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Aretha Franklin in 1970
From Aretha Franklin To Public Enemy, Here's How Artists Have Amplified Social Justice Movements Through Music
We also examine powerful protest songs from Mahalia Jackson, Harry Belafonte, Pete Seeger, Bob Dylan, James Brown and N.W.A
The year 2020, as difficult (and deadly) as its been for so many, has become a moment of reckoning. The nation is facing the shutdown and health crisis of coronavirus, pervasive acts of racist violence against unarmed Black people, and countless injustices for people of color, LGBTQI individuals and women and those within the intersectionality of these identifies. Today, in this climate of social unrest, powerful protest music of the past resonates once again.
As we stand in this pivotal moment, let's look back on some of the songs and moments that defined the civil rights movement and beyond, as Black artists and allies reflected the dire need for justice and inclusive representation, and protestors took their music to new heights.
Known as the Queen of Gospel, Mahalia Jackson is credited as one of the first artists to take gospel music out of the church. She used her powerful voice to record a massive catalog of religious music during her career, choosing to never dip her toes in secular music. Jackson befriended Martin Luther King Jr. at the 1956 National Baptist Convention and later performed before many of his speeches, in Selma, Montgomery and, most famously, immediately before his famous "I Have A Dream" speech at the March on Washington for Jobs and Freedom in 1963, which she directly inspired.
She was the final musical guest during at the March, singing "How I Got Over," a powerful gospel song, popularized by the Famous Ward Sisters, about overcoming racial injustice. Not only did the song have deep resonance with the Black audience members, it was Jackson herself who moved King to improvise the most famous "dream" passage of his speech. According to King's adviser Clarence Jones, Jackson shouted out; "Tell them about the dream, Martin! Tell them about the dream!" King pushed his notes to the side and Jones told the person next to him, "These people out there, they don't know it, but they're about ready to go to church."
Given its power, Jackson sang the song many times during her career, earning a GRAMMY for Best Soul Gospel Performance at the 1977 GRAMMYs for it.
18-time GRAMMY winner Aretha Franklin was one of the many successful soul and gospel singers inspired by Jackson and the path she paved, even performing at her funeral in 1972. The Queen of Soul got her start in music singing in her minister father's church. It was there where Franklin was introduced to civil rights activism. While many of her most beloved hits were covers, she had a unique power to reimagine a song all her own and resonate with so many. "Respect," originally recorded by Otis Redding in 1965, is one of these, which became her first No. 1 hit when she released it in 1967. A powerful anthem asking the listener for "a little respect," it became a protest song for both the feminist and civil rights movements of the time. As Pacific Standard states, "it captured a cultural moment Franklin had herself been fighting to achieve."
The outlet also notes that "Chain Of Fools," an original song, followed in 1967 as another feminist anthem, but found new meaning among Black U.S. soldiers fighting "a white man's war" in Vietnam. In 1972, Franklin recorded a rousing rendition of Nina Simone's 1969 civil rights anthem "Young, Gifted and Black," giving her album the same name, a powerful symbol of Black pride. That same year, Franklin later released live gospel album, Amazing Grace, including renditions of "How I Got Over" and "Amazing Grace." "Respect," "Chain Of Fools, "Young, Gifted and Black" and "Amazing Grace" all earned Franklin GRAMMY wins, evident of how deeply they resonated with America.
At 93, Jamaican-American actor, singer and activist Harry Belafonte has been a powerful force and barrier-breaker in U.S. culture since the '50s. Inspired by the emerging social justice-minded folk music of the turn of the century, he made it his life mission to "sing the song of anti-racism," as he said in 2017, to use his voice to highlight the music of the oppressed. Seeing Woody Guthrie perform lit this fire within the Harlem-born artist, inspiring him to visit the Library of Congress in Washington, D.C. to listen to Alan Lomax's field recordings.
His third album, 1956's Calypso, was led by one of his most beloved songs, "Banana Boat (Day-O)," a call-and-response Jamaican folk song sung by dock workers (he spent part of his childhood living with his grandmother there). His version took the U.S. by storm, hitting No. 5 and inspiring five other artists to cover it, who all earned Top 40 hits in 1957. The album, as its title suggests, was filled with upbeat calypso music, a genre with roots stemming from those enslaved by the 17th century Caribbean slave trade. At a time when Elvis Presley and other White rock artists ruled, Belafonte's Calypso outsold both of his records that year, spending thirty-one weeks on top of the Billboard 200.
Belafonte also became a pivotal member of the civil rights movement, as a close friend of King, performing at many of his events and offering financial support to fund voter-registration drives, Freedom Rides and even the March on Washington. "I was angry when I met [King]. Anger had helped protect me. Martin understood my anger and saw its value. But our cause showed me how to redirect it and to make it productive," Belafonte writes in his 2011 memoir.
"For Mr. Seeger, folk music and a sense of community were inseparable, and where he saw a community, he saw the possibility of political action," the New York Times wrote in Pete Seeger's obituary in 2014. "His agenda paralleled the concerns of the American left: He sang for the labor movement in the '40s and '50s, for civil rights marches and anti-Vietnam War rallies in the '60s, and for environmental and antiwar causes in the '70s and beyond."
In the '50s, the folk artist adapted "We Shall Overcome" with several other activist, including Zilphia Horton, who taught an updated version of the gospel spiritual "I'll Overcome" to union organizers. Seeger's version became an important rallying cry of the civil rights movement. Many other activist/artists of the time recorded and sang the powerful song at various events, including Jackson and folk acts Peter, Paul and Mary and Joan Baez, the latter who sang it during the March on Washington.
Seeger always used his music to speak up on the big issues of the time; in 1941 he wrote "Talking Union" with members of The Almanac Singers (both acts recorded it), "an almost literal guide to union-building," as Time put it. During Vietnam and the Cold War, respectively, he released anti-war anthems "Waist Deep in the Big Muddy" (1967) and "Where Have All The Flowers Gone" (1955). The latter has been covered many times over the years by Earth, Wind & Fire, Dolly Parton and more, with folk/pop act Kingston Trio's 1962 version first hitting the mainstream and reaching the Top 40.
"How many roads must a man walk down / Before you call him a man?" a 21-year-old Bob Dylan begins on his beloved 1963 song, "Blowin' In The Wind," another anthem of the civil rights movement. It is the opening track of his second album The Freewheelin' Bob Dylan, which also features "The Death of Emmitt Till," "Oxford Town," "Masters of War" and other explicitly political songs examining injustices of the time.
