As soon as El Madrileño — C. Tangana's majestic, all-encompassing tour de force of an album — came out in February of 2021, the Latin music community unanimously agreed that this was one of those rare records that single-handedly define the zeitgeist of an era.

Moving effortlessly from confessional folk-rock to flamenco roots, the album also explores urbano beats, Regional Mexican harmonies and progressive pop. The 14-song LP boasts a stellar gallery of guests and collaborators, including Toquinho, Eliades Ochoa, Jorge Drexler, Kiko Veneno, Andrés Calamaro, José Feliciano, and the Gipsy Kings, among others; a 2022 re-release featured six new songs, including a duet with Nathy Peluso.

It's an unprecedented boom of both critical and commercial success for 31-year-old Antón Álvarez Alfaro, who began his career in 2005 rapping under the moniker Crema. After studying philosophy in his native Madrid, he joined the band Agorazein in 2008 before releasing his first solo LP as C. Tangana in 2011.

After landing a top 5 hit in Spain with “Mala Mujer” in 2017, he further gained recognition (and a few Latin GRAMMYs) for co-writing on Rosalía's 2018 album El Mal Querer, including her now classic flamenco-pop single "Malamente." By the time he set out to create his second album, C. Tangana had a number of Spanish hits of his own — and had ultimately found his true voice as a pan-Latin revolutionary.

With El Madrileño, C. Tangana confirmed his status as one of the most creative singer/songwriters in contemporary Latin music. That's now been proven with his first GRAMMY nomination, as El Madrileño is up for Best Latin Rock or Alternative Album at the 2022 GRAMMYs. (The album won C. Tangana three more Latin GRAMMYs in 2021, where it was also nominated for Album Of the Year.)

C. Tangana spoke with GRAMMY.com about his globe-spanning album process, how his "cosmovision" inspired such wide-ranging sounds, and what his nomination means to him.

El Madrileño is the kind of sprawling album that functions as a defining cultural mosaic. It reminds me of the Beatles' Sgt. Pepper's, Beastie Boys' Paul's Boutique and The Avalanches' Since I Left You — all albums that conjure the illusion of a thousand songs wrapped up into one. How did you tackle the process of creating such an ambitious piece of work?

I've always been curious about many different things and enjoy stepping outside of my comfort zone. The initial challenge with El Madrileño was going beyond the urbano genre. Once I took the first step, I felt I could do anything.

The initial track was "Un Veneno" — the original version with just Niño de Elche. After I finished that one, it was all about seeing how far I could get with the other tracks. So I allowed my intuition and personal taste to act as guides, trying to visit as many different soundscapes as I could.

A couple of things ended up staying in the recording studio. I wasn't able to complete every single track from those sessions. But I did manage to create this big mosaic of an album, like you say. Fragments from different styles of music, strikingly different elements all thrown together, almost like a collage.

I enjoyed the process immensely. In the end it took an inordinate amount of time, but it's the most entertaining recording process that I ever experienced, because it allowed me to suddenly find myself in Cuba or Buenos Aires, then travel to the South of Spain, or the Caribbean.

It's also an album that invariably puts the listener in a good mood because it depicts life as an infinite experience — brimming with colors, textures and places to visit. Was this intentional?

It was not intentional, but it does stem from my cosmovision. Maybe because I grew up in Madrid, my idea of the world is informed by a feeling of respect for migration and the mixture of cultures. My father is from Galicia, my mother from the South, and most madrileños are not entirely from Madrid. It's a city where people are always arriving from other places, their village or country. It's a city that shelters you.

Kiko Veneno was listening to the album and told me that it felt like an anthology of popular songs. I wasn't aware of it, but then realized that it's true — I've been in love with songs all my life.

Jorge Drexler told me that it was an album that promotes harmony, because it brings together people from different generations, countries and cultures. You throw a reggaetón beat on a traditional rumba. Or combine a classic bachata with an 808. The bringing together of disparate elements. None of it was thought out. I think it just reflects my own interpretation of life.

There are moments that are edgy and danceable, but the album as a whole exudes a very particular softness. The way it grooves feels like touching a piece of velvet, and the overall feeling is intoxicating. How did you achieve that?

That was definitely intentional. Throughout the year, I have attempted to make up for my technical shortcomings through the development of a personal style. I've often said in interviews that I'm not even a musician, since I can't perform a song on an instrument, except for a few chords on the piano and guitar. I'm not academically trained, and therefore cannot communicate ideas to musicians in that way.

In the end, I found a place of my own in that voice — a tranquility and softness that reminds me of sophisticated genres that I love, such as bossa nova and R&B. People who sing without trying to show you that they're singing. This can also apply to aesthetic references, like a piece of jewelry, a medallion or a '70s suit. That velvety quality you speak of is my way of tackling my own limitations head on.

