Earlier this month, on Music’s Biggest Night, Dua Lipa teleported us from our living rooms and yearlong quarantine to Studio 2054, her homage to New York City’s legendary Studio 54 nightclub where disco thrived from 1977–1980. In a stunning visual display entailing costume changes and dramatic dance interludes, Lipa performed two songs (“Levitating,” “Don’t Start Now”) from her GRAMMY-winning album, Future Nostalgia.

“I wanted to do something that felt fresh and new,” Lipa told GRAMMY.com last year, “something that touched on a memory, something that always rings so true to me, especially in my childhood.” Her dancefloor inspiration was integral to the perfect storm that was a 2020 disco-pop revival, with artists like Doja Cat and Victoria Monet also trying on the groove for size and dancefloor veterans Jessie Ware, Róisín Murphy and Kylie Minogue showing us how it’s done.

Related: Jessie Ware On Returning To Her Dance Roots And Continuing To Learn

The success of these recent releases is validation for strong women vocalists who make dance hits spanning multiple decades, sounds and perspectives. Though the genre has evolved over the years, women singers remain a constant. And while they’re not always given their due, it’s their voices we remember, their lyrics we sing and their legacies we celebrate.

Decades before Lipa was born, disco began as a musical movement of four-on-the-floor rhythms, deep synthesizers and lush melodies combining to create a sound for spaces in which Black, Latinx and queer audiences sought refuge and escape. What started underground made its way to the top of the charts and radio airwaves, thanks in large part to disco divas and their soul-stirring hooks.

The indisputable queen of them all was Donna Summer, who catapulted to international superstardom in the ‘70s with classics including the erotic epic “Love to Love You, Baby,” siren-like “I Feel Love” and the aptly steamy “Hot Stuff.” Together with GRAMMY-winning Italian producer Giorgio Moroder, she brought the sound of urban counterculture to middle America and beyond by simple musical seduction; her voice was warm and sensual, disguising disco’s radical message of liberation to unsuspecting listeners.

Read: Kaskade Talks New 'Reset' EP, Executing Epic Fortnite Show, NFTs & More

“This is it, look no further,” Brian Eno reportedly declared to David Bowie after hearing “I Feel Love” for the first time. “This single is going to change the sound of club music for the next 15 years.” It was an accurate prediction of Summer’s impact. A bona fide hit machine, she charted 32 songs on the Billboard Hot 100 (including four No. 1s) over the course of her career and nabbed 18 GRAMMY nominations, winning five.

While “I Feel Love” radiated euphoria, Gloria Gaynor’s “I Will Survive”—the first (and only) winner of the Best Disco Recording GRAMMY—was a timeless anthem for hard times. Its message transcended the era and also spoke to the moment. "The problems that we shared during the day,” Gaynor said, “we came together in the evening, to overcome together, or to get away together, and one of the ways we came together was on the disco dancefloor."

Sister Sledge, Anita Ward, Thelma Houston and Cheryl Lynn each had disco hits of their own, cooing in sultry tones across mirrorball-lit dancefloors. But being a disco diva was about more than being a singer: they were powerful, fabulous and aspirational. Long after disco’s heyday, the legacy of their artistry lives on through new-school chanteuses like Lipa, Ware, Minogue and Murphy.

The party eventually came to an end, as disco’s ubiquity in the ‘70s prompted a racist backlash in 1979 that abruptly led to its mainstream downfall. After some time in obscurity, club hits came back with a vengeance in the ‘90s as dance music’s next evolution: house music.

Martha Wash was the powerhouse voice behind two of the decade’s biggest hits, Black Box’s “Everybody Everybody” and C+C Music Factory’s “Everybody Dance Now (Gonna Make You Sweat).” Both songs, released in 1990, topped the Billboard Hot 100 and charted in the Top 10 internationally. While these achievements should have boosted Wash’s profile as an artist, the tracks’ producers had used her vocal recorded from studio demos without crediting her. Adding insult to injury, they cast other women to dance and lip-sync in Wash’s place for their music videos and live performances.