Like Belafonte, he was inspired by Guthrie's political brand of folk, but it was his then-girlfriend, Suze Rotolo (pictured on The Freewheelin' Bob Dylan album cover), who moved him towards activism and playing political rallies. He wrote "The Death of Emmitt Till" in 1962, about the Black teen that was brutally murdered by White men for alleged whistling at a White woman, shortly before singing it at a fundraiser for the Congress of Racial Equality, which Rotolo was involved with.
During the March on Washington the next year, Dylan performed several songs, including "Only a Pawn in Their Game," which he had recently written about the civil rights activist Medgar Evers killed just months earlier. He also performed the heart-breaking song at a voter registration rally for Black farmers in Mississippi later that year. In January 1964 he would release the track on his next album, another socially conscious project, this one earning a GRAMMY nomination, The Times They Are A-Changin'.
In August 1968, a year before Simone released "Young, Gifted & Black" and just four months after King was assassinated, the Godfather of Soul James Brown delivered the funky Black pride anthem "Say It Loud – I'm Black And I'm Proud." As UDiscoverMusic notes, "The tone of the civil-rights movement had so far been one of a request for equality. Brown, however, came out defiant and proud: he isn't asking politely for acceptance; he's totally comfortable in his own skin. The song went to No. 10 on the Billboard [Hot 100] chart and set the blueprint for funk. Like later Stevie Wonder classics of the '70s, it was a political song that also burned up the dancefloor; an unapologetic stormer that would influence generations."
In 2018, on 50 years after the song's release, Randall Kennedy, a Black law professor at Harvard, explained the power of the song in that moment, and today: "It was precisely because of widespread colorism that James Brown's anthem 'Say It Loud, I'm Black and I'm Proud' posed a challenge, felt so exhilarating, and resonated so powerfully. It still does. Much has changed over the past half century. But, alas, the need to defend blackness against derision continues."
The iconic song recently saw a massive boost in streaming numbers as part of Spotify's Black Lives Matter playlist.
N.W.A, Ice Cube & Dr. Dre
When N.W.A released "F* Tha Police" in 1988, their hometown of Compton, in South Los Angeles, was rife with police brutality and racial profiling. One of the hardcore rap group's most controversial songs, it struck a chord with in their community, as well as with other Black people living in over-policed inner-cities around the country and frustrated youth of all colors. Directly denouncing the police's abuse of power, the song was largely condemned by the mainstream, causing the group to receive a cease-and-desist letter from FBI and to be arrested for playing it at a Detroit show in 1989, as shown in the Straight Outta Compton biopic.
"We had lyrics. That's what we used to combat all the forces that were pushing us from all angles: Whether it was money, gang-banging, crack, LAPD. Everything in the world came after this group," Ice Cube said in an interview. "We changed pop culture on all levels. Not just music. We changed it on TV. In movies. On radio. Everything. Everybody could be themselves. Before N.W.A … you had to pretend to be a good guy."
In 1992, Rodney King was brutally beaten by LAPD officers who were later acquitted, sparking the 1992 Los Angeles uprising. This not only highlighted the truth and urgency of N.W.A's lyrics, it further solidified it as a rallying cry against the daily violence and racism Black people across the country faced. That year, Ice Cube released his third solo album Predator, along with its biggest hit, the laidback "It Was A Good Day." As HuffPost notes, "he raps about how to cherish moments like chilling with your homies to enjoying your mom's food to NOT get harassed by the police." Dr. Dre followed with his 1debut solo album The Chronic in 1994, and on "Lil' Ghetto Boy" he and Snoop Dogg rap about the dark challenges faced by a formerly incarcerated Black man on parole, powerfully sampling Donny Hathaway's 1972 classic "Little Ghetto Boy."
New York political hip-hop outfit Public Enemy originally recorded "Fight The Power" at the request of then-emerging filmmaker Spike Lee, for his 1989 film Do The Right Thing. It plays a prominent role in the poignant film that explores racial tensions in Brooklyn's Bedford-Sty neighborhood, as the only song character Radio Raheem plays from the boombox he proudly carries at all times. As HipHopDX writes, the song is "indisputably a call to action, [as] Chuck [D] commanded people to stand up against systematic oppression." "Elvis was a hero to most / But he never meant sht to me you see / Straight up racist that sucker was / Simple and plain. / Mother f him and John Wayne / 'Cause I'm Black and I'm proud," Chuck D raps with authority, both calling out White heroes and nodding to a Black hero, the Godfather Of Soul.
The powerful track finds inspiration from both Brown and the Isley Brothers, who released a song called "Fight The Power" in 1975, it also takes direct influence from them. According to Genius, it features around 20 samples, including Brown's "Say It Loud" and "Funky President (People It's Bad)," and interpolates The Isley Brothers' song. "I wanted to have sorta the same theme as the original 'Fight the Power' by the Isley Brothers and fill it in with some kind of modernist views of what our surroundings were at that particular time," Chuck D explained. The music video (watch above) begins with news footage from the March on Washington, followed by Public Enemy organizing their own march and rally in Brooklyn.
The song was released on the film soundtrack and on their 1990 album, Fear Of A Black Planet, on which they also called out racism in Hollywood and in the police on "Burn Hollywood Burn" (featuring Cube and Big Daddy Kane) and "911 Is A Joke," respectively. This summer, Public Enemy returned with the fiery "State Of The Union (STFU)," calling out the rampant racism of the current White House administration.
Credit: Paul Natkin/Getty Images
20 Iconic Hip-Hop Style Moments: From Run-D.M.C. To Runways
From Dapper Dan's iconic '80s creations to Kendrick Lamar's 2023 runway performance, hip-hop's influence and impact on style and fashion is undeniable. In honor of hip-hop's 50th anniversary, look back at the culture's enduring effect on fashion.
In the world of hip-hop, fashion is more than just clothing. It's a powerful means of self-expression, a cultural statement, and a reflection of the ever-evolving nature of the culture.
Since its origin in 1973, hip-hop has been synonymous with style — but the epochal music category known for breakbeats and lyrical flex also elevated, impacted, and revolutionized global fashion in a way no other genre ever has.