On the opening track, "Demasiadas Mujeres," you almost sound like a cursed poet from the romantic era: pensive, melancholy, fatalistic.

That song came to me during a party hosted by Gucci in Paris. I met a girl who had worked as a model for high-end brands. We spent the entire evening in deep conversation.

At the time, I was starting to look for relationships that were a little more meaningful, because I was having a lot of casual sex. There was not a lot of purpose in ending up at someone's home at 7 a.m. just because it looked like we were going to hook up. With this girl, it was apparent that we liked each other. At one point of the night I decided to look for her and make a move, but when I finally found her, she had fallen asleep on a sofa. I was pondering [whether] I should find a valid excuse to wake her up, or just let the whole thing go. At that moment, I started scribbling down the lyrics. It was winter time and the setting was bucolic.

I had the first verses when I returned to Madrid, and started putting them to music. The track took two and a half years to complete, as we kept tinkering with samples and harmonies. The vocal line remained unchanged from the go, though.

I often think that it took us only 60 years to transition from "I Want To Hold Your Hand" to the most graphic descriptions of sex imaginable. I myself have contradictory feelings about this new era of erotic frankness in pop. What are your thoughts?

I believe poetry is manifested wherever poetry is meant to be. I don't think a song will be more poetic just because you speak softly, nor is it more valuable because you chose to use vulgar language.

It's all about the artist's style and his craft. Jorge Drexler can write a delicate lyric, and Andrés Calamaro may prefer a more coarse discourse, but one is not better than the other. The truth is that the majority of songs that come out every year are forgotten, no matter how successful they may initially be.

I've always been drawn to the darker side of life, and prefer literature connected to movements like the Beat Generation and dirty realism. Same with my music taste. But I'm also fed up — not necessarily of the words per se, or the explicit sex — but more of the monotony that prevails. Right now, it's all about that.

It would be equally boring if we only had lyrics about the moon and the flowers. [Laughs.] Neither option is good by itself. Lyrics work on an emotional level. They either connect, or they don't.

I've been in the home of GRAMMY winners and have seen the statues on mantelpieces. I can definitely corroborate that there's a mystique associated with the GRAMMY. How do you feel about being nominated?

It's very moving. A very special moment in life, like arriving somewhere. Because I don't think of the GRAMMYs like going to Vegas, betting on red and winning. It's more like a team in La Liga [the Spanish soccer league], finding yourself in first place and realizing that you may win the competition.

The entire process of El Madrileño was a point of inflection for me, the ending of a 15-year journey. The most intense component of that is realizing that your work is having an impact on music culture. The final prize of all that is a GRAMMY nomination.

How do you manage to be so prolific?

About five years ago, I had developed the routine of writing songs several times a month. Just like athletes train regularly, I would go to the studio even if there wasn't a specific direction to follow.

Since I finished El Madrileño, though, I changed my method drastically. I now treat the recording studio like an emergency. I stopped going just to work on a demo that we may finish at a later time. I now try to generate a sense of urgency, a passionate urge that makes me feel as if this will end up being the most important song of my life.

We go to the studio for 12 or 16 hours straight, and maybe it is only during four of those hours that things actually happen. Working as if my life depended on it has allowed me to easily discard ideas and be more prolific in my output.

Perhaps the thing that I love the most about your presence in the music scene is that you offer a different perspective of what an album can be. You have given us a novel vision, as you continue to innovate and expand genres. As a kid, did you ever imagine that you would be able to change lives through music?

Not at all. I always harbored grand dreams, but never imagined that music would play such a big part in my life. I thought that eventually somebody would acknowledge my creativity, that I would be able to offer a unique perspective. I saw myself as a writer. I could have never guessed that I would end up having an impact in pop culture, that millions of kids would listen to my songs.

I just saw an opening when I was 25. I realized that things could happen through the process of making music, and invested all my energy into it. But I never imagined it would get to something like this.

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Even after a flight and an hours-long photo shoot, Coi Leray exudes brightness and warmth as she discusses her monumental year. She carries a vibrant energy that matches her music — all of which is reminiscent of hip-hop's beginnings and bright future. 

Leray brought that vitality to "A GRAMMY to 50 Years of Hip Hop," where she held her own among genre legends with a dynamic performance of her smash hit, "Players." Exactly one month prior to the Dec. 10 event, Leray added another milestone to her booming career: her first GRAMMY nominations.

"Players" earned Leray a nod for Best Rap Performance at the 2024 GRAMMYs, where she's also nominated in the new Best Pop Dance Recording Category, for her collaboration with David Guetta and Anne-Marie, "Baby Don't Hurt Me."

