliyah, along with vets Lady Saw, Big Boi, MC Solaar, Nicole Wray, Nas, and Redman, Da Real World hosted some extremely rare collaborations with a handful of the hottest and soon-to-be impactful rookies, including Juvenile, B.G., Lil' Mo, Eminem, Eve, and an emerging solo Beyoncé (Nas and Eve were only guests on the Hot Boyz remix, released separately from the album).

The lineup of then-newcomers was—and still are—special on Da Real World due to few circumstances. As one could tell, Lil Mo, Eve, Bey were individually poised for stardom, as Mo had a scene-stealing presence throughout on songs like the single "Hot Boyz" and the compelling drama "You Don’t Know." Eve was featuring on the "Hot Boyz (remix)" and the (literally) explosive video a few months prior to her solo debut Let There Be Eve dropping, and the former Destiny’s Child lead joined Missy on the spellbinding duet "Crazy Blessings."

In Juve, B.G, and Eminem’s case, not only did it shine a brighter light on them, but "You Can’t Resist" and "Busa Rhyme" would have them flexing their most savage lyrical chops outside of their Mannie Fresh and Dr. Dre, (respectively) padded comfort zones as they were brought into Timbaland and Missy’s ultramodern soundscape.

Missy even recalls a story of how she ended up reaching out to Em in her 2014 interview with Billboard.

"[Eminem] hadn't even came out with 'My Name Is' yet. I heard something of his and instantly told Tim, 'I need this guy on my album.' Immediately when I heard him rap I thought, 'He's special.' I had the label reach out to [Dr.] Dre. He did it (his verse). I heard it and thought, 'Oh, he's going to blow up,'” Missy recalled.

Of course, for all of its progressivism, Da Real World is not without problematic moments. While Eminem deserves a ton of credit for his hungry performance on "Busa Rhyme," in hindsight, lyrics like, "Spit game to these hoes/ Like a soap opera episode/ And punch a bitch in the nose til her whole face explodes/ There's three things I hate/ Girls, women, and bitches" don't age well in 2019. (Remember, at the time such controversial lyrics were only seen as “artistic expression” within the community itself.)

Despite its rocky start, peaking at No. 10 in the Billboard 200, amid steep competition from mainstream pop blockbusters like Britney Spears' debut ...Baby One More Time, the Wild Wild West soundtrack, and albums from Ricky Martin, Backstreet Boys, and Limp Bizkit, Da Real World still went platinum, selling over one million units.

Whatever its response at the time, Da Real World should be recognized as a body of work that stood both on its own and apart from the pack of late-'90s production gloss that, all too often, masked artists' true talent. If anything, Missy's abilities as a storyteller, an unapologetic songbird, and a club maestro, combined with Timbaland’s world-breaking production, only helped set the stage for her third album, Miss E…So Addictive. 

Da Real World was and remains an important album from the '90s for its songs and visuals that continue to be adored and cherished by hip-hop fans everywhere. And while it was made at the end of the millennium, it was clearly built to last multiple eras through its sonics and overall theme of being the baddest "bitch" possible. And in that goal, it succeeded.

On 'Things Fall Apart,' The Roots Deepened Hip-Hop

Macklemore & Ryan Lewis at 2014 GRAMMYs

Macklemore & Ryan Lewis

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Watch Macklemore & Ryan Lewis Win Best New Artist grammy-rewind-watch-macklemore-ryan-lewis-win-best-new-artist-2014

GRAMMY Rewind: Watch Macklemore & Ryan Lewis Win Best New Artist In 2014

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"I want to thank our fans, the people that got us on this stage…without them, there would be no us," Macklemore said
Ana Monroy Yglesias
GRAMMYs
Jan 8, 2021 - 11:21 am

Seattle rap act Macklemore and Ryan Lewis win Best New Artist at the 56th GRAMMY Awards in 2014 on the latest episode of GRAMMY Rewind.

The duo looked fresh as they accepted their award from presenters Pharrell and Anna Kendrick. Macklemore rocked an emerald green velvet tux and black velvet bowtie while Lewis wore a silver and black houndstooth suit with a silk black tie.