Real hip-hop heads know this. Before Cardi B was gracing the Met Gala in Mugler and award show red carpets in custom Schiaparelli, Dapper Dan was disassembling garment bags in his Harlem studio in the 1980s, tailoring legendary looks for rappers that would appear on famous album cover art. Crescendo moments like Kendrick Lamar’s performance at the Louis Vuitton Men’s Spring-Summer 2023 runway show in Paris in June 2022 didn’t happen without a storied trajectory toward the runway.
Big fashion moments in hip-hop have always captured the camera flash, but finding space to tell the bigger story of hip-hop’s connection and influence on fashion has not been without struggle. Journalist and author Sowmya Krishnamurphy said plenty of publishers passed on her anthology on the subject, Fashion Killa: How Hip-Hop Revolutionized High Fashion, and "the idea of hip hop fashion warranting 80,000 words."
"They didn't think it was big enough or culturally important," Krishnamurphy tells GRAMMY.com, "and of course, when I tell people that usually, the reaction is they're shocked."
Yet, at the 50 year anniversary, sands continue to shift swiftly. Last year exhibitions like the Fashion Institute of Technology’s Fresh, Fly, and Fabulous: Fifty Years of Hip-Hop Style popped up alongside notable publishing releases including journalist Vikki Tobak’s, Ice Cold. A Hip-Hop Jewelry Story. Tabak’s second published release covering hip-hop’s influence on style, following her 2018 title, Contact High: A Visual History of Hip-Hop.
"I wanted to go deeper into the history," Krishnamurphy continues. "The psychology, the sociology, all of these important factors that played a role in the rise of hip-hop and the rise of hip-hop fashion"
What do the next 50 years look like? "I would love to see a hip-hop brand, whether it be from an artist, a designer, creative director, somebody from the hip-hop space, become that next great American heritage brand," said Krishnamurphy.
In order to look forward we have to look back. In celebration of hip-hop’s 50 year legacy, GRAMMY.com examines iconic moments that have defined and inspired generations. From Tupac walking the runways at Versace to Gucci's inception-esque knockoff of Dapper Dan, these moments in hip-hop fashion showcase how artists have used clothing, jewelry, accessories, and personal style to shape the culture and leave an indelible mark on the world.
The cover art to Eric B and Rakim’s Paid in Full
Dapper Dan And Logomania: Luxury + High Fashion Streetwear
Dapper Dan, the legendary designer known as "the king of knock-offs," played a pivotal role in transforming luxury fashion into a symbol of empowerment and resistance for hip-hop stars, hustlers, and athletes starting in the 1980s. His Harlem boutique, famously open 24 hours a day, became a hub where high fashion collided with the grit of the streets.
Dapper Dan's customized, tailored outfits, crafted from deconstructed and transformed luxury items, often came with significantly higher price tags compared to ready-to-wear luxury fashion. A friend and favorite of artists like LL Cool J and Notorious B.I.G., Dapper Dan created iconic one-of-a-kind looks seen on artists like Eric B and Rakim’s on the cover of their Paid in Full album.
This fusion, marked by custom pieces emblazoned with designer logos, continues to influence hip-hop high fashion streetwear. His story — which began with endless raids by luxury houses like Fendi, who claimed copyright infringement — would come full circle with brands like Gucci later paying homage to his legacy.
Athleisure Takes Over
Hip-hop's intersection with sportswear gave rise to the "athleisure" trend in the 1980s and '90s, making tracksuits, sweatshirts, and sneakers everyday attire. This transformation was propelled by iconic figures such as Run-D.M.C. and their association with Adidas, as seen in photoshoots and music videos for tracks like "My Adidas."
LL Cool J. Photo: Paul Natkin/Getty Images
LL Cool J’s Kangol Hat
The Kangol hat holds a prominent place in hip-hop fashion, often associated with the genre's early days in the '80s and '90s. This popular headwear became a symbol of casual coolness, popularized by hip-hop pioneers like LL Cool J and Run-D.M.C. The simple, round shape and the Kangaroo logo on the front became instantly recognizable, making the Kangol an essential accessory that was synonymous with a laid-back, streetwise style.
Dr. Dre, comedian T.K. Kirkland, Eazy-E, and Too Short in 1989. Photo: Raymond Boyd/Getty Images
N.W.A & Sports Team Representation
Hip-hop, and notably N.W.A., played a significant role in popularizing sports team representation in fashion. The Los Angeles Raiders' gear became synonymous with West Coast hip-hop thanks to its association with the group's members Dr. Dre, Eazy-E, and Ice Cube, as well as MC Ren.
Slick Rick in 1991. Photo: Al Pereira/Getty Images/Michael Ochs Archives
Slick Rick’s Rings & Gold Chains
Slick Rick "The Ruler" has made a lasting impact on hip-hop jewelry and fashion with his kingly display of jewelry and wealth. His trendsetting signature look — a fistful of gold rings and a neck heavily layered with an array of opulent chains — exuded a sense of grandeur and self-confidence. Slick Rick's bold and flamboyant approach to jewelry and fashion remains a defining element of hip-hop's sartorial history, well documented in Tobak's Ice Cold.
Tupac Walks The Versace Runway Show
Tupac Shakur's runway appearance at the 1996 Versace runway show was a remarkable and unexpected moment in fashion history. The show was part of Milan Fashion Week, and Versace was known for pushing boundaries and embracing popular culture in their designs. In Fashion Killa, Krishnamurpy documents Shakur's introduction to Gianni Versace and his participation in the 1996 Milan runway show, where he walked arm-in-arm with Kadida Jones.
TLC. Photo: Tim Roney/Getty Images
Women Embrace Oversized Styles
Oversized styles during the 1990s were not limited to menswear; many women in hip-hop during this time adopted a "tomboy" aesthetic. This trend was exemplified by artists like Aaliyah’s predilection for crop tops paired with oversized pants and outerwear (and iconic outfits like her well-remembered Tommy Hilfiger look.)
Many other female artists donned oversized, menswear-inspired looks, including TLC and their known love for matching outfits featuring baggy overalls, denim, and peeking boxer shorts and Missy Elliott's famous "trash bag" suit worn in her 1997 music video for "The Rain." Speaking to Elle Magazine two decades after the original video release Elliot told the magazine that it was a powerful symbol that helped mask her shyness, "I loved the idea of feeling like a hip hop Michelin woman."
