Naeem

Photo: Shane McCauley

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Naeem Talks New Album 'Startisha,' Creativity In Quarantine And The Need For Change In America

Formerly known as Spank Rock, the Baltimore-born, Los Angeles-based rapper reinvents himself on his latest album, his first under his birth name

John Ochoa

GRAMMYs

Jun 13, 2020 - 4:07 pm

For Naeem, his newest album, Startisha, is a rebirth in more ways than one.

Sure, it's technically a debut album: It's his first LP under his birth name, but his third full-length overall. Prior to Startisha, the Baltimore-born rapper spent more than a decade pissing off parents as Spank Rock, the party-starting, sexually explicit artist who's rhymes could make Luke Campbell and the 2 Live Crew blush.

Startisha is a hard pivot for the rapper born Naeem Juwan. The genre-bending album, released this month (June 12) on 37d03d, places sonic experimentation at the fore, while Naeem's deepest thoughts and personal memories form the project's core.

On "Stone Harbor," he sings about his love for his boyfriend, while the album's title track, named after a neighborhood buddy, sees Naeem reflecting on the friends he's lost over the years.

Then there's "Simulation," the album's debut single, which features Bon Iver's Justin Vernon and soul/R&B singer Swamp Dogg. The track's trunk-rattling bass, mixed with its sparse drums and spacey production, creates a hypnotizing effect that allows Naeem's piercing lyrics and warped raps to penetrate your psyche.

"They cutting funding / Locking up children and banning books / While I'm popping bottles with dope boys that bottom / Till we shoot our babies like Sandy Hook / No truth to be found anywhere we look," he raps on the psychedelic single.

"It was something I was really on the fence about," Naeem tells the Recording Academy about releasing Startisha under his birth name. "So much time passing by kind of made it clear to me that maybe I would feel a little bit more free and light-hearted about putting out music and also about sharing new parts of myself and writing more personally if the record came out as Naeem."

The album comes during the era of the coronavirus pandemic, which has forced Naeem to push his creativity while under quarantine restrictions. (He and his boyfriend filmed the socially distanced music video for "Simulation" at home, while the visual for album single "Woo Woo Woo" unfolds like a Zoom video meeting at the club.) "I'm really excited that being quarantined forced me and my friends to really trust one another and work hard," he says.

Startisha also drops as the U.S. nears its third week of nationwide protests against police brutality and racial injustice in response to the recent killings of George Floyd, Breonna Taylor and other black U.S. citizens by police. Naeem, who's remained vocal on social media about the issues impacting the country right now, says politics has "always been part of my songwriting."

"I've always been extremely political and very concerned with the way people are treated," he says. "I'm extremely concerned with the way that America needs to continue to perfect itself and the world needs to continue to perfect itself. I'm angry a lot of the times."

The Recording Academy chatted with Naeem to discuss the organic collaborations and personal journey behind Startisha, his newfound approach to creativity while in quarantine and the necessary steps to address America's social unrest.

This interview, edited for clarity and brevity, is composed of two separate interviews; a follow-up interview was conducted in the wake of the nationwide protests.

You recorded the album across the U.S.: Philadelphia, New York. You even went to Justin Vernon's home studio in Minneapolis. What role does location or setting play in your creativity, particularly when you are writing a new album or new music?

Location played an especially big part in this time around because I wasn't considering time and I wasn't being guided by my own solo ambitions. The whole practice of this album was opening myself up to the process of writing and the process of collaboration. I wanted to make it feel really good to me. I wanted music writing to feel really special to me and to the friends I was making it with. So I really did take my time to consider environment, and let the environment have an impact on me, and my collaborators have an impact on me …

Then we were doing extra production in Wisconsin with Justin and getting some more collaborators on the album like Swamp Dogg or Velvet Negroni. That environment, Minneapolis as a city, had a big impact on me. Eau Claire, Wis., in Justin's studio space ... it's just charged with this energy that I think a lot of people feel comfortable and safe at. And that played a really big part in making collaboration happen really quickly.

So those environments were really important because sometimes we'd be in Wisconsin and it's just freezing and just tons of snow out. Trapped inside, you get to really focus and feel a camaraderie because everyone's kind of going through this tough climate. I had time to really let the environment to really sink in and sit in all these different places that I worked on the album at, and it did have effect on me.

This is your debut album under your birth name. Why was it important for you to release this specific album, this specific body of work as Naeem?

It was something I was really on the fence about ... So much time passing by kind of made it clear to me that maybe I would feel a little bit more free and light-hearted about putting out music and also about sharing new parts of myself and writing more personally if the record came out as Naeem. Something that I wasn't really aware of was how much of a brand you become. I never really thought about branding; I just always made whatever I wanted to make because I felt alive and this is what was coming out of me.

There were moments where I felt like the people's perception of the Spank Rock brand, they didn't want to give me room to grow or change or present any different ideas. That's unfortunate because I thought that Spank Rock was representing freedom and anarchy and just like this kind of burlesque sort of spirit that allowed a lot of people to feel free in and witness things that they may not have witnessed before or thought about things in a different way than they thought before. But at the same time, I had still been trapped in people expecting a certain sound or vibe from me. The closer and closer this new album became to be completed, it became more clear to me that I would feel better if I was able to represent myself instead of a moniker.

Also, a lot of Spank Rock stuff was made with really close friends of mine from Baltimore High School; those people aren't really in my creative circle anymore, and so the feeling and music is different—a little bit different. And I wanted to respect that, too.

Did you go into the album knowing it was going to be from Naeem? Or did you go into it thinking it was going to be a Spank Rock album?

I went into it thinking I was making another Spank Rock album. Because I gave myself time to create it, there was just a lot of conversations that [were] happening between me and other musicians or artists that I'm close with, just talking about the process of what I'm doing and expectations and fears. By the time, the album was completed—the writing of it was completed—I felt like it was clear to me that I should put it out as Naeem.

Do you feel any pressure or any sort knowing the album going to release under your birth name rather than another Spank Rock album? Does it feel different?

No, I really did put in a lot of work to not feel any pressure at all. That was the point of completing this album was to relieve myself from a lot of pressure that I felt. And I'm really happy that I did all the things I needed to do to remove myself and the pressure. I just like feel so fortunate that I'm able to put out another album ... I'm in this space right now where there's no pressure. The only pressure I feel is creative pressure. The only pressure I feel is to live up to a standard that I personally have: What a music video looks like or what a live show looks like or what my new music that I'm writing now will end up turning out. But no social pressure, I really worked really hard to remove that.

Do you think the fans of Spank Rock are going to understand what you're trying to do on Naeem?

Spank Rock is [from] 2006. So much time has passed that I think that the fans of Spank Rock, their lives are completely different than what they were in 2006. I feel like they probably are interested in seeing what I'm making now. I don't think they have a fanatical attachment or [are] like, "I can't wait to f**king do Molly and bounce my ass to Spank Rock." I don't think my fans are like that, they're probably like changing diapers or some sh*t.

Speaking of your Spank Rock days, you've always tried to take rap music and hip-hop culture on multiple left turns. You've always mixed rap with electronic and other genres. Your previous album, 2011's Everything Is Boring and Everyone Is a F**king Liar, featured production from both Boys Noize and Mark Ronson. Is it important for you to keep mixing things up, sonically and artistically, throughout your career?

I think it seems to be like a pattern of what I'm drawn to. I think that happens because the music that I listen to, all my favorite artists seem to make music that way. My favorite artist being Prince, I imitate the way that he mixes genres together a lot. My other favorite artist being [David] Bowie, I'm influenced by the way he mixes genres together. And I'm also influenced by the way they try to reinvent themselves or stay ahead of trends. That's something that I push for and hopefully can get better at to become.

You initially did not want any guests on the album. That shifted after you started showing some of the early album demos to your friends and collaborators. Was there a moment or a reason when you changed your mind about allowing collaborators on the album?

It was really the leadership of [producer] Ryan Olson ... and being a part of his world and him introducing me to so many different artists in Minneapolis and me spending a long period of time there—the city and the way that they collaborate with one another and work together started influencing the record. And it just happened really organically, just because that's the way they were making music ... I didn't ask for any of the collaborations, I think.

You're rapping about some heavy stuff on this album. You talk about Sandy Hook, banning books, cutting government funding. Have you gone this deep before in your music? Or is this a new frontier for you?

Politics has always been part of my songwriting. I think that was one of the things I was frustrated with in the way that public and the press wanted to perceive Spank Rock, because I was trying to write music the way that James Brown writes music or the way that Prince writes music where it's dance music, but it's still political; that's always how I write music. I think I just was doing a bad job of letting some of that stuff shine in the era of the Spank Rock stuff. I think it was getting lost in the production, how fast-paced the music was.

But no, I've always been extremely political and very concerned with the way people are treated. I'm extremely concerned with the way that America needs to continue to perfect itself and the world needs to continue to perfect itself. I'm angry a lot of the times.

In what specific ways do you think America needs to continue to "perfect itself"?

Racism is at the root of every problem in America. The decision of Brown vs. Board Of Education caused a reaction from white Americans that fueled every negative thing about this country today, from anti-abortion movements to [the] privatization of schools to redlining real estate to biased AI and [face-]recognition technologies.

I believe the only reason why America has yet to pass universal healthcare is because white Americans are afraid of being a part of an integrated healthcare system. There needs to be a movement of honesty and integrity in white American culture.

How can the country improve on some of the injustices causing the national social unrest happening right now?

It's extremely simple: Hold people accountable. For example, if a police officer murders an unarmed innocent civilian, convict that officer for murder.