"One of the biggest things and accomplishments for me as a artist is for people to know me and admire my versatility," Coi told the Recording Academy. "To be nominated for two of my voices — my melodic, my rap, my singing — it's a dream come true. I wouldn't want it no other way." 

Her versatility expands outside of her music, too. From her signature braided hairstyle to launching her own beauty and haircare products, the New Jersey-raised rapper is also building a name for herself in the fashion and beauty industries. What's more, Leray has entered the philanthropic space as well, with plans to launch her mental-health-focused Camp Courage World Foundation later this year. 

Even just a few years into her career, Leray is steadfast in leaving a multi-faceted legacy for herself — one that takes inspiration from icons like Beyoncé and J.Lo, but feels uniquely hers. And while she sees herself in every business venture, the rapper vows for one thing to remain true: she'll always be having fun. 

Ahead of the 2024 GRAMMYs, Leray sat down with GRAMMY.com to discuss what she learned in 2023 — and how her breakthrough year was the perfect setup for a long career. 

Congratulations on a wonderful year — from receiving your first GRAMMY nominations for "Players" and "Baby Don't Hurt Me" to opening up for Beyoncé at the Renaissance World Tour in Los Angeles. How would you describe 2023 for you?

This year was the icing on the cake to what my future entails. You know with "Players" being nonstop on the radio, getting nominated to all these big award shows, performing on Beyoncé's stage, and getting a written letter from Beyoncé. 

She told me that she's been watching me grow. It shows how hard I have been working. Most importantly, it shows them what to look forward to in the future. I feel like I'm one of those artists that is going to be here for a very, very long time.

As you described, "Players" has maintained a chart-topping position since its release. The single has a sweeter meaning to it because you are paying homage to the rappers, such as The Grandmaster Flash & The Furious Five, who have come before you.  The group has even publicly thanked you for re-introducing them to the younger generation. 

I wanted to ask about your decision to pay homage to them, because we exist in an era where a majority of songs have samples, but few artists go out of their way to pay respect to the pioneering artists.

I feel like it is my job to educate the youth as much as possible.

I'll be 27 in May. As I get older, I remember when I was 16, 13, 10, 18, 21. Everything that you hear now is inspired by so many great artists, such as Busta Rhymes and The Grandmaster Flash & The Furious Five; those icons in hip-hop made a huge statement. What's derived from Busta's creativity, his flows, his music videos and everything — a lot of kids have to understand the music they hear today and the videos they see are inspired by him and that's where it came from.

I remember the moment where I sat down and listened to Sade. She has one of the most beautiful tones in the music industry, and one of my biggest inspirations. When I go to the studio, I try to master my tone, my melodies, and my voice.  Sade helped me grow, and [I] realize how big she is to hip-hop, the industry, and music in general.

All the icons study music. The way in which you spoke about developing your melodies and voice speaks to that, and shows your dedication to the craft. Another icon that you have spoken of in high regard and worked with is Pharrell Williams. 

He's not only an icon in music, but fashion as well. You sat front row at his debut collection for Louis Vuittion and have become a regular attendee for other notable luxury fashion houses. Are you carving out your own path as an entertainer who has one foot in music and the other in fashion?

I have always been into fashion. I have been building my brand. To me, it's bigger than being an artist. It helps me build my brand. 

I've been building my relationship with YSL. When I landed my Fendi by Marc Jacobs campaign, I was on the frontpage of Fendi's website, alongside Kendall Jenner. I have done Fashion weeks and been dressed by amazing designers, like Jeremy Scott at Moschino, Alexander Wang, AREA, Diesel, and more.

As I continue to elevate and and my music continues to grow, "TWINNEM" ended up on the charts, the success of "Players" and to land with Pharrell, then sit front row at Louis Vuitton; it just shows how much I have been progressing. 

It's also a reminder that through all the hate and negativity that I am going through, even my personal tribulations, it's those moments that make me realize, "Yo! You are a star!" and this is happening in real life. Whether it's next week, next month, you're elevating.

The weekend where I sat front row at Louis Vuitton, I was in the studio with Pharrell. We made four records. I learned so much in my 24 hours with him. I built the most amazing relationship. Pharrell is a mastermind not only when it comes to not only fashion, but when it comes to music. 

In previous interviews, you referred to yourself as a "walking brand." As of late, you have garnered partnerships with brands such as Yves Saint Laurent, Tommy Hilfiger, Ray-Ban, and more. In your interview with Angie Martinez, you mentioned the possibility of a haircare line. I would like to hear more about the business components of your brand and how you are building an empire, adjacent to the music industry?