Diddy Launches Sean John
Sean "Diddy" Combs’ launch of Sean John in 1998 was about more than just clothing. Following the success of other successful sportswear brands by music industry legends like Russell Simmons’ Phat Farm, Sean John further represented a lifestyle and a cultural movement. Inspired by his own fashion sensibilities, Diddy wanted to create elevated clothing that reflected the style and swagger of hip-hop. From tailored suits to sportswear, the brand was known for its bold designs and signature logo, and shared space with other successful brands like Jay-Z’s Rocawear and model Kimora Lee Simmons' brand Baby Phat.
Lil' Kim. Photo: Ron Galella/Ron Galella Collection via Getty Images
Lil’ Kim Steals The Show
Lil' Kim’s daring and iconic styles found a kindred home at Versace with
In 1999, Lil' Kim made waves at the MTV Video Music Awards with her unforgettable appearance in a lavender jumpsuit designed by Donatella Versace. This iconic moment solidified her close relationship with the fashion designer, and their collaboration played a pivotal role in reshaping the landscape of hip-hop fashion, pushing boundaries and embracing bold, daring styles predating other newsworthy moments like J.Lo’s 2000 appearance in "The Dress" at the GRAMMY Awards.
Lil Wayne Popularizes "Bling Bling"
Juvenile & Lil Wayne's "Bling Bling" marked a culturally significant moment. Coined in the late 1990s by Cash Money Records, the term "bling bling" became synonymous with the excessive and flashy display of luxury jewelry. Lil Wayne and the wider Cash Money roster celebrated this opulent aesthetic, solidifying the link between hip-hop music and lavish jewelry. As a result, "bling" became a cornerstone of hip-hop's visual identity.
Jay-Z x Nike Air Force 1
In 2004, Jay-Z's partnership with Nike produced the iconic "Roc-A-Fella" Air Force 1 sneakers, a significant collaboration that helped bridge the worlds of hip-hop and sneaker culture. These limited-edition kicks in white and blue colorways featured the Roc-A-Fella Records logo on the heel and were highly coveted by fans. The collaboration exemplified how hip-hop artists could have a profound impact on sneaker culture and streetwear by putting a unique spin on classic designs. Hova's design lives on in limitless references to fresh white Nike kicks.
Daft Punk and Pharrell Williams. Photo: Mark Davis/WireImage
Pharrell Williams' Hat At The 2014 GRAMMYs
Pharrell Williams made a memorable red carpet appearance at the 2014 GRAMMY Awards in a distinctive and oversized brown hat. Designed by Vivienne Westwood, the hat quickly became the talk of the event and social media. A perfect blend of sartorial daring, Pharrell's hat complemented his red Adidas track jacket while accentuating his unique sense of style. An instant fashion moment, the look sparked innumerable memes and, likely, a renewed interest in headwear.
Kanye’s Rise & Fall At Adidas (2013-2022)
Much more than a "moment," the rise and eventual fall of Kanye’s relationship with Adidas, was as documented in a recent investigation by the New York Times. The story begins in 2013 when West and the German sportswear brand agreed to enter a partnership. The collaboration would sell billions of dollars worth of shoes, known as "Yeezys," until West’s anti-semitic, misogynistic, fat-phobic, and other problematic public comments forced the Adidas brand to break from the partnership amid public outrage.
Supreme Drops x Hip-Hop Greats
Supreme, with its limited drops, bold designs, and collaborations with artists like Nas and Wu-Tang Clan, stands as a modern embodiment of hip-hop's influence on streetwear. The brand's ability to create hype, long lines outside its stores, and exclusive artist partnerships underscores the enduring synergy between hip-hop and street fashion.
A model walks the runway at the Gucci Cruise 2018 show. Photo: Pietro D'Aprano/Getty Images
Gucci Pays "homage" to Dapper Dan
When Gucci released a collection in 2017 that seemingly copied Dapper Dan's distinctive style, (particularly one look that seemed to be a direct re-make of a jacket he had created for Olympian Dionne Dixon in the '80s), it triggered outrage and accusations of cultural theft. This incident sparked a conversation about the fashion industry's tendency to co-opt urban and streetwear styles without proper recognition, while also displaying flagrant symbols of racism through designs.
Eventually, spurred by public outrage, the controversy led to a collaboration between Gucci and Dapper Dan, a significant moment in luxury fashion's acknowledgement and celebration of the contributions of Black culture, including streetwear and hip-hop to high fashion. "Had Twitter not spotted the, "Diane Dixon" [jacket] walking down the Gucci runway and then amplified that conversation on social media... I don't think we would have had this incredible comeback," Sowmya Krishnamurphy says.
A$AP Rocky x DIOR
Self-proclaimed "Fashion Killa" A$AP Rocky is a true fashion aficionado. In 2016, the sartorially obsessed musician and rapper became one of the faces of Dior Homme’s fall/winter campaign shot by photographer Willy Vanderperre — an early example of Rocky's many high fashion collaborations with the luxury European brand.
A$AP Rocky's tailored style and impeccable taste for high fashion labels was eloquently enumerated in the track "Fashion Killa" from his 2013 debut album Long. Live. ASAP, which namedrops some 36 luxury fashion brands. The music video for "Fashion Killa" was co-directed by Virgil Abloh featuring a Supreme jersey-clad Fenty founder, Rihanna long before the two became one of music’s most powerful couples. The track became an anthem for hip-hop’s appreciation for high fashion (and serves as the title for Krishnamurphy’s recently published anthology).
Cardi B. Photo: Steve Granitz/WireImage
Cardi B Wears Vintage Mugler At The 2019 GRAMMYs
Cardi B has solidified her "it girl" fashion status in 2018 and 2019 with bold and captivating style choices and designer collaborations that consistently turn heads. Her 2019 GRAMMYs red carpet appearance in exaggerated vintage Mugler gown, and many custom couture Met Gala looks by designers including Jeremy Scott and Thom Browne that showcased her penchant for drama and extravagance.
But Cardi B's fashion influence extends beyond her penchant for custom high-end designer pieces (like her 2021 gold-masked Schiaparelli look, one of nine looks in an evening.) Her unique ability to blend couture glamour with urban chic (she's known for championing emerging designers and streetwear brands) fosters a sense of inclusivity and diversity, and makes her a true trendsetter.