You've been using your platform to voice your opinion and stance on many timely topics. You're pushing to defund the police, for example, and you're also encouraging fans and listeners to donate to Campaign Zero, which works toward ending police brutality in America. How can artists and everyday music fans use digital tools and social media to spread useful information in a meaningful, impactful way?

I struggle with how effective social media is to make real change. It's very difficult to have civil disagreements on social media, so I would encourage people to build IRL relationships with community organizations. Finding factual information is difficult on social media, and I've found myself regretting a few things I've shared because I didn't take the time to fact-check it. However, fundraising seems to work wonders, and Instagram has a super-simple register-to-vote sticker that I think everyone should be [messaging to] their friends right now.

The music industry recently initiated a social media initiative and industry-wide blackout, dubbed #TheShowMustBePaused, as a response to the racism and inequality within the wider music biz. Did you participate?

I didn't participate because of the urgency to defund and reform the police. I would have participated if the black square was a receipt for a donation, a call to a politician's office, a petition signed, or a new person registered to vote.

The social unrest and protests happening across the nation are clearly reaching people everywhere. What are some methods, tactics or approaches that artists, labels and music companies and entertainment corporations can initiate to turn the widespread momentum into lasting impact or change?

Donate money to local organizations that do the hard work of researching, organizing, protesting and supporting people in our communities who have the most need. Educate young music fans about the importance of voting, and work closely with voter registration and turnout campaigns.

You're wearing a face mask in your music video for "Simulation." The video for "Woo Woo Woo" looks like a very lit Zoom call. What has this quarantine lockdown done for your creativity?

I think it's been a blessing in some sort of ways, because having these restraints on what you can do really pushes your creativity. So me shooting the "Simulation" video ... we had to take a lot of time and sit [and think], "What can we actually pull off just the two of us? Is this too much? Can we actually get this shot?" [There were] a lot of things that we wanted to capture that we didn't capture.

The "Woo Woo Woo" video, putting faith and trusting your friends was really awesome. I think it was something I really needed to do at this point in time because sometimes your ambitions make you overlook the talent that's all around you. I'm really excited that being quarantined forced me and my friends to really trust one another and work hard.

The album opens with a cover of the Silver Apples song "You And I," which talks about not making time for the little things. With the world in quarantine, we're all now supposed to have this free time on our hands for exactly that: all the little things. Since being in quarantine, have you found or made time for these little things that we often ignore?

I don't like being pushed around by this world. I don't think it's set up right, so I don't participate the way other people feel the need to participate. But what is disappointing to me is when I watch friends and family not take the time, when I sit and watch friends and family not question why society is set up this way or not question why they're depressed all the time, or not question why you have low self-esteem or these other things. I'm always questioning our institutions, I'm always questioning government. I'm always taking time to myself and taking time to enjoy being alive.

I don't think accumulating a mass amount of wealth is something I should be driving myself to the ground for. I don't know for a fact that we are reincarnated or I don't know for a fact that I will be here again. If I have to deal with this really embarrassing existence of being human, this really disappointing way of being alive, I'm going to take time to enjoy it. When I heard that Silver Apples song, I was just like, "This is an important poem for people to hear." Stop being pushed around by these people who are just trying to take all of your energy, these people trying to take all of your attention. They're sucking money out of us—for what? We decide to participate in that world; we don't have to do that. I just always decide not to do it, as much as I can.

Now that Naeem is born and out into the world, is Spank Rock dead?

There was a Hollertronix reunion party in Philly a few years ago [in 2018] where I decided to make a memorial feature for Spank Rock and just killed him off. I don't even see how that could exist right now.

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Josh Gad

Photo: Crawford Shippey

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Josh Gad Talks New Animated TV Show "Central Park" And His Mission To Become A Better Ally

The GRAMMY-winning actor and singer breaks down the creative and musical vision that make "Central Park" a "true musical" and discusses how he's using his platform to address racial injustice head-on

John Ochoa

GRAMMYs

Jun 20, 2020 - 4:59 pm

Central Park represents a lot of things for a lot of people. For locals, it's a haven, a much-needed escape from the concrete jungle of New York City. For tourists, it's a must-see destination atop an endless list of can't-miss city stops. Josh Gad's version of Central Park is something all its own.

On "Central Park," his new animated musical TV comedy, now streaming on Apple TV+, the GRAMMY-winning actor and singer paints the beloved NYC landmark as a quirky place offering diverse sounds and colors through the prism of the city. Or as his character on the show, the happy-go-lucky busking narrator Birdie, calls it, "It's like New York, but undressed."

Like the sprawling sight itself, "Central Park" is a unique composite of equally unique parts. There's the all-star cast, which includes GRAMMY winners and "Hamilton" stars Leslie Odom Jr. and Daveed Diggs, as well as Hollywood giants Kristen Bell, Stanley Tucci, Tituss Burgess and Kathryn Hahn. There's the stellar soundtrack, which features songs written by Fiona Apple, Meghan Trainor, Cyndi Lauper and Sara Bareilles, among many others. Then there's the creative team behind it all, which includes co-creators/co-executive producers Loren Bouchard, the creator of fellow animated hit TV series "Bob's Burgers," Emmy Award winner Nora Smith and Gad himself.

But first and foremost, "Central Park" is a musical, a deliberate move Gad made from the jump.

"When I pitched this idea to Loren Bouchard ... and his partner, Nora Smith, I said to them, 'I want to do a true musical,'" Gad tells the Recording Academy. "'I don't want this to be a pastiche musical, I don't want it to be a spoof of musicals. I don't even want it to be a show with music. I want it to be a musical. I want the songs to be a part of the very fabric of the story, and I want the characters to have no emotional choice but to break out into song.'"

The show follows the Central Park-dwelling Tillerman family, which includes Owen (Odom Jr.), the patriarch of the family who works as the park's manager; Paige (Hahn), the journalist mom of the crew; and their two children, Molly (Bell) and Cole (Burgess). Their home is threatened when hotel tycoon Bitsy Brandenham (Tucci) and her assistant Helen (Diggs) try to turn Central Park into luxury condos.

Despite the show's playfully ominous premise, "Central Park" has become a beacon of light for Gad since it debuted last month (May 29) during the coronavirus-fueled quarantine era.

"It's surreal to see the kind of light it's bringing people in this moment of infinite darkness that we find ourselves in," he says of the show, "and it's a joy to be able to give something that is so joyful to the world."

The Recording Academy chatted with Josh Gad about the creative and musical vision behind "Central Park," the dystopian soundtrack to 2020 and the lessons he's learned while working to become a better ally.

"Central Park" features what I would consider the definition of an all-star cast. The Los Angeles Times described it best: "The Avengers of musical theater." As one of the show's creators and executive producers, how involved were you in the casting? How did you navigate that process?

I was responsible for doing it. It was a conversation that I had with Loren [Bouchard] at the beginning, before we even had a script. He said, "On Bob's Burgers, what we did was we cast the people that we wanted to work with, and then we built characters around them." By casting the people we want to work with, he meant your friends, people that you see yourself doing this with. I reached out to all of the people that I knew I would want to not only work with, but that could legitimately carry a musical and not have it feel like we were bullsh*tting the audience, that we were autotuning anybody, that we were not giving anyone a voice that could legitimately match the incredible level on display in terms of the music that was written for the show.

I began by reaching out to people, like my college classmate Leslie Odom Jr. who had just won a Tony for a glowing performance in "Hamilton." And somebody I admired greatly also from ["Hamilton"], Daveed Diggs; both said yes. Kristen Bell, my co-star from Frozen, it was an immediate yes. And one by one—Tituss Burgess, Kathryn Hahn and Stanley Tucci—all signed on, and Loren and I were just in awe; we just couldn't believe it ... It's been very much about making sure that everyone who comes on really rises to the level of not only being the perfect vocal match for dialogue and the speaking voice, but also for the singing voice.

How do you go about balancing the plot with the songs? Do you write the songs and the show's plot congruently? Are the songs inspired by the plot itself, or vice versa?

It's a bit of both. When I pitched this idea to Loren Bouchard ... and his partner, Nora Smith, I said to them, "I want to do a true musical. I don't want this to be a pastiche musical, I don't want it to be a spoof of musicals. I don't even want it to be a show with music. I want it to be a musical. I want the songs to be a part of the very fabric of the story, and I want the characters to have no emotional choice but to break out into song."

We really tried to make it as cohesive a process as possible. Meaning, every episode we asked the question, "What moments want and need to sing? And what moments of the story feel like they need to be told through music rather than dialogue?" Once we have isolated what those moments are, then we break it down even further and we ask ourselves, "Do we want this song to be a function of the story? To tell us plot? Do we want this song to function as a comedic song? Do we want the song to function as an 'I want' song?"

Once we identify those, then we go to the composers, either our in-house brilliant team of Kate Anderson and Elyssa Samsel and Brent Knopf, or our guest composers, people like Anthony Hamilton, people like Cyndi Lauper, people like Aimee Mann and Alan Menken, and we then have them bring their magic.

The show has been in production for a few years, prior to the quarantine. Did you have plans to take this show from TV to the stage? Or is that something that's potentially still in progress?

Oh, that hasn't even been broached. People have already started asking that question like yourself, which gives me such joy that people would even consider it to be worthy enough for the stage. I think right now, we're just trying to do our day job and we're in the midst of season two, and we're in the midst of literally creating an entire animated series from our respective homes. That's been the real challenge right now: How do we, in this ever-changing world, keep the wheels turning?

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Your character in the show is a huge fan of Central Park. What about you?

I'm a huge fan of "Central Park." I've been a fan of "Central Park" for the past year. It's been a really frustrating thing to not be able to share it with the world until now. It is surreal to see kids already singing these songs in a way that truly reminds me of the experience I've had with Frozen. It's surreal to see the kind of light it's bringing people in this moment of infinite darkness that we find ourselves in, and it's a joy to be able to give something that is so joyful to the world.