Video: Macklemore & Ryan Lewis Win Best New Artist

Related: MusiCares Honors Macklemore At The 2019 Concert for Recovery

"Wow, we're here on this stage right now," Macklemore said, grinning. "First and foremost, I want to thank our fans, the people that got us on this stage…without them, there would be no us." 

Following the momentum of their massive 2012 single "Thrift Shop" featuring Wanz, the Seattle rapper was nominated for a total of seven awards that year. He took home four wins, including Best Rap Performance and Best Rap Song for the aforementioned hit.

Fellow contenders were James Blake, Kendrick Lamar, Kacey Musgraves, and Ed Sheeran; All are now GRAMMY winners. 

Learn more about the current 2021 Best New Artist nominees here.

"Equality Is More Than Just A Word": Michael "Wanz" Wansley On How The Music Industry Can Effect Real Change

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Big Boi in 2010

Big Boi in 2010

 

Photo: Don Arnold/Getty Images

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Big Boi's 'Sir Lucious Left Foot' At 10 big-boi-sir-lucious-left-foot-son-chico-dusty-10-year-anniversary

'Sir Lucious Left Foot: The Son Of Chico Dusty' At 10: The Story Behind The Missing Tracks From Big Boi's Solo Debut Album

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Partly thanks to label disputes and delays, the former Outkast MC left four singles off his classic debut album; deep cuts of the digital era, they collectively showcase Big Boi's evolution as a solo artist
Jack Riedy
GRAMMYs
Dec 30, 2020 - 9:47 am

Big Boi's solo debut was mired in label drama. Despite being half of one of the most commercially and critically successful rap groups of all time, the Outkast MC dealt with numerous label disputes and delays of 2010's Sir Lucious Left Foot: The Son oO Chico Dusty. "[Jive Records] said, 'This is a piece of art, and we don't know what to do with it,'" the six-time-GRAMMY-winning, 18-time-nominated rapper born Antwan André Patton told The New York Times in 2010. "[T]here were a lot of Jedi mind tricks going on… [t]hey almost tried to kill my career with that waiting."

At the time, many fans believed a full Outkast album—their first since 2006's Idlewild—was imminent. "OK, Big Boi's got Sir Lucious out. They're messing with us, André's going to come next, and then all will be well!" Atlanta journalist Gavin Godfrey tells GRAMMY.com about his mentality at the time, breathlessly imitating an over-hyped hip-hop head. Big Boi himself contributed to the hype, telling Vibe in 2007 that a new Outkast project was due after he and bandmate André 3000 had dropped their solo albums. At press time, a follow-up to Idlewild still hasn't transpired. "It's me, standing alone," Big Boi told the Times of Sir Lucious. "Outkast is a part of who I am. But this album is just me."

Big Boi released Sir Lucious Left Foot, which contains just under an hour of irresistible funk-rap, just over a decade ago, on July 5, 2010. This month, the record club Vinyl Me, Please reissued the album on exclusive purple and silver galaxy vinyl. Due partly to disagreements between Big Boi and Jive Records—where Outkast had moved in 2004 from its RCA-owned sister label, Arista Records—several of its singles didn't make the original release; they don't appear on the VMP reissue either. These four songs—"Royal Flush," "Sumthin's Gotta Give," "Lookin' 4 Ya," and "Ringtone"—are deep cuts of the digital era that showcase Big Boi's evolution as a solo artist.

"Royal Flush," which features Raekwon and Big Boi's Outkast partner André "3000" Benjamin, was Big Boi's first solo single. The spare hip-hop track consists of three verses split up by a sampled hook from the Isley Brothers' Go For Your Guns jam "Voyage to Atlantis." Big Boi boasts about his studio filled with potions of emotion; Raekwon describes soaring past police on the way home to his castle. But on a verse triple the length of the others, André warns against turning to crime. "Unfortunate that if you come up fortunate, the streets consider you lame," he raps. "I thought the name of the game was to have a better life / I guess it ain't; what a shame."