Beyoncé & Jay-Z in Tiffany & Co.’s "About Love" campaign
The power duo graced Tiffany & Co.'s "About Love'' campaign in 2021, showcasing the iconic "Tiffany Yellow Diamond," a 128.54-carat yellow worn by Beyoncé alongside a tuxedo-clad Jay-Z. The campaign sparked controversy in several ways, with some viewers unable to reconcile the use of such a prominent and historically significant diamond, sourced at the hands of slavery, in a campaign that could be seen as commercializing and diluting the diamond's cultural and historical importance. Despite mixed reaction to the campaign, their stunning appearance celebrated love, adorned with Tiffany jewels and reinforced their status as a power couple in both music and fashion.
Kendrick Lamar Performs At Louis Vuitton
When Kendrick Lamar performed live at the Louis Vuitton Men’s spring-summer 2023 runway show in Paris in June 2022 following the passing of Louis Vuitton’s beloved creative director Virgil Abloh, he underscored the inextricable connection between music, fashion and Black American culture.
Lamar sat front row next to Naomi Campbell, adorned with a jeweled crown of thorns made from diamonds and white gold worth over $2 million, while he performed tracks including "Savior," "N95," and "Rich Spirit'' from his last album, Mr. Morale and the Big Steppers before ending with a repeated mantra, "Long live Virgil." A giant children’s toy racetrack erected in the Cour Carrée of the Louvre became a yellow brick road where models marched, clad in designer looks with bold, streetwear-inspired design details, some strapped with oversized wearable stereo systems.
Pharrell Succeeds Virgil Abloh At Louis Vuitton
Pharrell Williams' appointment as the creative director at Louis Vuitton for their men's wear division in 2023 emphasized hip-hop's enduring influence on global fashion. Pharrell succeeded Virgil Abloh, who was the first Black American to hold the position.
Pharrell's path to this prestigious role, marked by his 2004 and 2008 collaborations with Louis Vuitton, as well as the founding of his streetwear label Billionaire Boy’s Club in 2006 alongside Nigo, the founder of BAPE and Kenzo's current artistic director, highlights the growing diversity and acknowledgment of Black talent within high fashion.
Photo: ZIK Images/United Archives via Getty Images
15 Reissues And Archival Releases For Your Holiday Shopping List
2023 was a banner year for reissues and boxed sets; everyone from the Beatles to Bob Dylan to the Rolling Stones got inspired expansions and repackagings. Here are 15 more to scoop up before 2023 gives way to 2024.
Across 2023, we've been treated to a shower of fantastic reissues, remixes and/or expansions. From the Beatles' Red and Blue albums, to Pink Floyd's The Dark Side of the Moon, to the Who's Who's Next, the list is far too massive to fit into a single article.
And, happily, it's not over yet: from now until Christmas, there are plenty more reissues to savor — whether they be mere vinyl represses, or lavish plumbings of the source material replete with outtakes.
As you prepare your holiday shopping list, don't sleep on these 15 reissues for the fellow music fanatic in your life — or pick up a bundle for yourself!
X-Ray Spex - Conscious Consumer (Vinyl Reissue)
Whether you view them through the lens of Black woman power or simply their unforgettable, snarling anthems, English punks X-Ray Spex made an indelible mark with their debut 1978 album, Germfree Adolescents.
Seventeen years later, they made a less-discussed reunion album, 1995's Conscious Consumer — which has been unavailable over the next 27 years. After you (re)visit Germfree Adolescents, pick up this special vinyl reissue, remastered from the original tape.
That's out Dec. 15; pre-order it here.
Fall Out Boy - Take This to Your Grave (20th Anniversary Edition)
Released the year before their breakthrough 2005 album From Under the Cork Tree — the one with "Dance, Dance" and "Sugar, We're Goin Down" on it — Fall Out Boy's Take This to Your Grave remains notable and earwormy. The 2004 album aged rather well, and contains fan favorites like "Dead on Arrival."
Revisit the two-time GRAMMY nominees' Myspace-era gem with its 20th anniversary edition, which features a 36-page coffee table book and two unreleased demos: "Colorado Song" and "Jakus Song." It's available Dec. 15.
Coheed and Cambria - Live at the Starland Ballroom
Coheed and Cambria is more than a long-running rock band; they're a sci-fi multimedia universe, as well as a preternaturally tight live band.
Proof positive of the latter is Live at the Starland Ballroom, a document of a performance at the Starland Ballroom in Sayreville, New Jersey, in 2004 — that hasn't been on vinyl until now. Grab it here; it dropped Nov. 24, for Record Store Day Black Friday.
Joni Mitchell - Court and Spark Demos
Joni Mitchell Archives – Vol. 3: The Asylum Years (1972–1975), from last October, is a terrific way to do just that; its unvarnished alternate versions strip away the '70s gloss to spellbinding effect.
Which is no exception regarding the Court and Spark demos, which got a standalone release for RSD Black Friday.
P!NK - TRUSTFALL (Deluxe Edition)
The dependable Pink returned in 2023 with the well-regarded TRUSTFALL, and it's already getting an expanded presentation.
Its Deluxe Edition is filled with six previously unheard live recordings from her 2023 Summer Carnival Stadium Tour. Therein, you can find two new singles, including "Dreaming," a collaboration with Marshmello and Sting. Pre-order it today.
Snoop Dogg - Doggystyle (30th Anniversary Edition)
After his star-making turn on Dr. Dre's The Chronic, 16-time GRAMMY nominee Snoop Dogg stepped out with his revolutionary, Dre-assisted debut album, Doggystyle.
Permeated with hedonistic, debaucherous fun, the 1993 classic only furthered G-funk's momentum as a force within hip-hop.
Revisit — or discover — the album via this 30-year anniversary reissue, available now on streaming and vinyl.
As per the latter, the record is available special color variants, including a gold foil cover and clear/cloudy blue vinyl via Walmart, a clear and black smoke vinyl via Amazon and a green and black smoke vinyl via indie retailers.
Alicia Keys - The Diary of Alicia Keys 20
Alicia Keys has scored an incredible 15 GRAMMYs and 31 nominations — and if that run didn't exactly begin with 2003's The Diary of Alicia Keys, that album certainly cemented her royalty.