So much of the content that is on TV, it has a cynicism about it. What I love about Loren and what I love about Nora is they approach "Bob's [Burgers]" and subsequently "Central Park," along with myself, with a desire to just infuse as much joy into the world as possible.

As far as the songwriting team, were you wanting to keep a regular cast of songwriters and composers? Or were you trying to institute an open-door approach?

Philosophically, my idea from the beginning was, if we're going to write four songs an episode, over 45 songs in a season, I do not want to put the burden on any one or even two individuals. I knew that we needed to have an anchor back at base, if you will, and that anchor became Kate and Elyssa, who I'd worked with on [2017 animated featurette] Olaf's Frozen Adventure years ago. I knew they were geniuses, and similarly Brent Knopf who came out of the "Bob's [Burgers]" world.

In addition to that, I knew that we needed somebody to come in every week and change the dynamic and keep the audience guessing. Then I thought that's what will keep the show fresh. We cast a wide net. The first person we went to, because we felt like she was the perfect match for the song, was, of course, Sara Bareilles. She wrote this incredible song called "Weirdos Make Great Superheroes." It was sort of a test run, but it was such a brilliant slam dunk that it put us all at ease and allowed us to recognize, "OK, this could actually work."

You work a lot in animation. Your credits include the Frozen, Ice Age and Angry Birds Movie franchises, among other titles. What is your attraction to that genre?

I'm attracted to anything that allows for as broad of an audience as possible to enjoy it. The movies that I love the most are movies that I grew up with. Movies that I experienced at 7 or 5 and now watch at 39 and still get such joy and satisfaction out of it. I love a good R-rated film, too, and I love to do them. There is something compelling to me about the broader appeal of those things that really allow for people of all ages to enjoy them, and I think animation, for whatever reason, is part of that tradition. It's got a timelessness, in many cases to it, and an opportunity to transcend any demographic.

You do come from a theater and Broadway background. Lately, you've been really busy with film and TV projects, as well as your YouTube series, "Reunited Apart." Do you ever miss the stage?

Every day, every day. I'd been flirting with doing something with my buddy, Andrew Rannells. We were, sort of like, legitimately looking at, and my prayer is that there is a stage to go back to in 2021, because I know we very much would like to have that opportunity.

Everyone's having a hard time right now with the pandemic, particularly the Broadway world. Have you had difficulty either enjoying your own show or just having a good time in general during this time of quarantine, nationwide protests and civil unrest? Are you able to enjoy the things you're creating?

No, but I'm a glutton for punishment. I genuinely have had a very difficult time enjoying much right now because it's so damn hard. There's so much sadness. There's this virus keeping everyone at home. There's this unbelievable recognition of inequality on the streets. There's so little about 2020 that's been worthy of smiles or worthy of joy. So the joy that I get is from being able to hear others take joy from what I can give. That's where I find my joy.

There is not a moment where I watch "Central Park" and I'm not absolutely floating. But I'm also watching it in critical of myself or critical of things that we could have done better. With that, and with my own neuroses put aside, the real blessing, the real joy, the real sense of fulfillment that I'm getting now is by hearing that it's bringing exactly what it was intended to those who have seen it.

If 2020 were a musical, what would it sound like?

Oh man, probably like the intro to Jaws [Laughs]. Or like the entire soundtrack to Mad Max: Fury Road or Blade Runner [Laughs]. I don't know. Find the most dystopian movie possible and fill in the blank.

The one silver lining that I've heard over and over about this difficult time in our lives is that it will produce great art. Out of the struggles we're all going through as a global community, we will eventually get some amazing art. Do you think that's a possibility?

I think it's a probability. If history has shown us anything in the art community, it's that some of the greatest pieces of art, some of the greatest moments that we have all celebrated in a movie theater or otherwise have been during very difficult times. You look at some of the iconic films, like Casablanca, like The Wizard Of Oz, that come out of these moments like the Second World War, the Great Depression. You look at movies like The Godfather that come out of moments like Vietnam. You look at these tremendous movies that come out of a time when the world seems backed into a corner.

It's a cliche at this point, but Shakespeare wrote some of his greatest plays during the plague. That's telling. That speaks to the potential of all of us, and I see that in movies, I see it in TV, but I especially see it in music. Some of the most powerful songs that I have always found to be some of the most influential in my life are songs that came out of the civil unrest of the 1960s. I see this as a similar opportunity all around.

You've been very vocal on social media about the heavy issues happening in our country right now, with regard to the nationwide protests, racial injustice, civil unrest. Do you consider yourself an ally? What does being a good ally mean to you?

Do I consider myself a good ally? I think you would have to ask others if they consider me a good ally because I feel so weird answering that question. I can tell you that my intention has always [been] to be an ally to everyone who needs it. I say this as someone who grew up hearing about the consequences of not having allies, of not having those who can defend you during times of great need.

My grandparents both lost their entire families during the Holocaust, and the message that they gave me was, "Never forget." But it wasn't a message that ever felt to me like a message specific about Jews. It wasn't a message that ever felt like a message specific to one faith. It was a message about those who need us at times of great need. Those who are looked at as "the other," those who are looking down upon, those who are treated differently. My entire life has been, "Why should anybody be entitled to less than I am?" Because that's what I grew up with. That was the guiding philosophy of the life or death message that my grandparents gave me.

So do I see myself as an ally? I sure damn hope so. Could I do more? Absolutely. I think we could all do more. I think we're learning that right now. I think this is a great reminder and an opportunity, and one of the silver linings of 2020, that great can come out of dark. That we can evolve, we can fight back. We can come together and do more. We can listen more, we can learn more, and I hope to never stop learning. I hope to never stop making mistakes, so that I can be better for that.

Yes, I look at myself as an ally, but I look at myself as an ally who still has a long way to go.

Speaking of learning how to be a better ally, what have you learned so far in the last few months? What have you taken away from everything that you've been doing and everyone you've been talking to lately?

Man, I don't think the messages that I've learned can be put into one interview over a phone call, but I can give you a couple of highlights. I've learned there's so much I don't know. There's so much I don't know about the Black experience. There's so much I don't know about walking down the street and being judged in a way that could be life or death based on the color of your skin. There are so many things that I didn't know about the breadth of pain that so many people in my orbit and beyond have not only been feeling over the last few weeks, but have felt over the last however many years. And we're not talking about 10, 20 [years]—we're talking about over 100 [years].

I think that is the problem. Sometimes it's hard to experience things like the first Black president being elected and not think, "Man, we've really made changes, we've really done so much great. The world has changed." Then to see that not only has the world regressed, but there's so much accounting that still hasn't happened. There's so much accountability that still hasn't taken place, and there's so much wrong that is still being experienced by those who have felt wronged their entire lives.

There's been a lot that I've learned over the past three weeks, and specifically what I learned in a good way is that there are a lot of like-minded people who have had enough. My prayer for 2020 is that this isn't a moment—it's a movement. I hope that we can grow. I hope, as a parent, that I can teach, that I can give my kids a future that they not only deserve and that anyone deserves a future where equality is just a given. [Where] it's not something to even remotely consider the necessity of a march for, which, again, seems batsh*t crazy in the year 2020 that we have to be marching for that still, at this moment, with all we know and with what we've been through.

But man, racism is f*cking real. It's as real as the flower pot in front of me, it's as real as the phone that I'm on. And if we can't start recognizing the reality of it, then we can't change. That, to me, has given me the kernel of hope that I have. I think the band-aid's been ripped off. I think if all of us could stare at the wound long enough, we can start to heal.

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Niko Brim

Photo: Courtesy of V Records, A Division of ADX Labs & Technologies

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Rapper Niko Brim And Activist Opal Lee On The Importance Of Juneteenth: "It Represents Freedom"

The emerging hip-hop artist and social activist talk about their tireless fight to make Juneteenth a national holiday and their commitment to make a difference in the world

Susan L. Hornik

GRAMMYs

Jun 19, 2020 - 8:00 am

When he's not in the studio working on music or involved in youth activism and speaking at Black Lives Matter rallies, emerging hip-hop artist/producer Niko Brim is helping 93-year-old social impact leader Opal Lee with her tireless fight to make Juneteenth a national holiday.

As the oldest-known celebration commemorating the ending of slavery, Juneteenth marks a special day of remembrance and reflection for many Black Americans. The holiday, also known as Freedom Day or Emancipation Day, honors the day—June 19, 1865—when Union Gen. Gordon Granger arrived in Galveston, Texas, where he informed enslaved African-Americans there of the end of the Civil War, essentially granting them their ultimate freedom.

While Juneteenth is celebrated annually across most of the United States on June 19, it is not recognized as a national holiday.

Lee, widely known as the nation's foremost Juneteenth awareness leader, has dedicated her entire life to changing that. Her story is both personal and universal: At just 12 years old, she lost her home when 500 white supremacists set her house on fire. She's since dedicated herself to educating people about the importance of Juneteenth.

In 2016, at age 90, Lee walked from her home in Texas to Washington, D.C., in an effort to advocate for Juneteenth as a national holiday. She traveled two and a half miles per day to commemorate the two and a half years that slaves waited between when President Abraham Lincoln issued the Emancipation Proclamation, on Jan. 1, 1863, abolishing slavery, and the day (June 19, 1865) that message finally arrived in Texas.

Lee's hard-fought dream may actually come true: Today (June 19), multiple senators announced legislation to make Juneteenth a national holiday. Lee's own petition urging the same goal has received more than 600,000 signatures at the time of this writing.