I have always had braids since I was a kid. When I did my first song, "Huddy," and throughout the beginning of my career, I always wore braids. I always had my baby hairs out.

It was important to me when I signed my deal to make sure that I'm good in the long run. So I sat down and thought about, what is going to help me be a better person? 

Create longevity. Create an asset. 

As much as I did my baby hairs, I ended up inventing a baby hair brush. I'm just getting my first mold. It's been a process because I want this brush to be perfect, and it's crazy because once it's complete, I want to go add something else. It's a learning process, and it feels so good to be able to financially invest into myself, grow my brand, continue to learn, have errors, make mistakes at this age and in my career.

I got my first top 10, but I never got a top five. I'm aiming bigger and everything is on God's timing. With my branding, my music and my YouTube series, "Cooking with Coi Leray," my skincare products, and my nail line products that's coming, it's all going to come in perfect timing because everything's on God's timing.

It brings me joy to hear a young woman artist, especially a Black woman, discuss their plans on building their legacy and ensuring longevity for the duration of their career. I saw this in your decision to have Trendsetter Studios, your creative agency, direct the music video for "Players." Could you walk me through the decision making process to start your agency?

I started Trendsetter Studios because I have always been into content. I've always been the creator behind everything I do. They say that I'm big on TikTok and a lot of these platforms, which I am, and I take pride in it because I'm good at what I do.

I'm great at making content. I'm great in front of the camera. I love the camera. When I signed my deal, I invested in a lot of equipment because I knew this is something. When I want to do a video, I want to be able to just grab the camera whenever I want to. Be able to create my own thing.

There's so many music videos up that Trendsetter Studios produced. I'm very grateful for my team. We're still learning. We're still growing. 

It's still in development. The goal and the key is longevity, having access and being able to build, do what you want, when you want, and how you want it.

**When you look at the projects you have worked on in 2023, such as "Self-Love" on  Spiderman: Across The Spider-Verse soundtrack and your sophomore album, Coi. What are some lessons that you've learned from those projects that you're going to apply in 2024?**

I learned to have fun. This [past] year, I kind of got wrapped up in it. It's hard to not get wrapped up in the political stuff or the numbers or the fans. I don't pay attention to the negative comments and stuff like that. But, it was at a point where I was paying attention to what someone else wanted versus myself.

I realized, in 2024, I'm only catering to what I want to do. I'm going to live in my truth. I'm going to keep growing as a young lady, as a young woman. Do what I want to do, and keep making great music, and just have fun, not get too wrapped up in the other stuff.

I want to have fun. Life is about having fun, and I'm at an age where I need to have fun. In 2024, we're having fun, and I feel like everybody's gonna feel that in my music, in my videos, in my vlogs, and whatever it is I'm doing, they're gonna feel that energy, and I'm gonna make sure of that, because that's the goal.

It seems to be a trend that icons release self-titled albums. 2023 was the 10-year anniversary of Beyoncé's self-titled album. When you look back at Coi, an album that will always be synonymous with you, where do you place that album in your legacy as an artist? 

It's gonna be here forever. It's gonna be one of those records where people are gonna go back and they're going to be like "Yo, what the hell?!"and I know that because it's such an amazing body of work. 

I write through experience, so as I go through new experiences, as I learn new things in the studio or work with more amazing creatives — creatives in all aspects, whether they're producers, engineers, songwriters, videographers, directors, creative directors, labels. As I'm working with all those people. I'm learning and every single time I just end up scoring better.

My next body of work is always my best body of work, but that doesn't mean take away the greatness from that work. It just means that I've been elevating in every single way. Coi is one of those projects where I elevated it, it has amazing music just like Trendsetter.

The more I create and the bigger I get, the more people will go back, listen, and really appreciate the body of work for what it is.  

You have not only achieved success domestically, but internationally with high placements on the Global and K-Pop charts, as well as participating in Paris and Milan fashion weeks. You have crossed over to being a well-known performer across the world. You're a girl from Jersey who has received global recognition. How does that feel for you? 

Recognition is dope. When you go over to places like Australia and Paris, they treat you like a major star. The love over there is immaculate. I get really inspired overseas. There's so many great things.

For example, Paris has so many great music video directors. Their music videos are insane. I had to go out there to really understand that.

It made me want to be the voice that when I come to America, "I'm like, I want to use more videographers so people can see how amazing they are too." It's a blessing to be able to travel.

You mentioned a desire to work with music video directors in Paris and abroad. You have already worked with international talents such as David Guetta and TOMORROW X TOGETHER. It seems you are pivoting yourself as an entertainer who uses music to bridge the gap between these cultures. 