Her heralded second album, which features classics like "Karma," "If I Was Your Woman"/"Walk On By" and "Diary," is being reissued on Dec. 1 — expanded to 24 tracks, and featuring an unreleased song, "Golden Child."
The Sound of Music (Super Deluxe Edition Boxed Set)
Fifty-seven years has done nothing to dim the appeal of 1965's The Sound of Music — both the flick and its indelible soundtrack.
Re-immerse yourself in classics like "My Favorite Things" via The Sound of Music (Super Deluxe Edition Boxed Set), which arrives Dec. 1.
The box contains more than 40 previously unreleased tracks, collecting every musical element from the film for the first time, along with instrumentals for every song, demos and rare outtakes from the cast.
Furthermore, an audio Blu-ray features the full score in hi-res plus a new Dolby Atmos mix of the original soundtrack. And the whole shebang is housed in a 64-page hardbound book with liner notes from film preservationist Mike Matessino.
ABBA - The Visitors (Deluxe Edition)
With their eighth album, 1981's The Visitors, the Swedish masterminds — and five-time GRAMMY nominees — stepped away from lighter fare and examined themselves more deeply than ever.
The result was heralded as their most mature album to date — and has been repackaged before, with a Deluxe Edition in 2012.
This (quite belated) 40th anniversary edition continues its evolution in the marketplace. And better late than never: The Visitors was their final album until their 2021 farewell, Voyage, and on those terms alone, deserves reexamination.
Aretha Franklin - A Portrait of the Queen 1970-1974
A Portrait of the Queen 1970-1974 compiles her first five albums of the 1970s: This Girl's In Love With You, Spirit in the Dark, Young Gifted and Black, Hey Now Hey (The Other Side of the Sky), and Let Me In Your Life.
Each has been remastered from the analog master tapes. The vinyl version has a bonus disc of session alternates, outtakes & demos. Both CD and vinyl versions are packaged with booklets featuring sleeve notes by Gail Mitchell and David Nathan. Grab it on Dec. 1.
Fela Kuti - Box Set #6
From the great beyond, Fela Kuti has done music journalists a solid in simply numbering his boxes. But this isn't just any Kuti box: it's curated by the one and only Idris Elba, who turned in a monumental performance as Stringer Bell on "The Wire."
The fifth go-round contains the Afrobeat giant's albums Open & Close, Music of Many Colors, Stalemate, I Go Shout Plenty!!!, Live In Amsterdam (2xLP), and Opposite People. It includes a 24 page booklet featuring lyrics, commentaries by Afrobeat historian Chris May, and never-before-seen photos.
The box is only available in a limited edition of 5,000 worldwide, so act fast: it's also available on Dec. 1.
Kate Bush - Hounds of Love (The Baskerville Edition) / Hounds of Love (The Boxes of Lost Sea)
Kate Bush rocketed back into the public consciousness in 2022, via "Stranger Things." The lovefest continues unabated with these two editions of Hounds of Love, which features that signature song: "Running Up That Hill (A Deal with God.)
The Rolling Stones - December's Children (And Everybody's), Got Live If You Want It! And The Rolling Stones No. 2 (Vinyl Reissues)
These three '60s Stones albums have slipped between the cracks over the years — but if you love the world-renowned rock legends in its infancy, they're essential listens.
No. 2 is their second album from 1965; the same year's December's Children is the last of their early songs to lean heavily on covers; Got Live If You Want It! is an early live document capturing the early hysteria swarming around the band.
On Dec. 1, they're reissued on 180g vinyl; for more information and to order, visit here.
Pink Floyd - Atom Heart Mother (Special Edition)
No, it's not half as famous as The Dark Side of the Moon or The Wall — but 1970's lumpy Atom Heart Mother certainly has its partisans.
Rediscover a hidden corner of the Floyd catalog — the one between Ummagumma and Meddle — via this special edition, which features newly discovered live footage from more than half a century ago.
The Black Crowes - The Southern Harmony and Musical Companion
After endless fraternal infighting, the Black Crowes are back — can they keep it together?
In the meantime, their second album, 1992's The Southern Harmony and Musical Companion, remains a stellar slice of roots rock — as a sprawling, three-disc Super Deluxe Edition bears out. If you're a bird of this feather, don't miss it when it arrives on Dec. 15.
Photo: mark peterson/Corbis via Getty Images
Snoop Dogg's Biggest Songs: 15 Tracks That Display His Charismatic Style And Range
As the rapper's seminal debut album Doggystyle celebrates its 30th anniversary, dig into some of the best and most popular songs in Snoop Dogg's discography, from "Gin and Juice" to "I'm From 21st Street."
Thirty years ago, a rap music legend began his journey to immortality — and to Martha Stewart.
Most in-the-know music fans were aware of Snoop Doggy Dogg (as he was then known) because of his collaborations with Dr. Dre. First there was "Deep Cover" from the soundtrack of the film of the same name. Then there were his memorable contributions to Dre's The Chronic, which came out in late 1992.
So the world was primed for Snoop's solo debut Doggystyle when it was released into the world on November 23, 1993. The album sold around 800,000 copies in its first week, and set the stage for Snoop to become a superstar, one who would eventually reach a stage of pop-culture ubiquity that mid-90s rap fans — and those people who saw his scowl on the cover of Newsweek as the literal face of the question of whether rap was too violent — could have never imagined.
To celebrate the anniversary of Doggystyle's release, GRAMMY.com is revisiting the D-O-double-G's biggest and best musical moments. A quick note: this list does not include songs that appear on another artist's album (hey, we had to draw the line somewhere!), so there's no "Nuthin' But A 'G' Thang" or "2 of Amerikaz Most Wanted." And we tried to pull from all eras of his career, so it's not all Doggystyle (though you should, of course, listen to that classic in its entirety).
So with all that said, here we are: 15 of Snoop Dogg's most popular and most dynamic songs.
"Deep Cover" with Dr. Dre, Deep Cover soundtrack (1992)
Snoop's very first recorded song — his introduction to the world at large — occurred over a Dre beat so powerful, with a bassline so iconic, that it became the foil for not one, not two, but three classic songs (plus a nasty Biggie freestyle). The duo's lyrical chemistry was undeniable as they traded verses throughout. And, of course, there's the song's chorus, in which Snoop introduced California penal code 187 into the national lexicon.