Brim, who just wrapped his guest appearance on Rapsody's 2020 A Black Woman Created This Tour, has received over 1 million streams, with hits including "Throne," "Feds Watching" and "Woke." His latest single, "Hard To Believe," reflects his mission to implore Black and brown youth to reclaim their power.

"For 'Hard To Believe,' I wanted to tie the idea of revolution to some of our best moments as a people," he tells the Recording Academy. "A lot of times when revolution or systemic change is brought up, the images used are from the looters and the burning buildings. But they don't highlight the beautiful community and culture that is leading the charge day by day.

"[The song's] lyric video has some of the most brilliant black men and women, prolific writers, speakers, artists, etc. All of these people stood for the same change that we need! I wanted to show that in the video to create a conversation that is more uplifting for us as a people."

To honor the 155th anniversary of Juneteenth, Brim is launching a new show on his Instagram channel called "Power Hour," which "will explore the meaning of 'freedom for all," he says. The weeklong series, which begins nightly at 6:19 p.m. EST and runs from June 19-June 25, launches with Lee as the first guest.

The Recording Academy spoke with Niko Brim and Opal Lee about the significance of Juneteenth, the importance of music to the holiday's celebration and the dynamic duo's commitment to make a difference in the world.

Tell us about the importance of Juneteenth.

Niko Brim: Juneteenth is the day that all Africans were freed from slavery. In Texas, two-and-a-half years after slavery was considered abolished, there were still slaves. June 19 is the day that the last remaining slaves in this country were freed from bondage and given the start to this marathon we have been running for human rights. To me, Juneteenth represents freedom—it represents my past, the present and where the future is headed for Black America. The 4th of July never represented that for me and many Black people. [Juneteenth] is symbolic for us, in acknowledging and being aware of our own history. This was not taught to us in schools or seen on the calendar.

Lee: I am part of the National Juneteenth Observance Foundation. The states that don't recognize [Juneteenth] are Hawaii, Montana, North Dakota and South Dakota. Each state has a board member. We currently don't have representation from [those states]. We need many signatures and everyone to shout about it to get Congress on our side to pass this bill. The President would have to sign an executive order to make Juneteenth a federally observed holiday. I hope to see that in my lifetime.

[Editor's Note: In a June 17 guest column for The Billings Gazette, Montana state Sen. Margaret MacDonald wrote, "In 2017 the Legislature adopted a bill establishing Juneteenth as National Freedom Day in commemoration of the Emancipation Proclamation on the third Saturday of June. Montana was the 46th state to officially mark the date." On Thursday (June 18), South Dakota Gov. Kristi Noem proclaimed Friday (June 19) as Juneteenth Day for 2020 only in the state; it is not recognized as an annual state holiday or observance, according to the Argus Leader. On Wednesday (June 17), North Dakota Gov. Doug Burgum announced the state would formally recognize Friday as Juneteenth Celebration Day for the year 2020; state Sen. Tim Mathern plans to propose a bill to recognize Juneteenth as a holiday in North Dakota. In Honolulu, the capital of Hawaii, Mayor Kirk Caldwell announced on Thursday that June 19 will be officially recognized as Juneteenth and will be celebrated as "an annual day of honor and reflection going forward for the City and County of Honolulu."

Opal Lee | Photo: www.OpalsWalk2DC.com

What do you love about each other?

Brim: I wanted to work with Opal so I could actively do all that I can to push our community forward. I immediately fell in love with her passion, her commitment and her will for human rights. When I decided to promote Juneteenth, I came across her through the internet and made it my mission to connect [with her]. Since then, she has been a mentor who has guided me and is one of the cornerstones of the Black community. I'm blessed to know her.

Lee: If I could, I would adopt him! I am so proud of him for how he is educating people, and hope he will continue speaking at the rallies. He is a great rapper, and I love him!

How has music played a role with Juneteenth?

Brim: Music is an important aspect of Juneteenth because it is part of our culture. As we celebrate the Emancipation, we listen to melodies that have been reflective of our times, everything from slave hymns to current-day hip-hop. The music is the voice, and in many ways, the narration. It's the honest experience of us as a people and will forever be a key in all cultural movements.

I think the hip-hop and R&B community is embracing Juneteenth. For years, we were unaware of our history, and now, more than ever, the information is spreading like wildfire. I'm seeing collective support for the holiday, and I hope that for the rest of the 2020s, it will be celebrated on a national level. I would love to see it embraced by the overall music industry entirely, but we'll see.

The holiday still isn't recognized throughout the country, so hopefully starting this year, we can begin annual musical celebrations in honor of the event.

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Lee: Music is an integral part of Black American and African history. The rhythm and vibrations, from drums and voices, create energy that not only moves our bodies, but moves our spirits. Juneteenth represents unity, and when we as people are together, there is an energy there that can transcend all pain and injustices.

When slaves learned they were free, they started celebrating with music, singing and dancing. It was such a joyous time. I have never been to a Juneteenth festival that didn't have some kind of music there; it could be jazz, opera, country or classical music.

Niko, tell me about your new Instagram show, "Power Hour."

Brim: Opal is my first guest on the show, which I created to commemorate the 155th anniversary of Juneteenth. Celebrities like rappers Doug E. Fresh and Rapsody, John Amos ("Roots," "Good Times") and filmmaker Monty Ross (Spike Lee's collaborator on films including She's Gotta Have It, Do The Right Thing and Malcolm X), who convey "Black power," will explore the meaning of "freedom for all" during a week-long conversations series [starting] at 6:19 p.m. EST from June 19 through June 25.

The series' topics focus on the "Twelve Freedoms" granted on June 19, 1865, when Union General Gordon Granger led federal troops to Galveston, Texas, to announce that slaves were freed and the Civil War had ended. They were now able to do business, dress, grow food, marry, own, read and write, preserve history, serve in the military, travel, worship, birth and name their children, and vote, legislate and govern.

Opal, what is it going to take to get Juneteenth to become a national holiday?

Lee: In order for Juneteenth to be a national holiday, we must not live in fear of people that are different from us, but rather accept those differences and get to know those differences. When this happens, it will be harder to judge a person by their skin color. Education is key and that education is not learned in the classroom, but in life and in our rearing. We just hit 100,000 signatures [on the petition]. Now we want 1 million!

Niko, your mom is veteran music fashion stylist Misa Hylton, and your dad is Jojo Brim, CEO of V Records. What have they taught you?

Brim: My parents have always been a great influence on me. My father has always exemplified doing what is best and taking the higher road, and that is something that inspired me. He is a seasoned music executive, who has taught me how to build a brand. I am thrilled to be on his label!

Mom has taught me hard work and the importance of believing in yourself. Between the two of them, I feel very comfortable in expressing what I stand for.

Both of them shared with me the ins and out [of] the industry and the business as well as staying true to myself and making the art I love. Learning these jewels from them helped a lot with the pressures that come with the industry and how to maintain a level head and a true heart in my music.

What are you both working on next?

Brim: I have a new song, "Hard To Believe." The truths and beliefs I've grown up with may be hard to believe for people who aren't Black, but for us, it's inherent knowledge that we must be aware of to operate in society the best we can. I touch on politics and how none of the system was ever in our favor, how our young men are incarcerated for being falsely accused or for standing up for freedom. These are just two of the many unsaid truths about being Black in America that I share on this song.

And this summer, I am releasing my next album, The King Has No Crown, which sheds light on the Black millennial experience. I share my story, rising from the south side of Mount Vernon to be one of the biggest voices for New York. This story is told through my eyes, the eyes of my closest people and the eyes of my city.

Lee: I am ready to restart my trek across America, which they call "Opal's Walk 2 D.C.," to the White House to bring awareness and get Juneteenth to be a holiday that is on the calendar. I want everyone to know that we were not freed on the 4th of July. My walk is 2.5 miles to represent the 2.5 years it took for slaves in the South to be freed.

I am also working on a book called "1619." It dives deep into how the first slaves arrived in America, telling a grueling account from whence they landed and the stories that were passed on through the generations.

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Mike Diamond, Adam Yauch and Adam Horovitz in 1993 from an archival photo used in 'Beastie Boys Story' on Apple TV+

Courtesy Photo: Apple TV+

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Beastie Boys' Ad-Rock And Mike D, Spike Jonze Talk Growing Up In New Documentary 'Beastie Boys Story'

The two surviving members of the GRAMMY-winning hip-hop trio, alongside the film's director, discuss how the new documentary reflects their growth and evolution as a band, as friends and as men

Lina Lecaro

GRAMMYs

Apr 24, 2020 - 10:56 am

Promoting their new documentary, Beastie Boys Story, premiering today (April 24) on Apple TV+, the two surviving members of GRAMMY-winning hip-hop trio Beastie Boys, Adam "Ad-Rock" Horovitz and Michael "Mike D" Diamond, alongside the film's director and the group's longtime collaborator and friend, Spike Jonze, participated in a Zoom round-table video interview with select journalists earlier this week to talk about the project.

These pandemic times have affected every aspect of life as we know it, particularly when it comes to how we communicate with each other, and nowhere is this more evident than within the realms of entertainment and media. On TV, news anchors and talk show hosts broadcast from their kitchens and basements, reflecting many of our own work environments, while meetings of all kinds take place via video conferencing apps, providing a new semblance of personal exchange and connection. The Beastie Boys Zoom experience was no exception.

While the question-and-answer conversation was structured and moderated, it provided some loose moments, offering glimpses of each artist's homelife—Horovitz rested his head on a bed pillow for most of the interview—and exchanges of laughs and love.