Loleatta Holloway, a vocalist best known from her ‘70s disco hits (including “Hit and Run” and “Runaway” with The Salsoul Orchestra), had faced a similar situation the previous year when Black Box sampled her 1980 single “Love Sensation” without permission on their U.K. No. 1, “Ride on Time.” Believing they were entitled to both compensation and credit for their work, regardless of it being a sample or a demo, Wash and Holloway each successfully sued the artists and their respective labels, winning both credit and financial settlement. Wash’s victory was bigger than herself; it set a precedent enshrining that record labels are responsible for assigning proper vocal credit for all releases, regardless of how the vocal recording was made.

As Holloway and Wash were writing new rules for vocalists, a singer/songwriter named Crystal Waters was working a government job by day while writing her own club hits on the side. Her second single, “Gypsy Woman (She’s Homeless),” a socially conscious house track based on a true story, has a deceptively simple hook that burrows itself in your brain. Released in 1991, it was the first of Waters’ twelve No. 1 singles on Billboard’s Dance Club Songs chart, including “100% Pure Love” and “What I Need.” Like fellow dance music singers Ultra Naté and CeCe Peniston, Waters took four-on-the-floor tracks to the next level with pop-structured lyrics that were cathartic, catchy and universally relatable.

Related: Janet Jackson's Iconic 'Rhythm Nation 1814' Turns 30 Today & We Still Have Work To Do

During this time, Madonna and Janet Jackson approached the dance charts from a pop perspective. Both known for their theatrical performance style and vocal prowess as much as for their versatility, they could drop a ballad one moment and a club-ready track the next, from Madonna’s “Vogue” and “Express Yourself” to Jackson’s “Rhythm Nation” and “Throb.” These expert shapeshifters paved the way for future chameleons like Lady Gaga, Britney Spears and Beyoncé, pop artists who stepped onto the dancefloor with tracks like “Born This Way,” “Till the World Ends” and “Run the World (Girls),” respectively.

Beyoncé dabbled in dance music, but her Destiny’s Child bandmate Kelly Rowland opted for a fully immersive experience, reinventing herself as a solo artist with a fresh, pioneering sound. In 2008, producer David Guetta, a well-established club DJ in his native France, had recently cracked the Billboard Hot 100 for the first time with “Love is Gone” and was looking for a bigger and better sequel.

That summer, Rowland went clubbing in Cannes, France at the club where Guetta was DJing. She became particularly enamored with a track he played during his set, the instrumental version of what would become their 2009 collaboration “When Love Takes Over.” She asked to write and record vocals for it, the final result being a big-room serenade sweetened with his piano melody but commanded by her euphoric, heart-swelling chorus.

“When I finished producing it, we were like, ‘Wow, we have a monster hit,’” Guetta said in a 2009 interview. “We could feel that it was really, really big.” More than an anthem, “When Love Takes Over” was the launchpad for America’s EDM boom, a neon era of radio-friendly dance-pop that could also bang on club dancefloors and festival stages. The song topped 15 charts across 12 countries, including Billboard’s US Dance Club Songs, and was nominated for Best Dance Recording at the 2010 GRAMMY Awards show.

Rihanna was also looking to take her music up a few BPMs after her 2009 album Rated R. Her first venture into EDM, 2010’s “Only Girl (In the World),” produced by Stargate and Sandy Vee, was a success, eventually winning Best Dance Recording at the 2011 GRAMMY Awards show. For her 2011 album Talk That Talk, Rihanna recruited Calvin Harris, a Scottish producer who had achieved critical acclaim and A-list studio sessions but who had yet to break through with a global hit. Harris produced two singles on the album: the winding, acid-electro house track “Where Have You Been” and “We Found Love,” on which Rihanna bares her vulnerable falsetto. They reunited for Harris’ massive summer hit (penned by Taylor Swift), “This Is What You Came For” in 2016.