The track and its video loosely parallel the plot of the movie on whose soundtrack it appears, the absolutely nuts (and surprisingly entertaining) Deep Cover, directed by Bill Duke and starring Laurence Fishburne.
"Who Am I (What's My Name)?" Doggystyle (1993)
This track wasn't just the world's introduction to Doggystyle — it lets fans know that the Dre-and-Snoop chemistry they'd heard on The Chronic was not a fluke. The track's George Clinton and P-Funk interpolations also showed that Dre was still in his bag, and Snoop's vocal performance was one for the ages. Still in his very early 20s, the rapper was adept at mythmaking, showing the audience how he would "step through the fog" and "creep through the smog" to deliver his charismatic raps.
As if that wasn't enough, the song's Fab 5 Freddy-directed video showed Snoop's sense of humor, as it featured the rapper and his compatriots morphing into literal dogs.
"Gin and Juice," Doggystyle (1993)
Any rap fan of a certain age can not only spit this song word for word, but also quote pretty much every line in the video ("Snoop Doggy Dogg! You need to get a jobby-job"). Just say the words "Laid back…" to pretty much anyone who is at the age where they can say complete sentences, and you'll get "With my mind on my money and my money on my mind" in response.
The song and video created an image for Snoop that was fun-loving and comic — one that he rode (sometimes in a Chrysler) all the way to a decades-long career as a pitchman, TV host and overall personality that would at first glance seem incongruous for an avowed Crip from Long Beach. Beyond all the myth-making, though, it's just a fantastic song, one that Rolling Stone included in its 100 best rap songs of all time list.
"Gz and Hustlas," Doggystyle (1993)
This Doggystyle highlight begins with a hilarious skit that ends with a funny and profane punchline from a very young Bow Wow. It just gets better from there.
Snoop has said that this is one of his two personal favorites from his debut album. Not unrelatedly, he's also admitted that the whole thing was improvised while he was just checking a mic. And as we'll see on the "Afro Puffs" remix, freestyling Snoop is the best Snoop. That's certainly the case here. The sample of Bernard Wright's "Haboglabotribin" provides the perfect soundtrack for the ride.
"Murder Was the Case," Doggystyle (1993)
This song is the Faustian tale of a young man who survives a shooting by selling his soul to the devil in exchange for eternal life and a life of riches and success. But, as always with these stories, the protagonist's greed gets the better of him, and the devil gets his due. The narrator ends the story locked up, with only a prison riot to look forward to.
It's a gripping tale that would have eerie real-life resonance when Snoop was actually charged with murder, a charge on which he was famously acquitted. He wrote the song before the incident, a coincidence that affected him so deeply that he decided that "maybe I shouldn't be writing about devilish s— like this."
"Afro Puffs (Extended Remix)" with The Lady of Rage, Above the Rim soundtrack (1994)
Snoop is at his best when he's in the moment — when he's relaxed, freestyling and rapping in his inimitable style about whatever is on his mind. His opening verse on this song is perhaps the quintessential example of that.
He sounds completely at ease, swinging, developing ideas in an unforced way. It's like you're in the studio with Snoop for two solid minutes, watching him warm up and get comfortable. It's a performance style he wouldn't duplicate on any other studio track, even the ones he would also make up on the spot.
"Woof! (feat. Fiend and Mystikal)," Da Game Is To Be Sold, Not To Be Told (1998)
One of Snoop's first major business and stylistic switches happened in March 1998, when he signed to No Limit Records. What was a Long Beach gangsta rapper doing on a New Orleans label? Well, it turned out to be a pretty great fit, at least on "Woof!"
The track was the second single on Snoop's No Limit debut, and it featured two of the label's stars, Fiend and Mystikal. The Dogg fits perfectly on a track in the label's aggressive, chant-based Southern style (even the track's percussive dog barks manage to add intensity). Snoop adopts a more free rhythmic approach here, perhaps influenced by his all-over-the-beat labelmates. It's fascinating to hear, and it works amazingly well.
"B— Please (feat. Xzibit)," No Limit Top Dogg (1999)
One of the things Snoop is greatest at is, to put it in crass, unavoidable terms, pimp talk. "B— Please" might be his ultimate entry into the genre. This song features a memorable performance by Xzibit and some classic singing from Nate Dogg. And the Dr. Dre beat is instantly memorable. But what really puts the song over the top is the confidence and style with which Snoop orders an unnamed lady to "hem my coat and roll me some dope."
"Lay Low (feat. Master P, Nate Dogg, Butch Cassidy, and Tha Eastsidaz)," The Last Meal (2000)
Yes, Xzibit wrote Snoop's verse on this classic posse cut featuring rapping contributions from the Eastsidaz and Snoop's then-label boss Master P. But that doesn't make the Doggfather's contribution any less smooth. It doesn't prevent Nate Dogg's hook from being an unstoppable ear worm. It doesn't make Dr. Dre's beat any less of a minimalist masterpiece. It doesn't make the Eastsidaz's appearances less effective. And it certainly doesn't diminish in any way the single best part of the song: Master P rapping, "They call me Jed Clampett for all the bread I got/ But they call me Bill Clinton for all the head I got."
"Beautiful (feat. Pharrell Williams and Charlie Wilson)," Paid Tha Cost To Be Da Bo$$ (2002)
Snoop teaming up with Pharrell gave the Dogg a much-needed early aughts career boost. It turned out that Snoop and P made an unbeatable combination, and one that we will see again later in this very list.
"Beautiful" features an instantly memorable beat whose repetitive syncopated rhythms immediately drive into the listener's skull and don't let up until the song is over. Add in Pharrell's so-off-key-they're-somehow-on vocals, and you have a track that stands out even in the era of Neptunes ubiquity. Snoop adds his own style and grace, and, somehow, a (presumably intentionally) charmingly awkward reference to Clueless.
"Drop It Like It's Hot (feat. Pharrell Williams)," R&G (Rhythm & Gangsta): The Masterpiece (2004)
Snoop and Pharrell made a number of great songs, but this is arguably their masterpiece. This No. 1 hit was so popular that even its ringtone version went double platinum. It was also nominated for a GRAMMY. But accolades and numbers are secondary.