Well, David Guetta is an incredible artist.

He is a mastermind when it comes to the studio, and I want to continue to work with David. We have an incredible relationship, and amazing chemistry in the studio. He's one of the first DJs to bring hip-hop and EDM together. That's another life experience for me that I'm going to remember forever.

You know, being a young Black queen in the music industry and being able to have so much versatility, it allows me to collaborate with so many great artists. David Guetta, he's a mastermind. That's another way to educate the young kids on David Guetta too. I know he's already a major, but they don't know the history.

Some people might not know the history, and I feel like it's important. David Guetta getting nominated with me — I'm getting nominated with my rap song and the pop electronic recording record. It's just a dream come true, I'm telling you. 

**In your music video for "Wasted" with Taylor Hill from Blue Moon, you showed a side of you that is different from your previous works. The video displayed a tender and vulnerable side of you. Can we expect to see more of that from you in 2024?** 

I can admit that I haven't done my best at showing that side. I was under my rock a little bit, but I promised to myself that in 2024 I am going to show more of my process, bring people into my world, my fans, and I think I owe it to my fans 1000%. I think that they want to know Coi Leray outside of Instagram, The Shade Room, social media, and blogs.

I want them to also understand who I am as a woman, as a person. Music is important, but relationships are important. Just as much to me, and I admire that.

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Icons not only inspire us through music, but the way they invest in their community. In 2023, you organized a Thanksgiving Giveback in your hometown. What led you to start doing philanthropy efforts? I think people will always want to root for the girl who made it big and paid it forward.

That's why I started my Camp Courage World Foundation. I'm super excited to launch that at the top of 2024.

It's something I've wanted to do for a long time. I finally thought of an amazing name for it and I'm excited. We're focusing on mental health because I feel like that's something that I've dealt with my entire life, my childhood, growing up and now, and there's so many things that I do that I'm pretty sure that these girls would want to know and learn.

For example, just reading books and waking up every day, praying, finding my spirituality and sticking through it, staying consistent, going to church, even if they're not physical, online every Sunday, speaking to my pastors, my life coach, getting therapists, whatever it is that's going to make me better, that doesn't have me relate to anything that can self harm myself mentally, physically, financially, emotionally.

I'm excited for that launch because that's also going to be the next step in a big part of my career that I feel is one of the most important things. 

Having major records is cute. That's fire. Everybody wants a number one record, but with that number one record, you want to be able to give back and inspire because, at that point, what are you doing it for?

Since your debut, conversations about your body, your image, and your contributions to hip-hop have been a point of contention in the cultural zeitgeist. It seems you have decided to take control of the narrative in the media and the press. Whether it is through the development of your brands or the creation of your talent agency, do you feel as if you are on a path of reclamation? 

I'm taking control of it. I should be able to tell it. It's my life.  

I was sitting down talking to my people. I had told them. I said, "Yo. 2024. The future is so bright that the only thing that can stop me is me."

A lot of people don't know what I go through outside of this stuff. I go through a lot, you know what I mean? But going through what I went through, it taught me a lot about myself. 

I realized this year was all about self-awareness, and it prepped me for 2024. Like I said, I'm the only one that can get in my way. 

It's about just staying focused, staying level-headed, staying consistent. And staying prayed up. 

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Coco Jones is feeling more inspired than ever following a year of exciting surprises and breakthroughs. In 2023, the 25-year-old budding star celebrated her first Billboard Hot 100 entry thanks to her platinum-selling "ICU" single, embarked on her first headlining tour, and earned her first GRAMMY nominations.

"Being a GRAMMY-nominated artist changes everything. It's such a different creative mindset when the world says, 'You're good, we like what you do,'" Jones tells GRAMMY.com. "It's like a gold star. It makes you want to work harder, it makes you wanna continue to impress, and it makes you impressed with yourself, too."

Jones is nominated across five categories at the 2024 GRAMMYs: Her 2022 EP What I Didn't Tell You is up for Best R&B Album and its "ICU" will compete for Best R&B Performance and Best R&B Song. Her feature on Babyface's "Simple" has received a nod for Best Traditional R&B Performance. Jones is also up for the coveted golden gramophone for Best New Artist.

In recent years, her vocal prowess has received praise from SZA, Janet Jackson, and Beyoncé, but anyone who's even remotely familiar with Jones' story knows that her newfound success is anything but overnight. Jones first found success at age 14, when she starred in the 2012 Disney movie musical Let It Shine. The Tennessee native faced colorism early on, which she addressed in a 2020 YouTube video that went viral.

"I always wanted that representation that my dreams were possible growing up," she shares. "I definitely was not based in reality of what the entertainment industry is. It's tough and it's challenging and sometimes it isn't fair and that is not what I was prepared for as a kid."