The same could be said of the doc itself, which features Diamond and Horovitz live onstage during last year's theater book tour for their GRAMMY-nominated, career-chronicling 2018 tome, "Beastie Boys Book." It's been almost 35 years since the New York-bred band began making music. The new documentary shares their decades-long story in a scripted yet personal, TED-Talks-style presentation, backdropped by old photos and video footage taken throughout their career.

Beastie Boys Story eschews the conventional talking-head documentary format and lets the guys share and reminisce in their own way about their development, crediting in large part producers Russell Simmons and Rick Rubin, their maturing perspectives and, most significantly, their late bandmate, Adam "MCA" Yauch, who died of cancer in 2012. The film offers an insightful and at times bittersweet look at how Yauch, who originally formed and named the group, used his artistic and activist vision to help transcend the group from its raucous rap and rock revelry of their youth to become sonic innovators and cultural icons.

The Recording Academy joined Diamond, Horovitz and Jonze, alongside a group of fellow writers and journalists, on a video conference call to discuss how Beastie Boys Story captures the group's growth and evolution—as a band, as friends and as men.

This interview includes questions and comments from writers and contributors not associated with the Recording Academy.

Journalist: It's interesting to see the two of you look back at your lives and admit your mistakes and have interaction with Spike Jonze. Who came up with the concept [for the film]?

Michael "Mike D" Diamond (founding member of Beastie Boys): It sort of evolved over time. We had the "Beastie Boys Book," and when that came out, we were faced with the idea [of], "What are we supposed to do now, go out and do some book readings and feel kinda lame?" So with [director] Spike [Jonze], [we came up] with this idea to do more of a performance. We were trying to tell our story, give a sense of the arc of time [in which] the story takes place. But it was tricky. The book is 500-something pages, and we didn't expect people to sit in their seats to deal with us for much more than two hours. Adam and I got together to write, and then Spike would be at the run-throughs and we'd rewrite things. We did those shows in New York, Brooklyn, Los Angeles, San Francisco, London, and toured it around a little bit. Of course, when we got to the end, we were like, "Hmm … we should've filmed that." So we took a little break, then we started to rewrite the show with the idea of filming it and getting more of the story down: How we as a band have always worked and how we've always worked with Spike, is just all of us getting together and a lot of ideas coming and sort of implementing them on the fly.

Spike Jonze (GRAMMY-winning director and filmmaker who directed Beastie Boys Story): It's like we threw as many different chairs and umbrellas and photos and records and doves up in the air, and then we just saw how many we could catch.

Journalist: One thing that struck me from the doc is the moment when Mike D says, "It could've been any three white guys from Def Jam's position." It struck me as odd. What would make you say that?

Mike D: In that moment, looking back at it, when Rick Rubin introduced us to Russell Simmons, Russell saw this thing in us that we didn't see in ourselves. He saw this ability … he was like, "These guys love rap music and they're going to make rap records and I can take that to an audience and I'm gonna get them on the covers of magazines." Honestly, at the time, it was a struggle for Russell, in terms of like rap being this very underground, alternative culture that he was trying to bust into the mainstream. I think he just saw us as an important part of that program. So to clarify, it could've been us or it could've been a couple other dudes. That's what Russell's mission was. And Rick's mission was he just wanted to make great records.

Adam "Ad-Rock" Horovitz (longtime member of Beastie Boys): Also, we were terrible. We were really bad when we were just starting out. So it's not like [Simmons] found this undiscovered gem, like these guys that could really rap or really play guitar or whatever the thing was. We were really bad.

Jonze: They're talking about when they started out, when they were 16-17 and doing Run-DMC rhymes together in their bedrooms, not so much when they were making their first record and finding their voice.

Adam Horovitz and Mike Diamond in Beastie Boys Story, on Apple TV+ | Courtesy Photo: Apple TV+

Journalist: When you go back and watch this film, were there things that surprised you that came up, or about the way that the audience responded?

Horovitz: There were definitely times seeing the pictures, even though we knew what was coming and what was going to be on the screen; it was really nice. It was surprising how I wanted to just pause on those moments and take the picture and the memory in.

Journalist: Did you ever believe that you were going to be one of the biggest rap acts [ever]?

Horovitz That wasn't anything that we thought about, really. We come from a punk rock background. It wasn't like, "We're going to make it one day." It was like, day to day, is it going to be fun? So it was wild when people started buying our first record and we started playing bigger shows. It wasn't part of our plan, but it was f*ckin' cool.

Journalist: In the documentary, you talked about writing [the Beastie Boys' 1986 hit single] "Fight For Your Right" as a way to mock bro culture. But you confessed that, in a sense, you became those guys. How did you pull yourselves out of that?

Diamond: We were in my apartment in West Village in New York City, and we don't have any bro dudes in our circle, so it seemed like a really funny thing to make fun of. We didn't have this vision of, "We're gonna make it big." So we do this song that's kind of a goof. Then we go on tour and those dudes are in the front row, and you kind of go with it because you're getting applauded … Then after a bit, it's like, "Whoa, wait a second. The world we came from is so not that world." And we missed who we were in that world. Because we had a falling out with Def Jam, it brought us back to the three of us and we got to take a break and look at each other and be like, "OK, what do we want to do?"

Read: The Beastie Boys Provide A License To Party

Horovitz: It's like if you get the extra large bag of Frito chips and you start eating them and you're like, '"Whoa, these taste really good." Then you're like, "They're really salty and they're making me feel bad," but you keep eating them and eating them. Then when you're done with the bag, you're like, "Wow, I'm never gonna eat another f*cking Frito again."

Jonze: That's a poignant metaphor.

The Recording Academy: I love how the documentary showed the evolution of the band and how you tackled more politics and social ideas over the years. Obviously, Adam [Yauch] became very involved in activism, and the band reflected that. If the Beastie Boys were still making music now, how would they tackle the world and Donald Trump and today's issues?

Horovitz: Donald Trump is so awful I don't even want to give him space in my brain. He's awful … not even funny-awful.

Jonze: If you [search] YouTube [for] "MTV Awards Beastie Boys Woodstock," there's a clip of Adam—this is [in] 1999 or so, when it was extra-not-cool to be political—and they go onstage right after Woodstock happened.

Read: Why Can't Anyone Get Woodstock Right? 15 Of The Original Fest's Performers Weigh In

Adam Horowitz goes up and talks about how appalling what happened was: the lack of security, that bands need to step up and push to have better security and look out for women at these festivals and these shows. He's basically urging all the artists to take it seriously. There were no other artists talking about that at the time. I mean, it was really moving … I was just watching it at home and it was not popular.

Diamond: We weren't supported in the room. It wasn't like everyone was like, "Oh yes, finally someone's saying it!" It was basically us saying, "We all need to talk about this because it's happening." But it was this thing that nobody wanted to talk about because no one wanted to admit that it was happening.

The Recording Academy: Sounds like sort of a pre-#MeToo thing. You recognized that within concert culture, these things were happening. So you might have continued down that path, perhaps? Speaking out about these things?

Horovitz: Yeah, absolutely. Honestly, it was, for me at least, just being around Adam Yauch—him just saying the things that he did and taking stands that he did publicly. It was inspiring for me to be like, "Oh, you can make fart jokes and actually also care about people?" And respect your place in the public, that you have a platform to say things and people will listen—whether they give a sh*t or not, I don't know. He was always really inspiring, like, "Oh, wow. If Yauch can do it, I can do it."

Journalist: One of the things I loved about Yauch was the fact that he could look back at ways he behaved in the past and apologize for it and say, "I was wrong, I was stupid." How do you explain the [early] Licensed To Ill years to your kids?

Diamond: Being a father of teenagers, I don't know how I first explained it, but I was really happy that they got to travel with me a bunch while I was doing these shows, because this is going to happen to all of us. We are all going to have these actions that we're ultimately not proud of and we're all going to have situations in our lives that we could've handled better. We're so grateful. Here I am with my best friends, Adam and Spike, and we get to talk about that.

Journalist: What do you hope people watching [the documentary] take away or learn about you guys or your journey?

Jonze: I liked the idea of trying to represent everything I love about them and their band. And I love the idea of just the people that were in the car, on the road trip, telling the story. We don't have anyone else talking about the band from a cultural perspective. I wanted to really just capture the way they create and the spirit in which they're a band and their friendship. Not many bands that have been together that long are actually great friends through the whole thing; it feels like a lot of times when a band gets older, they're in a band together almost as a business. And I feel like nothing that these guys ever did was about that. It would be, first and foremost, about what the three of them wanted to do. So I hope [the film] just captures their love for each other [and] their friendship.

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Fans remember Selena during Hollywood Walk of Fame ceremony in 2017

Photo: TARA ZIEMBA/AFP via Getty Images

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Selena Forever: Remembering The Latin Pop Icon 25 Years Later

On the 25th anniversary of her passing, the Recording Academy honors Selena via an industry round-table tribute featuring the artists, creatives and journalists she inspired through her art

John Ochoa

GRAMMYs

Mar 31, 2020 - 7:48 pm

Few artists have transcended genres, decades, languages, cultures and borders like Selena. Born Selena Quintanilla in Lake Jackson, Texas, and reared in the state's Corpus Christi area, the iconic singer is one of the most influential and most successful artists in the wider Latin pop canon.

In her early days, she became a pioneer in the then-male-dominated Tejano music scene, a genre she helped mainstream when she won the GRAMMY for Best Mexican-American Album in 1994 for her 1993 live album, Selena Live! It marked her first, and only, career GRAMMY win and the first time a female Tejano artist won the category, earning her the undisputed title of Queen of Tejano music. It was only one of many accolades for the legendary singer.