Watch: OutKast's 'Speakerboxxx/The Love Below': For The Record

A spiritual sequel of sorts to "Skew It on the Bar-B," a 1998 Outkast track which also featured the Wu-Tang Clan rapper, the track shows off the MCs' skill as rappers and writers. Furthermore, it shows that Big Boi's meant his solo work to be an extension of his work with Outkast, not a break from it. "It had the same feeling as I did when I was in high school, and "Rosa Parks" came out," Godfrey, who recently revisited the duo's 2000 album Stankonia for NPR, remarks. "It was so cool and different in a way that only could have been created by Outkast."

On "Lookin' 4 Ya," Big Boi teams up with André and frequent collaborator Sleepy Brown for a song about delicious anticipation for sex. André wants to test every piece of furniture for stability. Big says he and his partner have been digging each other for so long they're like archaeologists. Instead of trading verses over silky-smooth funk courtesy of the Dungeon Family collective, the trio raps over a pounding beat produced by a then-upcoming Boi-1da. "Lookin' 4 Ya" is another impactful reunion with André, combining harsh textures with an R&B hook for a quasi-industrial vibe.

Watch: OutKast's "The Way You Move" ReImagined By Big Boi

Big envisioned "Royal Flush" and "Lookin' 4 Ya" on the Sir Lucious tracklist from the beginning. He even told East Village Radio that "Lookin' 4 Ya" was to follow "Hustle Blood," and "Royal Flush" was to end the album because he wanted his friend André to have the last word. So why did neither song make it on the album?

"I don't think Jive looked at Big Boi as a top-caliber artist without his partner," David Lighty, the former senior director of A&R at Jive, told the Times. "They wanted an Outkast album so bad that when it didn't happen, they were more disappointed than anything." Frustrated with delays, Big Boi left Jive Records for Def Jam. In return, Jive blocked any collaborations between the two from release on another label on the grounds of them being Outkast tracks—a group still signed to Jive's roster. 

André's only contribution to Sir Lucious Left Foot is producing the beat for "Ain't No DJ." "[T]hey can't stop us, man. [I've] been knowing Dre half my life," Big Boi told GQ in 2010. "And for these people that we don't even know, that haven't even had a hand in our career at all, that's f**king blasphemy."

"Royal Flush" leaked to the Internet, was officially released as a single in spring 2008 and was eventually nominated for Best Rap Performance By a Duo or Group at the 51st GRAMMY Awards. "Lookin 4 Ya" never received an official release but leaked a month before Sir Lucious Left Foot's release, with additional verses. In the same GQ interview, Big Boi implied he leaked them himself. "You know, I'm no stranger to that Internet, baby," he said. The thirst of the fans will be quenched."

"Sumthin's Gotta Give," also from 2008, was a departure from his usual approach. On this topical song, the ATLien raps about economic struggle and laments there are "no more messages in music." Mary J. Blige joins him for the chorus, lamenting lost jobs and hoping "Maybe in November, I'll be cheering for Obama." Big had rapped politically before — on "War," from 2003's Speakerboxxx/The Love Below, he name-checked Osama bin Laden, the slain journalist Daniel Pearl, and the Black Panther activist Fred Hampton. But he had never been so overt.

Read: OutKast Examine Their Southern Experience On 'Southernplayalisticadillacmuzik'

Big Boi working with a superstar vocalist like Blige was an exciting prospect. "After Speakerboxxx/The Love Below, these dudes have gone diamond, they've won Album of the Year at the GRAMMYs, so they were officially certified superstars," Godfrey says. "People see him on a track with Mary J. Blige and think it's some kind of label pairing, but I feel like Big Boi isn't one of those dudes to pair up with people just to say he did. He's such a musical dude that he's like 'There is something in this song that I can create that can't be enhanced unless I have Mary J. Blige on it.'"

The slap-bass-heavy beat of "Sumthin's Gotta Give" sounds like it's trying to split the difference between New York swing and Atlanta funk, and Big Boi possibly prioritized the track's motivational message over its music. "That was basically to get people out to the polls to vote." Big Boi told HipHopDX in 2010, explaining why "Somthin's Gotta Give" wouldn't make the Sir Lucious tracklist.