During the pandemic, Jones secured a spot in "Bel-Air" (Peacock's reimagining of "The Fresh Prince of Bel-Air") as the spoiled yet beloved Hilary Banks, but she never let go of her love of  music. Following her 2014 departure from Hollywood Records, Jones released music independently, including the ominous "Hollyweird" and "Depressed"; when Def Jam approached her in the summer of 2021, she was ready for her close-up.

Fast forward to present, and Jones is gearing up for one of the most pivotal nights of her blossoming career. But perhaps the most precious thing she's collected along the way is self-assurance. "I'm learning that I have to believe in my creative choices and that I shouldn't second guess what I feel because it does well," she says with a laugh.

Of her recent success, Jones says the back-to-back accolades shocked her, but like a true artist, she's already thinking ahead and manifesting an exciting first for 2024: "I want my debut album to hit No. 1 on the Billboard 200 chart."

Ahead of the 2024 GRAMMYs, Jones discusses the power of representation for dark-skinned Black women, why her mother is her biggest inspiration, and how joining forces with Babyface created momentum in her career.

This interview has been condensed and edited for clarity.

After finding out that you received five GRAMMY nominations, you posted an Instagram video showing you and your mother reveling in the excitement of it all. Tell me more about that moment and your mother's role in this journey.

I'm one of four children and my mom owned multiple businesses, but she made us all feel loved and supported while also being a boss. Watching her navigate the entertainment industry — which she had no prior experience with — was very inspiring. She took every challenge head-on and still managed to make time with all of her kids. 

She's always been a visionary, so I think for her, it's like, This is exactly what we worked for. The end goal is to be award-winning, to be show-stopping, to be classic, to be timeless. That's what she saw for me even when I was a little girl on stage singing Aretha Franklin.

There were times when it was hard for me to see what she saw in me, especially when you're dealing with the rejection that is the music industry. But she always knows the right thing to say to keep me going and to keep my faith. So, when it wasn't like how it is now, she was the entire team. She did anything she could to help me progress.

You retweeted a meet-and-greet with a fan, who donned your merch from 2018, which seemed to take you by surprise. It seems like your 2023 breakthrough was a win for not just yourself, but for those early supporters as well.

I would definitely say it's a win for my fans and my supporters, but also for young Black women who look like me and have big dreams and just want to see what they are dreaming about is possible. I know that I inspire so many young Black women — they tell me almost every day that seeing me win helps them believe in themselves winning.

My goal is to continue to break those barriers down for young Black women so that it's not such a surprise when we succeed.

In a 2022 interview, you said you wanted to experience the highs of being an entertainer and being on stage "even if it meant a lot of lows." Many creatives feel that way. Do you have any advice for struggling artists who feel like no one's paying attention?

You can make it this thing where you feel like you're running out of time, or you can make it feel like you're adjusting to time. Time is whatever you decide it is.

There were so many obstacles I didn't understand, but hindsight is 20/20. I needed the lessons that I learned, I needed the self-reliance, I needed the optimism and the faith. So, I think it was all very growing but still tough not knowing what was going to happen, not knowing if I was going to have that life-changing job, that life-changing song. 

I'm just grateful to God for protecting me through all the confusion and for not giving up. I had enough support around me and enough doors to open even though they felt far and few between to keep me sustained and pursuing this dream, even though I was pursuing it without any guarantees.

What I Didn't Tell You isn't the first EP you released, but it's the one that made you a first-time GRAMMY nominee. What was different this time around?

I was very supported; when Def Jam approached me, they seemed so understanding of my vision that I couldn't help but feel like we were already a team. They helped me put the pieces together. Before this, I was just on my own or it was me and my mom, so I felt more supported with this EP release. My label understands me and what I want to be, and there's no pushback against who I am and what I can naturally do. It's all about enhancing. 

As part of R&B's new class, what do you want to bring to the genre?

More uptempo! I want to be able to sing my heart out but make a bop that you wanna dance to. I love how Whitney Houston would do that with some of her songs like "I'm Your Baby Tonight" and "How Will I Know."

Your breakthrough single, "ICU," is up for Best R&B Song, but what lesser-known song off What I Didn't Tell You (Deluxe) would you nominate in the same category if you could?

"Fallin'" because it's a sensual song, and I feel like it sits in a really cool, pretty place in my voice. It also tells a good story of the chaos that my life is while also starting to fall for somebody.

In 2022, you joined forces with R&B legend Babyface for his collaborative Girls Night Out project. Your "Simple" duet with him is nominated for Best Traditional R&B Performance. Do you think collaborating with Babyface acted as a precursor for the incredible year you had?