Remembering Selena 25 Years Later

In her short-lived solo career—she released five studio albums between 1989 and 1995—Selena would establish an ever-lasting sound that spanned languages and styles and resonated with fans across a spectrum of cultures and ethnicities. Her multiplatinum 1994 album, Amor Prohibido, gave early indications of her cross-cultural crossover appeal. In addition to topping the Top Latin Albums and the Regional Mexican Albums charts, Amor Prohibido became a top 30 hit on the all-genre Billboard 200 chart. It also received a GRAMMY nomination for Best Mexican-American Performance and spawned four chart-topping hits that conquered the Billboard Hot Latin Songs chart: "Amor Prohibido," "Bidi Bidi Bom Bom," "No Me Queda Más" and "Fotos Y Recuerdos," all considered signature Selena classics today.

She would later go on to fully establish her mainstream crossover appeal with Dreaming Of You, her final album, released posthumously in July 1995, just three months after she was murdered by a former employee. The album would debut at No. 1 on the Billboard 200 chart in the U.S., becoming the first predominately Spanish-language album to accomplish that feat. It would ultimately prove the full potential of just how far the international star was poised to go.

Selena's reach expands far beyond music, too. A multifaceted businesswoman, she owned and operated two boutiques, called Selena Etc., across Texas, with several other locations across Latin America in the works. As a budding fashion designer, she regularly wore her own designs while performing onstage: Her iconic purple jumpsuit she wore at her final concert in 1995 remains an eternal look. In 2016, MAC Cosmetics released a makeup collection inspired by and in honor of Selena. Selling out within a day, the collection is now considered one of the best-selling MAC celeb collaborations of all time. MAC will be releasing a second Selena capsule collection this April.

The story of Selena, forever immortalized in the 1997 biopic starring a then-rookie Jennifer Lopez in the career-making titular role, is one that's continued since her untimely death in 1995. She has since inspired a new generation of artists and fans alike, who carry on her legacy through music, art and fashion, three areas in which she pushed the envelope with her unique style and vision. Much like her music lives on to this day, so too does her never-ending influence.

On the 25th anniversary of her passing today (March 31), the Recording Academy honors Selena via an industry round-table tribute featuring the artists, creatives and journalists she's inspired throughout the decades through her music and art.

The quotes and comments used in this feature were edited for clarity and brevity.

She Was A Genuine Soul

Kacey Musgraves (GRAMMY-winning artist; in 2019, she covered Selena's "Como La Flor" at the same site of the Tejano legend's final concert in 1995): Selena had an innate talent for taking something classic and traditional and shaping it with her modern voice. I love when someone has the vision to take something that's been done a million times and knows how to freshen it up in a way that speaks to their generation and also older generations. It's a quality that truly brings people of all ages together.

Selena was an entrepreneur and woman of business, a songwriter, an iconic vocalist, a trendsetter, and her fashion sense was way ahead of its time. But the attribute I admire most about her was her ability to be real—unabashedly genuine across the board. Being in the spotlight, especially from a young age, can bamboozle people into feeling like they have to shift into something different when the cameras are on. Without ever knowing her, I feel like I can say she never did.

Linda Wilvang (Senior Director, Awards and Latin Genre Manager at the Recording Academy): I have always been attracted to artists who push the envelope, artists who are not conventional, and Selena was one of those artists. She elevated Tejano music to a new high. She successfully blended other musical styles with Tejano and made it her own. She proved to me that you can succeed without compromising your core values, without changing who you are. You can work in any industry and still be real.

John Dyer (photographer; in addition to photographing Selena for several magazine covers in the early '90s, he has contributed images to the Selena Forever/Siempre Selena installation on display at McNay Art Museum in San Antonio, Texas): I spent the day before the shoot setting up several backdrops in the studio so I could photograph her in a variety of situations and costumes ... She jumped out of her car with a big smile. A naturally beautiful, young Latina with jet-black hair, flawless skin, and a perfect figure. She opened the hatchback. It was crammed full of her performing costumes, many handmade, all of her own design …

For the cover [Mas Magazine, 1992], we shot in front of a gray background. Then we moved in front of a red curtain above a black and white checked floor. We ended outside the studio against a white seamless in the warm afternoon light. Selena's quick smile, infectious laugh, and unending energy made her a pleasure to work with …

In early 1995, Texas Monthly called and wanted to do a spread on Selena. By now, she had achieved incredible fame and transcended the boundaries of the Texas music scene.

We met at the Majestic Theater in San Antonio, a favorite place of mine. She had just finished two exhausting days of shooting TV commercials for a corporate sponsor. She was tired. I had brought a beautiful handmade jacket for her to wear. I posed her in the alcove on the mezzanine of the theater where the light is particularly nice. She was subdued and pensive. A far cry from the ebullient, excited young singer I'd photographed three years earlier. Later I thought her mood might have been an eerie harbinger of what was to come.

Between when I photographed her at the Majestic and the Texas Monthly article coming out, she was killed. The art director, my old friend DJ Stout, used one of the more somber shots I had done for his cover chronicling her death. He sent me a handwritten note not too long after the issue appeared saying the cover with my photograph of Selena was one of the strongest he'd ever done. It's a cover I would rather not have had.

She Represented A Different Kind Of Beauty

Patty Rodriguez (Senior Producer for On Air With Ryan Seacrest; her Los Angeles-based children's book publisher, Lil' Libros, released a bilingual picture book biography about Selena; in 2015, her online petition helped launch the Selena-inspired MAC Cosmetics makeup line): She was unapologetically Latina. She was so proud of her identity and carried it with her everywhere, and that is what resonated with us. Growing up, we had no one to look up to, so then here comes a woman … with black hair, brown skin, that sounds and looks like us. Her flamboyant onstage costumes were designed and created by her, an example of the Latina make-it-happen-with-the-limited-resources-we-have attitude. Her trademark red lipstick and hoop earrings are what you see in our neighborhoods, and she took that with her to the world stage.

Latina women purchase beauty products three times more than any other group, and it wasn't until MAC released Selena's collection did we feel seen; it's unbelievable to me that it took this long. But I see why: The men and women who grew up with Selena are now adults. She taught us to be unapologetically Latinx, and we are no longer afraid to ask for what we deserve. Thank you Selena.

Read: Remember When? Selena Wins Big At The 36th GRAMMYs

Leila Cobo (VP Latin Industry Lead at Billboard): I think Selena's particular brand of beauty was essential to her success. In a world (still) of telegenic, imported Latin pop stars, and a time when the standard for Latin beauty were largely white soap opera actresses, Selena was an anomaly. Selena embraced her body, her hair, her voluptuousness. She was so real. I would say that, for the first time, a new generation of U.S.-born Mexican-Americans and Latinas overall had a star that they could intimately relate to at all levels. She was their peer. She was a role model for an entire generation of Mexican-American girls who didn't have a role model before. This was key. Only Jenni Rivera, many years later, would come close.

Kate Carey (Head of Education at McNay Art Museum in San Antonio, Texas; Exhibition Curator for Selena Forever / Siempre Selena photography installation): In selecting the photographs on view in Selena Forever/Siempre Selena, I had an opportunity to look through many photos from two different shoots with photographer John Dyer. I recognize that he is a gifted photographer, but her beauty and winning personality were revealed on every frame. I can see why brands wanted to align with her image. Yes, she is beautiful, but she also came across as very real—just like me or you.

Pabllo Vittar (Brazilian activist, artist and drag queen): Selena embraced her beauty the way it was, not trying to follow the "beauty rules." That's important and it resonates till now, as you can see more and more people feeling good with their bodies and how they look. We are all beautiful in our own way and there's nothing that can tell us otherwise.

Honey Andrews (transgender performer, based in Corpus Christi, Texas, who's worked as a Selena impersonator for nearly 15 years; "Selena was definitely one of my inspirations and idols and someone I definitely look up to when I began my transition," she says): Selena's fashion was definitely ahead of its time, and she was always up to date on the latest trends. She was an amazing fashion designer. Her amazing onstage costumes are very recognizable, and she has definitely impacted today's women in the music industry; till this day, a lot of women credit her for the fashions they wear ontage and even for just a casual day. She definitely impacted me because she taught me that you can be sexy, even if you're not a size zero. You can still be sexy by having curves, and she definitely embraced her own beautiful body and curves.

Girl Ultra (R&B artist from Mexico City): I feel like she embraced her curves and her body shape so much. She was breaking paradigms about the female body and Latina bodies as well. As Latinas, we have big caderas [hips] and juicy thighs, and when it comes to fashion, it's hard to find the right sizes. And by her designing her own outfits and crafting them, she was breaking all this body stereotyping back in the day.

Javiera Mena (Chilean electropop artist): She transmitted good vibes with her smile, her eyes, her body—we could feel it. We all feel it when we watch her videos, too. It makes you connect, and that's a real beauty. Also, her mouth and lips were very iconic. I understand MAC [Cosmetics] used it for a [beauty] line, with her big and thick lips, something that influenced me and all the people!

Her Fashion Was Ahead Of The Time

Kate Carey (McNay Art Museum): Selena Forever/Siempre Selena was conceived at the McNay Art Museum in tandem with the 1990s-focused exhibition, Fashion Nirvana: Runway To Everyday. Like many of the designers on view in Fashion Nirvana, Selena took fashion risks, embraced body-conscious ensembles and carefully crafted her image. That brand of fearlessness and innovation characterized the 1990s and Selena's fashion sense. The sparkly bustier tops, revealing performance ensembles and cool leather jackets cement her reputation as a style icon, but she presented an authentic and accessible image by wearing jeans, boots and white T-shirts. Personally, I'm a big fan of the accessories: the newsboy hats or big silver belts. She absorbs these elements of menswear and represents them as both tough and feminine. That, to me, is '90s fashion in a nutshell.