What makes this track is the perfect melding of one the Neptunes' greatest non-Clipse minimalist beats with Snoop's laid-back rapping (and a verse from Pharrell in which he bends his approach towards Snoop's to superb effect). Snoop sounds so relaxed that you might miss all the tough talk, which is delivered in his patented stylish way ("Pistol-whip you, dip you, then flip you/ Then dance to this mothaf—in' music we Crip to").
"Think About It," Tha Blue Carpet Treatment (2006)
This is the song Snoop chose to demonstrate to his own son that after nearly 15 years in the rap world, he could still hold his own. He couldn't have made a better choice.
"Think About It" is dense, wordy, even "intellectual" — a word Snoop comes back to a few times in the track. It's also a seemingly incongruous mixture of aggressive rapping, where Snoop sounds like he's really pushing himself; with laid-back music reminiscent of 1970s soul. And yet that combination, which could be off-putting, somehow works to the advantage of both elements of the song, supplying the rapping with needed comfort and style; and the music with energy and drive.
"Sensual Seduction," Ego Trippin' (2007)
Sometimes known by its uncensored title "Sexual Eruption," this Shawty Redd-produced track was one of Snoop's biggest chart hits, making it all the way to No. 7 on the Billboard Hot 100. It's also a big left turn for him, featuring Auto-Tuned singing throughout, minus a rap verse in the middle.
The incredibly catchy number started its life as a Shawty Redd solo song called "Drifter," which got leaked and hit the radio. "Snoop wanted to buy that song," Shawty told me a few years back. "At the time, Sylvia Rhone was signing me to Universal/Motown as an artist, and I couldn't sell Snoop that song. So I ended up making ['Sensual Seduction']."
"Young, Wild & Free" (Snoop Dogg & Wiz Khalifa feat. Bruno Mars) Mac & Devin Go To High School (2011)
This track brings together Snoop and a younger weed-obsessed rapper, Wiz Khalifa. But what really makes it a winner is the addition of Bruno Mars, who at that time was in the middle of an absolutely unstoppable run with his crew the Smeezingtons as a hitmaker for both himself and others. This was "F— You"/ "Billionaire"/ "Nothin' on You"-era Bruno, and his composition and hook here is right up there with those pop masterpieces. Snoop and Wiz trade rhymes back and forth with a chemistry that, while perhaps plant-induced, can't be faked.
"I'm From 21st Street (feat. DJ Drama and Stressmatic)," Gangsta Grillz: I Still Got It (2022)
Snoop spent much of the past decade doing unusual one-offs (see 2013's reggae album Reincarnated and 7 Days of Funk, a funk project with DāM-FunK, or 2018's gospel compilation Snoop Dogg Presents Bible of Love, among others). So when he wanted to get back to his rap roots in 2022, he teamed with Gangsta Grillz mastermind DJ Drama to release a mixtape called I Still Got It. The project, and especially this song, more than proves the title correct.
Snoop tears up the Rick Rock-produced beat, sounding more energized and hungry than he has in a while. The subject matter may be somewhat well-trod ground (it's not far removed from his 1994 track "21 Jumpstreet," which could easily have made this list as well), but how he talks about his past, and the intensity he brings to it, shows that Snoop can still produce great music 30 years into his career.
Image courtesy of the Recording Academy
More Performers Added To "A GRAMMY Salute To 50 Years Of Hip-Hop" Live Concert Special: Public Enemy, Rick Ross, Tyga, D-Nice, Doug E. Fresh & More Announced
One of hip-hop's biggest nights will take place tonight (Wednesday, Nov. 8) at YouTube Theater in Inglewood, California. Tickets are available now. "A GRAMMY Salute To 50 Years Of Hip-Hop" will air Sunday, Dec. 10, on CBS and Paramount+.
The anticipation for tonight's "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert special is buzzing as the lineup welcomes even more rap icons and emerging hip-hop artists to its existing group of star-studded performers. Public Enemy, Rick Ross, Tyga, D-Nice, Doug E. Fresh, Blaqbonez, Boosie Badazz, DJ Diamond Kuts, DJ Greg Street, DJ Trauma, and Kool DJ Red Alert have all been added to tonight's concert.
They join previously announced performers 2 Chainz, T.I., Gunna, Too $hort, Latto, E-40, Big Daddy Kane, GloRilla, Three 6 Mafia, Cypress Hill, Jeezy, DJ Quik, MC Lyte, Roxanne Shanté, Warren G, YG, Digable Planets, Arrested Development, Spinderella, Black Sheep, Luniz, and many others who will perform at the live concert special celebrating hip-hop's legendary 50th anniversary. One of the biggest nights in hip-hop history, the concert and special will feature performances and reunions from GRAMMY-winning artists, hip-hop legends and much more, including a highly anticipated reunion from hip-hop icons DJ Jazzy Jeff and the Fresh Prince — aka Will Smith.
The "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert will take place tonight (Wednesday, Nov. 8) at YouTube Theater at Hollywood Park in Inglewood, California. Tickets for the concert are open to the public and available now.
The "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert special will then air on Sunday, Dec. 10, at 8:30 – 10:30 p.m. ET/PT on the CBS Television Network and stream live and on demand on Paramount+. This lively two-hour celebration will pay tribute to hip-hop's profound history, while showcasing its vibrant future and monumental impact around the world.
Full concert details are below:
Wednesday, Nov. 8, 2023 (tonight)
Doors: 6 p.m. PT
Concert: 7 p.m. PT
1011 Stadium Dr.
Inglewood, CA 90305
Full List Of Confirmed Performers:
BIG DADDY KANE
DE LA SOUL
DJ DIAMOND KUTS
DJ GREG STREET
DJ TRAUMA (HOUSE DJ)
DOUG E. FRESH
KOOL DJ RED ALERT
LL COOL J
THE LADY OF RAGE
THREE 6 MAFIA
WILL SMITH & DJ JAZZY JEFF
^Names in bold indicate newly added artists.
Stay tuned to GRAMMY.com for more news and updates about "A GRAMMY Salute to 50 Years of Hip-Hop."
A GRAMMY Salute to 50 Years of Hip-Hop is produced by Jesse Collins Entertainment. Jesse Collins, Shawn Gee, Dionne Harmon, Claudine Joseph, LL COOL J, Fatima Robinson, Jeannae Rouzan-Clay, and Ahmir "Questlove" Thompson for Two One Five Entertainment serve as executive producers and Marcelo Gama as director of the special.