When I learned Babyface wanted me on his album, I was beside myself. He was really one of the first legends to give me that stamp of approval. I definitely think the recognition I got from him was like a turning point in what was next for my life. The world started to notice around that time. 

When I interviewed Babyface soon after the release of Girls Night Out, he talked about doing his homework to better understand the differences in today's R&B. That was surprising to hear, because he's clearly an expert at writing hit songs but not above learning from others. What did you learn from his mentorship?

I just learned that you can be a legend and you can still be open to ideas, open to new talents, and open to suggestions. Just stay open to what’s new, who's new, and why they're doing well, and that's what will keep you legendary. 

I'm a big fan of studying music, so I will continue to be a student. Creating music and studying music are two different things to me. I study it and then I feel creative, so I think it's about separating them because sometimes if you're creating while studying, you just end up repeating exactly what somebody's doing and that doesn't feel authentic. It's more about getting inspired and then creating.

My love for music and being a creative is what keeps me going because it's not always fun, it's not always easy. Sometimes it's about business, sometimes it's about pushing past your exhaustion. I don't think I would do that, not for this long, if I didn't love the payoff of being a creative. 

How will you celebrate if you win a GRAMMY?

I haven't thought about how I'm gonna celebrate. I think my favorite type of celebrations are intimate. They're with people who are in the mud with me — my family, my team. I would probably just want to have a great dinner and think about how far we've come and what's next.

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Before Anitta released her album Versions of Me last April, she already had four albums in her catalog. But as the title insists, Versions of Me is the project that showed Anitta has many layers to her success — and now, she has a GRAMMY nomination to show for it.

The Brazilian star is nominated for Best New Artist at the 2023 GRAMMYs, which may feel like a long time coming for those who have been a fan since Anitta's self-titled debut album arrived in 2013. After becoming a household name in her native Brazil, and then in Latin America, she finally cracked the U.S. last year with the worldwide hit "Envolver." Ten years in, Anitta almost feels reborn.

"In Brazil I got the recognition before, but internationally, it's amazing because I've just started a brand new career," she tells GRAMMY.com. "I feel really special. I feel like things are happening really fast and I'm really happy about it."

With Versions of Me, Anitta explored and embraced her cross-cultural appeal, even singing in Portuguese, Spanish and English across its 15 tracks. The album opens with "Envolver," which blends reggaeton music with an electronic allure; later, she put a trap music twist on the Brazilian bossa nova classic "The Girl From Ipanema" in "Girl From Rio," a tribute to her hometown of Rio de Janeiro.

Those personal details helped Versions of Me resonate with a global audience, and they were amplified by Anitta's unabashed ability to push pop music to new places. She embedded elements of funk carioca (Brazilian funk music from the favelas of Rio De Janeiro where she grew up) into genre-bending collaborations alongside stars like Cardi B, Khalid, and Saweetie.

Anitta has also become widely acclaimed for her show-stopping performances, from Coachella to the Latin GRAMMY Awards to the viral "Envolver" dance challenge on TikTok. Her charming transparency with her fans helps uplift women, her country of Brazil, and the LGBTQIA+ community (she publicly identified as bisexual in 2018) — in turn helping Anitta become one of Latin pop's most refreshing and boldest artists in recent memory.

Ahead of the 2023 GRAMMYs, Anitta spoke with GRAMMY.com about her first GRAMMY nomination, the viral success of "Envolver," and what's next.

How do you feel about being nominated for Best New Artist?

I feel really special. First of all for the nomination, to be part of the GRAMMYs. That makes me feel like I'm doing a good job. I'm on the right path. But also, I felt really special that I was nominated for the Best New Artist category. I feel happy that people understand that for me it's a whole new world.

Even though I have more than 10 years of a career in Brazil, for me, in these other markets, like singing in English and Spanish, it's brand new stuff. I am a new artist in these other markets. I feel really happy that people can understand that and see it like I do.

You're also representing Portuguese and Spanish music in the Best New Artist category. What does it mean to you to be able to represent those languages within the category?

I feel like it's really important. My country feels very special about it. They've never seen something like that. Last time they saw something like that was like 57 years ago [when Brazilian artists Astrud Gilberto and Antônio Carlos Jobim were nominated for Best New Artist], so they're really happy for me to be part of this. To be representing so much for my country, I'm really glad that I can do that.

Your song "Girl From Rio" interpolates one of Jobim and Gilberto's classic songs.

"The Girl From Ipanema"! It's crazy, it's like a cycle. It's amazing!

In your album Versions of Me, you sing in English, Spanish, and Portuguese. Why did you decide to record music in those three languages?