Javiera Mena (artist): I love her aesthetic and style. It is a great influence for me. I have been influenced by the high-cut Texan jackets with large shoulder pads and the glitter and reflective accessories. Also, her jeans and thick eyebrows. She was a pioneer. She had an elegance that brightened without limits when she was on stage.

Christian Serratos (actress; she stars as Selena in the forthcoming Netflix series, "Selena: The Series"): It's amazing to see how many artists, of all backgrounds and genders, have been inspired by Selena. It was her fearlessness and creativity that made her an icon. There are few people who have the power to be remembered by a color or a feeling, or who have become synonymous with an accessory like the hoop earring. The last time I saw what Selena did to the red lip was Marylin Monroe, another icon. I see Selena's influence when I walk down the street, and I know I'll continue seeing that influence for many more generations.

María (Lead singer of Los Angeles-based Spanglish indie rock/indie pop band, The Marías): My first memory of being introduced to Selena was in her biopic film. Thereafter, I listened to her music and watched her music videos nonstop. I remember when I was around 5 or 6, I wanted to wear a bustier just like Selena. I wasn't even old enough to wear a bra! But my mom, being the angel she was, found some tiny training bras at the store and sewed little beads on them for me. This was my earliest memory of being directly influenced by fashion. When I was old enough to really understand, her style represented confidence in your own body. The fact that she could so freely and confidently dance around in a bustier, against her father's wishes, was inspiring. She wasn't doing it for sex appeal, in my opinion. She was doing it because she simply wanted to feel free and in control of her body.

Raquel Berrios (Puerto Rican designer and co-founder/singer of Buscabulla): Her style sense was very balanced and cool. It was sexy without being slutty, feminine but not fragile. She really created a strong yet down-to-Earth example for Latinas. I personally strive to include that balance in the way that I like to style myself and portray myself as a Latina artist.

She Was A Multifaceted Businesswoman

Christian Serratos (actress): Selena's ability to create new avenues for herself and work hard to achieve them is inspiring and relatable. We all have the ability to design our own paths. Strong women like Selena show us the power of never giving up and handling adversities with grace.

Jennifer D'Cunha (Global Head of Latin Music at Apple Music): Selena had an entrepreneurial spirit and extended her self-expression beyond music and into fashion, design and film, while staying true to her personal brand and identity. Her confidence, authenticity and distinctive personal style still resonate and inspire fans all over the world. She had the courage to reinvent herself and the work ethic and raw talent to be successful at anything she committed to. Selena ventured into uncharted territory by expanding her realm of influence outside of music, well before celebrity clothing lines were commonplace and brand partnerships were the norm.

Tatiana Hazel (Mexican-American, Los Angeles-based singer-songwriter, musician, producer and fashion designer): Nowadays, several musicians are starting their own makeup lines, fashion brands, etc. But Selena was definitely a pioneer for this kind of business model. She really was capable of anything she set her mind to accomplish, and I believe that is why she was able to break so many barriers through determination. Also, not only was she determined, but also talented at everything that she pursued.

She Was A Voice For Latinx People Around The World …

Adrian Quesada (GRAMMY-winning guitarist/producer and founding member of GRAMMY-nominated duo Black Pumas; he served as the music director for the Selena For Sanctuary tribute concert series in 2018 and 2019): She had a huge impact and influenced many, and still does to this day, because representation is very important for communities and cultures that haven't always had an icon that transcends boundaries to look up to. For people that looked like her, spoke like her, came from places like she did, it let them know that they could do it, too. I feel like her influence continues to grow exponentially, even for generations who weren't alive when she was. She gives hope and inspires because she was bigger than any one genre, culture, region and country, and was a positive role model at that.

María (artist): When an artist as undeniably talented as Selena comes along, deep down it doesn't matter where she's from. I became a fan of Selena when I was really little, after watching the movie [Selena] with Jennifer Lopez. It didn't matter to me what Latin country she was from. What mattered to me was that she was Latin and that she was accomplishing so many amazing things. Of course, Latin communities take pride in their countries and flags, but what unites us all is that we're Latin, that we have similar values and morals and beliefs. I'm from Puerto Rico and my father is from Spain, but growing up, all of my friends were from different Latin countries: Venezuela, Colombia, Mexico, Brazil, Uruguay, Guatemala and more. We learned from each other's unique cultures, but deep down we were all the same.

La Doña (Mexican-America multi-instrumentalist, producer and singer-songwriter): I think the reason her music was so successful with such a diversity of Latinos is because Tejano music and all of the music she is founded in are tremendously diasporic cultural practices. That means that when she revolutionized Tejano music and prepared it for the pop platform, she is representing and reiterating ancient practices that are not confined to the region of Texas. Similarly, when she presented her style of techno-cumbia, she was not only appealing to a young brown audience, who was excited by their contemporary synthetic sounds mixed with familiar and familial rhythms, but also representing Afro-Latinx and Afro-indigenous art forms that have informed all of the musica tipica and popular of Latin America. This commitment to tradition and bravery in transporting it into a new arena is definitely one of the reasons that Selena's music spoke to such a diversity of Latinx fans across the world.

Isabela Raygoza (Latin Music Editor at SoundCloud): Selena's musical moxie embodied the beautiful complexities of biculturalism. With her insatiable mix of electro-cumbia, ranchera and pop-flavored R&B, Selena went on to represent the experiences and lifestyles of her compatriots: Mexicans (native, first-, second-, third-gen), Texas dwellers and beyond. She was born in the U.S. to Mexican-descendent parents, and she didn't speak fluent Spanish, similar to Chicano rock star Ritchie Valens before her and countless others of Latinx immigrant backgrounds. Brown-skinned, family-oriented, and of humble beginnings, Selena, the pop icon, became the voice of the Latinx diaspora.

Without Selena's formidable contributions to Latin pop, J.Lo or Becky G's musical career might've not been what they are today: two U.S.-born Latinas who, too, grew up speaking predominantly English, who embrace their biculturalism with endearment and pride and who uphold the enduring legacy left behind by the Queen Of Tejano Music.

Although Selena's tragic death cut her potential short, she nevertheless managed to leave an indelible mark on Latin pop, and she will surely continue to do so for newer pop stars to come.

Raquel Berrios (artist, Buscabulla): Selena was right there doing her Latin thing in the most unique way in a time when we really didn't get to see a lot of Latina role models on mainstream media. She set such a cool example of a super talented, down-to-Earth Latina woman. I loved how she broke language barriers. That was a huge inspiration for me as an artist.

… But She Was A Role Model For All People

Kali Uchis (GRAMMY-nominated artist): Selena will forever be iconic because that's what she was. Her being taken from us is one of the greatest tragedies known to man, but Selena's raw star power, persistence and dedicated fan base are the reason her legacy will be immortal. As a Latin-American woman, she made me proud to be multicultural when at times it never felt I could be American enough or Colombian enough. I've always listed her as one of my greatest inspirations, because she was the first multicultural global sensation on Earth.

Honey Andrews (performer/Selena impersonator): Selena's music and art influenced me in so many different ways. Her music is timeless. Selena was a piece of art herself. She was very diverse with her wardrobe as well as her music. She means so much to me as a person because she taught me that the impossible is always possible. She was a one-of-a-kind artist and she was such a great cultural figure for the Hispanic and Latino and Mexican-American community.

Marissa Gastelum (Latin Music Artist Relations at Apple Music): Selena is the only Latin artist to have broken cultural barriers the way she has passed the grave. When you have artists like Beyoncé and Kacey Musgraves performing covers of Selena or Drake wearing a shirt with Selena, you know she has transcended culture. Her spirit lives on through her music, and the Selena movie helps new generations get to know her story and connect to her music. Her album Dreaming Of You is a gem, and those songs are timeless. I think these artists connect to Selena because of her music and her sense of style. She was the epitome of cool and an incredible performer. Selena showed that a woman can be strong and graceful and can command a stage and be sexy at the same time.

iLe (GRAMMY-winning Puerto Rican singer/artist; member of Calle 13): I think that when you start something that's so good there is no reason to stop. Selena was that dreamer that we all are when we were young. Listening to her songs today is revitalizing. She and her music reminds us about the importance of being alive, enjoying every moment and to keep dreaming.

Suzy Exposito (Latin Music Editor at Rolling Stone; her former punk band, Shady Hawkins, covered Selena's "Como La Flor" in the past): I was always a sucker for a forbidden romance like that of [Selena's hit song] "Amor Prohibido." Inspired by love letters Selena discovered from her grandmother to her grandfather—a young maid who fell in love with the wealthy son of her employers—it's a heartrending tale of two young sweethearts, who against the conventions of society, flout their class disparity with love. Selena told it with such verve and conviction that even as a 5-year-old, it just rocked me to my core. Yet the context changed as I grew older, and I began to understand that the love I so desired would probably look very different from that of my parents or most of my peers. So when I came out as a bisexual woman 10 years ago, I braced myself to go through it alone; but the biggest surprise and reward of coming out was that, in fact, I was far from it! In being more present in New York City's LGBTQ community, whether by attending protests, drag nights and punk shows, I was able to find a beautiful community of Latinx people who grew up just like me: bilingual children of immigrants, whose resilience and great capacity for love transcends all kinds of borders.

Suzy Exposito (center) performs with her band, Shady Hawkins

Adrian Quesada (artist/producer): Being from a South Texas border town, cross-cultural and bilingual feels pretty normal and felt so at the time of her music. But I think it gave hope that it could be bigger than that and reach the masses through multiple avenues. They updated the Tejano sound a bit with modern, at the time, R&B influences, which helped it cross over and resonate with people who weren't familiar with regional Tex-Mex music and did so in a way that was seamless and natural. I do believe she was well on her way to even bigger crossover territory, with collaborations with people like David Byrne, and would have continued to push the envelope musically and culturally to this day. She was just beginning to really branch out before her life was tragically taken.