Big Boi's upbeat 2009 single "Ringtone," a come-on to a girl who's got her ringtone in Big's phone even though they barely know each other. From its talkbox vocals to its synth bleeps. one could hear "Ringtone" as a brief history of Black soul music, leading up to the hollowed-out, autotuned sound of Lil Wayne's 2008 hit "Lollipop." Godfrey points to Big Boi's now-adult children as enabling him to stay current. "He knows what the kids like, so to speak," he says. "He's always tapped in; he's not one of these old hip-hop heads."

"Ringtone" was officially released as a bonus track to Sir Lucious Left Foot's deluxe edition under the alternate title "Theme Song," possibly to avoid the negative connotations of the 2000s ringtone-rap trend. While the track wasn't a hit, it sounds like it could have been—in a universe just slightly funkier than our own. Of the four left off the album, only "Royal Flush" and "Ringtone"/"Theme Song" survive in the streaming era. The other two are only available through dead links on rap blogs and unofficial YouTube uploads of dubious quality.

Big Boi has now been a solo artist almost as long as he's been part of Outkast. Since Sir Lucious Left Foot, he's continued making hip-hop steeped in the funk and soul traditions—even bringing his unique approach to the Super Bowl LIII Halftime Show. After the haze of delays and disputes has cleared, Sir Lucious and its leftovers remain highlights in an impressive catalog. "I am content with the knowledge that there probably will never be another Outkast album," Godfrey says. "But if there are more Big Boi albums, I'm fine with that."

Deep 10: OutKast's Speakerboxxx/The Love Below

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G Herbo

 
 
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#TBT: G Herbo & Chance The Rapper Perform "PTSD" tbt-g-herbo-chance-rapper-get-vulnerable-ptsd-performance-press-play-home

#TBT: G Herbo & Chance The Rapper Get Vulnerable On "PTSD" Performance For Press Play At Home

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Revisit the Chicago rappers' exclusive performance of the powerful title track from G Herbo's 2020 album
GRAMMYs
Dec 24, 2020 - 10:00 am

As 2020 comes to an end, GRAMMY.com is revisiting some of the stellar performances from our Press Play At Home video series. Today, we throw it back to G Herbo's and Chance The Rapper's moving performance of "PTSD" from earlier this year.

In the exclusive performance, the two Chicago rappers perform the title track from G Herbo's 2020 album and pay tribute to their late friend and collaborator, Juice WRLD, who is featured on the album version of the song.

G Herbo ft. Chance The Rapper: "PTSD" | Press Play

G Herbo's album and mission as an artist aim to destigmatize mental health and demystify the commonly misunderstood mental disorder clinically known as post-traumatic stress disorder. In May, Herbo launched Swervin’ Through Stress, which offers free therapy and mental health resources for Black youth aged 18-25.

G Herbo Talks 'PTSD' And The Importance Of Mental Health: "People Need To Treat Mental Health More Seriously"

Tyler, The Creator

Tyler, The Creator

Photo: John Lamparski/Getty Images

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What's Your Favorite Holiday Song? poll-eartha-kitt-santa-baby-tyler-creator-grinch-whats-your-favorite-holiday-song

Poll: From Eartha Kitt's "Santa Baby" To Tyler, The Creator's "I Am The Grinch," What's Your Favorite Holiday Song?

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Let us know what your favorite holiday song is in our latest GRAMMY.com poll!
Ana Monroy Yglesias
GRAMMYs
Dec 18, 2020 - 5:49 pm

'Tis the season to listen to Mariah Carey's "All I Want For Christmas Is You" on repeat! Whether you're one of the people who turned up the jingle bell jams to find some joy back in November or you've just started to dust off your playlist of jolly gems, we want to know what your favorite holiday song is.

Let us know what your fave festive bop of all time is in our poll below. You'll see new songs from artists like Todrick Hall, Andrew Bird, Dolly Parton with Miley Cyrus, and classics from José Feliciano, Chuck Berry, Eartha Kitt and more.

And make sure to check out our 2020 holiday songs roundup here to hear some of the latest ones.

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What Is Your Favorite Holiday Song?

21 New Holiday Songs From Todrick Hall, Tinashe, Mariah Carey & More To Spark Joy As 2020 (Finally) Comes To A Close

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