Portuguese is my first language, obviously. And then I started to learn English when I was still a kid. I started to learn Spanish after I went to Spain for the first time because one of my songs in Portuguese, "Show Das Poderosas," was playing in Madrid. So I went to Spain to sing for a radio show, and I didn't understand anything that people were telling me, so I decided to start learning Spanish, and I loved it. And I started singing [in that language].

I think it's just part of my personality to enjoy learning languages. When I was a kid, I also learned Italian, so I have songs in Italian. I really enjoy it.

The album cover art features different versions of yourself throughout your career. Why did you decide to bring together those images from your past and present?

I think controversy is good when people talk about a subject, and they can see it's accurate and real, and they can get to know you a little better. I think it's a little fun.

I like being open about the [plastic surgery] procedures I've done. Being open about all the things in my life. I don't like to fake or hide situations. I feel like I would feel stuck in some kind of prison. I feel better if people just get to know me from a 360 point of view.

In the album, you explore genres like pop, R&B, trap, and reggaeton music. What was experience like to work with those different genres?

I wanted to show different types of music that I like singing. Like different versions of myself. I'm fascinated by people's music — the different countries and cultures. I love traveling and getting to know the way people consume music, the way people create music. It's really special when I can travel and get to know a new culture, and sing, and get that feeling running through my blood.

I love playing with the biggest amount of places and rhythms, and everything that I can, because I think that's what it is about, when you can create music that's more than just something fun to listen to. If you can bring cultures and bring people together, I think it's even more of a special thing.

How did the song "Envolver" come together?

The [COVID-19 pandemic] quarantine was over, but still the gates were closed to Brazil from America. To go to America, you had to quarantine for 15 days somewhere. I was in Punta Cana waiting for these 15 days to pass, and I decided to bring some friends of mine — artists to write songs with. It was Phantom and Lenny Tavárez. We started writing, [and when] we got to "Envolver," it was really special. We wrote it so fast. It was insane. It was amazing.

What was the inspiration behind that song?

We wanted to talk about a woman that is always in control and not the opposite. In songs, we always see guys talking like that to women, and I wanted to bring exactly the opposite — when a woman is in power.

Did you think that "Envolver" would become the massive hit that it was?

We did think that — but we also think that about so many songs, so it's like, we never know. It was insanely big. I think it wouldn't have been that big if I didn't have the support of the foundation of my country, and also if I [hadn't] done so much work in the Latin community. It got big because we were already doing a lot of stuff.

You've become known for your electric live performances. How important is it to express your music through dancing as well?

Even more right now, with TikTok and things like that, I think people are so engaged to dancing. They want to feel involved somewhere, so that's one way of how people are getting into music right now. Getting involved with the artists in some way more than just the music. I think dance is a very good way of doing that.

You incorporate elements of Brazilian funk music throughout Versions of Me. How important was it for you to bring that genre into some of the songs?

I put in a little bit. Not as much as I wanted to. I think in the next albums I will do more. I'm trying to introduce a little bit of [Brazilian] funk to the worldwide audience, and then I will [release] something really cultural that I really believe in.

Since I started traveling around the world, I'm fascinated about showing people where I come from, my origins. I think funk is my origin. It's so different, and it has the power to be the next big thing, so I feel really special about it. I feel like people are starting to get into funk and making more Brazilian funk music, and I really love that I'm part of this change.

You announced that your next album will be a Brazilian funk album. How is that coming along?

I'm still waiting. I'm working on the album. I have most of the songs kind of ready. I'm still adjusting some things and the features on it. But I'm going to wait for the best time to release it. I'm not going to do it in a rush.

I'm going to put effort behind it because this is the thing I always dreamed about doing. I always dreamed about having an album where I can truly feel my culture and what I really love about funk and Brazilian music. I think I'm going to wait for everything to be completely perfect for me to release it.

Throughout your career, you've proudly represented the LGBTQIA+ community, collaborating with artists like Brazilian drag pop stars Pabllo Vittar and Gloria Groove and being open about your own sexuality. How do you feel to be helping raise that representation and visibility?

I think it's amazing the more we can [do that], because it's still very hard for the LGBTQIA+ community to show up and to get a space to talk and be open without prejudice. The more that we can open room for artists who are openly gay, or trans, or drag queens — I think the scene needs more representation, more artists. The more I can do to bring people to me, or bring visibility to new artists like that, I will do it. It's really important.

Coming off of such a huge year in 2022, what can fans expect from you this year?

I'm going to rest a little bit. I thought I was going to do that last year, but with everything that happened with "Envolver," I ended up not resting the way I wanted to, so for sure this year, I'm going to take more time for myself.

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