She Broke Barriers And Opened Doors For Next-Gen Artists

Angie Romero (Senior Editor, U.S. Latin Music Culture and Editorial at Spotify): Back in the day, artists like Selena had to fight hard against systemic barriers, many of which still exist today. But because of artists like Selena, Gloria Estefan and others, the door for the next generation has been cracked open, and it will forever stay open. Young Latinas can dream of doing anything they want to do in the world, and they don't ever have to stay inside a box, either — they can do it all, just like Selena did.

iLe (artist): Society makes us get used to the same things so much that we don't notice what we're seeking until it suddenly appears. We as women have a voice that should be heard and acknowledged. Selena became a female figure that Tejano and Latin pop music needed and I think she succeeded by not being afraid of being herself.

Selena Wins Best Mexican-American Album

Jennifer D'Cunha (Apple Music): Selena broke barriers for women in Latin music. She created her own lane in the male-dominated Tejano music scene, and successfully took the genre to new heights. Whether it was cumbias, traditional Tejano or pop, she made her unique sound mainstream in Latin music. She thrived not by trying to conform, but by pushing the boundaries, following her intuition and playing by her own rules. Her spirit lives on and continues to inspire.

Pabllo Vittar (artist): For me, she was the first Latin diva going global! She was gorgeous and unique! I was born a year before she passed away, but I remember my mom listening to her music and I could watch her videos some years later. She was an icon that comes to mind when we talk about letting the uniqueness of your culture shine through you, and she was an example of how you can take a specific and regional rhythm and work your way into the industry.

Jesse Baez (Guatemalan contemporary urban/R&B artist): I think the most important thing people should know is that you can live forever through music. You know, Selena passed away when she was 23, so she was incredibly young, and in spite of that, she's still relevant in 2020, maybe more than before. I think people should know that you can live forever if you do something with passion and enjoy what you do—that's what I would take from her.

Girl Ultra (artist): She had such a big female strength that still empowers upcoming generations. She embraced her roots and her femininity in ways that Mexican culture was not very used to. She also gave Mexican weddings and parties many anthems.

La Doña (artist): Selena was able to supersede systemic barriers for many different reasons; one of those is her raw talent and passion. It is impossible to ignore the sheer amount of energy she put behind not only every song and every performance, but also all of her other creative ventures. Unfortunately, however, we have seen that that is rarely enough for a young star such as Selena to achieve success in the way that she did.

I think that a huge contributor to this success was the support and contributions of her family. Though working with one's family is never simple or easy—speaking from the perspective of someone who grew up playing Tejano music in a family band—it is also grounding and supportive in a way that you won't experience from a different type of team.

The last element of this perfect storm that vaulted Selena into super stardom is that the music industry needed her. The huge Latinx population within the United States needed her; the market existed but it was largely ignored until Selena revealed it, and then there was no going back. She opened a door to a market and created an entire Latinx enclave within the pop industry that would always exist as her legacy.

Her Music Still Strikes A Chord Today

Kate Carey (McNay Art Museum): "Como La Flor" is one of the greatest songs ever, and if I have done anything right as a parent, it is that my kids know this song by heart.

Kali Uchis (artist): My favorite songs are "No Me Queda Más" and "Como La Flor"—because I like to dance and cry.

Angie Romero (Spotify): It's so hard to choose a favorite! But "Como La Flor" is just a perfect song, with the perfect metaphor, and it was also special to her and the band because it was their breakthrough hit in the U.S. and Mexico, reaching No. 6 on Billboard's Hot Latin Songs chart [in 1992]. When she sings the opening notes of that song, live at the Astrodome, and drags out the word "flooor," then moves her hand beautifully like a flamenco dancer, it gives me chills and makes me teary-eyed every time! I also just love that line about "me marcho hoy, yo se perder" ["I'm leaving today, I know how to lose"]. It's a different take on a broken heart in the sense that you aren't just wallowing in sadness, but you accept it and move on, similarly to other iconic songs that I love that also take the high road, like "I Can't Make You Love Me" by Bonnie Raitt.

iLe (artist): I have many Selena classics that I love, but I would have to say "Techno Cumbia" [is my favorite] because it reminds me of a little dance that I used to do with my cousin, Beatriz, when we were kids.

Jesse Baez (artist): I feel like "No Me Queda Mas" is the only ballad that I can go back to and not feel weird about liking. It just became a permanent song in connection to my childhood. Even though it's sad, and there are a bunch of other Selena songs that I also love, I like how this song goes against everything else I tend to like, so I will pick that song forever.

Jennifer D'Cunha (Apple Music): Selena's [2003] Live: The Last Concert is one of my favorite concert films of all time. Selena's charisma onstage, her vocals, the energy from her fans and that fierce purple jumpsuit make this one of the most iconic live performances ever.

Leila Cobo (Billboard): "Amor Prohibido" is my favorite Selena song. It's a beautiful story, a timeless song, timeless lyrics. It's a song that will forever be relevant.

A New Generation Of Artists And Fans Continues Her Legacy

Leila Cobo (Billboard): While Selena's music traveled internationally, her real influence lies in her impact within the United States. Because she was a homegrown star, she was widely recognized both by Latin and non-Latin fans. Selena was an anomaly: Bilingual and bicultural, she not only looked like her fans, she was like them. That relatability was transformative for Latin pop culture.

Thanks to Selena, for the first time, perhaps ever, U.S.-born Latinas had a role model they could aspire to be. Two generations later, Selena's impact is tangible. Dozens of prominent figures—from Becky G to Jennifer Lopez to Leslie Grace to Selena Gomez—point to Selena as their direct influence. Selena's legacy has been fundamental in creating a new movement of U.S.-born Latin artists who today, 25 years after her death, are collectively reaping success and still naming her as the precursor of their achievements.

Girl Ultra (artist): I feel like any Latina making music since then is part of her legacy. We're fighting for the same cause: breaking paradigms about how ''Latino music'' should sound or look like and breaking with the objectification and the so-called "fetish" of Latinas all over the world.

Linda Wilvang (the Recording Academy): Selena made Tejano music cool! Moreover, she was able to fiercely and creatively convey her passion for the genre, and this you can attest by watching any of her performances. She truly loved her craft, her fans—she loved life. Selena's legacy has endured to this day and will continue, thanks to her family and fans who lovingly have kept her music and spirit alive for 25 years and beyond.

Marisol "La Marisoul" Hernandez (Lead vocalist of GRAMMY-winning Los Angeles band La Santa Cecilia): When I first witnessed Selena, I was blown away by her amazing vocal skills. It was so inspiring to see a brown, curvaceous woman be so confident and commanding onstage. I could see myself in her, and that was so empowering! At that time, as a teenager, I, too, had dreams of one day becoming a singer myself. Her beautiful music introduced me to the Tejano music genre, which I began to follow. I admired her presence in a mostly male-dominated music scene and soon became a loyal fan.

Watching her interpret regional Mexican music in Spanish really moved me to continue my personal journey. When I saw an interview with her and [saw] the way she spoke Spanish with her Mexican-American accent, that's what really got me. She spoke the way I spoke. She was a Mexican-American female musician dominating the Tejano, regional Mexican music scene, and at the same time, you could hear in her voice that American R&B style that I would hear later in the [1995 album], Dreaming Of You. That's what made her so special to me and such an inspiration.

Kate Carey (McNay Art Museum): I love visiting the McNay on weekends when I'm not really working. The first weekend of the Selena Forever/Siempre Selena exhibition at the McNay, my parents were visiting; I wanted to show them what I was working on. We saw visitors throughout the museum wearing Selena fan memorabilia. One older gentleman wore a T-shirt that read, Selena es mi reina [Selena is my queen]. Similarly, a young mother encouraged her daughter to pose like Selena in the photos. I don't know why her music is so timeless, but I know that it is, and it's very obvious to me the reverence Selena fans have for her music and her image.

The Enduring Beauty Of Selena's Legacy

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Selena Forever: Remembering The Latin Pop Icon 25 Years Later

Remembering Selena 25 Years Later

She Was A Genuine Soul

She Represented A Different Kind Of Beauty

Her Fashion Was Ahead Of The Time

She Was A Multifaceted Businesswoman

She Was A Voice For Latinx People Around The World …

… But She Was A Role Model For All People

She Broke Barriers And Opened Doors For Next-Gen Artists

Selena Wins Best Mexican-American Album

Her Music Still Strikes A Chord Today

A New Generation Of Artists And Fans Continues Her Legacy

Naeem Talks New Album 'Startisha,' Creativity In Quarantine And The Need For Change In America

Josh Gad Talks New Animated TV Show "Central Park" And His Mission To Become A Better Ally

GRAMMYs Newsletter

Rapper Niko Brim And Activist Opal Lee On The Importance Of Juneteenth: "It Represents Freedom"

Beastie Boys' Ad-Rock And Mike D, Spike Jonze Talk Growing Up In New Documentary 'Beastie Boys Story'

Selena Forever: Remembering The Latin Pop Icon 25 Years Later

She Was A Genuine Soul

Content Not Available

She Represented A Different Kind Of Beauty

Her Fashion Was Ahead Of The Time

She Was A Multifaceted Businesswoman

She Was A Voice For Latinx People Around The World …

… But She Was A Role Model For All People

She Broke Barriers And Opened Doors For Next-Gen Artists

Her Music Still Strikes A Chord Today

A New Generation Of Artists And Fans Continues Her Legacy