Watch: Ellie Goulding Talks Songwriting, Loving Skrillex & Björk & Growing Up On Electronic Music

Rowland’s relationship with Guetta, and Rihanna’s with Harris, was symbiotic. Rowland and Rihanna each became early adopters of a fire-blazing dance-pop phenomenon while Guetta and Harris got to increase their profiles with a new, large and lucrative American audience hungry for more. Hoping to find similar success, pop artists like Ariana Grande, Ellie Goulding and Kelis paired with Guetta, Harris, Zedd, Skrillex and more in the early 2010s. As dance music became more popular, the dynamic between producer and popstar shifted and producers became the popstars themselves, though a vocalist was usually not far behind.

In the current second-wave EDM era, where white men still sit at the top, Aluna has made it her mission to change how dance music perceives and treats women artists, especially Black women artists, asserting their importance even when it isn't obvious. “She’s there in the lyrics, she’s there in the voice, sometimes you see her in a video, but you don’t see her right there in the middle,” she told Billboard last year. “That’s really the shift we need to make.”

Aluna was best known to the world as one-half of electronic-pop outfit AlunaGeorge. Her cherubic vocals are instantly recognizable whether she’s singing on their own songs, such as “You Know You Like It” and “Attracting Flies,” or appearing on Disclosure’s “White Noise.”

In 2020, she made a huge statement by embarking on her solo career and releasing her debut album, Renaissance, that October. Tired of fielding daily requests from people who “wanted [her] voice, not [her] face. Not [her] Blackness,” Aluna made herself the record’s focal point as the main artist and producer rather than simply feature on different producers’ songs.

Read More: Aluna On New Album 'Renaissance' & Making Dance Music Inclusive Again

Whereas Aluna has beamed across radio airwaves worldwide, Anabel Englund has long been the voice of dance music’s underground. As a member of tech house supergroups Hot Natured and Pleasure State, the singer/songwriter’s smoldering tone and earworm melodies are the centerpiece of songs like “Electricity” and “Reverse Skydiving,” both of which she co-wrote.

Englund released her debut album, Messing With Magic, last October, and landed her first Billboard No. 1 on the Dance/Mix Show Airplay chart that same month with syrupy house chiller “Picture Us.” “Working with a group, I have to share my energy as part of a whole,” she said. “Being on my own, I’m able to harness my energy into what I have to say.” Like Aluna, Englund assumed co-production duties on the album in addition to singing and songwriting. Her former bandmates make appearances throughout while she remains the marquee name, never being overshadowed.

A more recent arrival to the scene, Lipa dabbled in dance music before diving headlong into Future Nostalgia’s disco-inspired sounds, including on her 2017 self-titled debut album (“Hotter Than Hell,” “New Rules”). In 2018, she collaborated with Harris and Silk City (Diplo and Mark Ronson), respectively, on the ‘90s-house-influenced hits “One Kiss” and “Electricity.” The latter song won Best Dance Recording at the 2019 GRAMMY Awards show and in a big look for dance music, Lipa performed “One Kiss” during the main ceremony. To cap the night, she also won the GRAMMY for Best New Artist. Between house and disco, Lipa has provided two of dance music’s foundational genres a massive revitalized platform in the pop world.

Long after disco’s prime, Summer’s captivating artistry lives on in chanteuses like Lipa. Meanwhile, the voices and lyrics of Aluna and Englund pick up where Crystal Waters left off, and Wash and Holloway’s legacy can be heard in a new generation of house music divas like Karen Harding, Alex Mills and Kaleena Zanders. Just like Lipa showed on the GRAMMYs stage, each of these singers proves that the women on dance records are capable and deserving of the spotlight, hopefully always getting brighter than the ones that shone on the many women before them.

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While 2023 may be coming to an end, the first releases of December prove that it's far from time to wind down.

From Taylor Swift — who released "You’re Losing Me," a song originally recorded for her 2022 smash album — to Dua Lipa’s extended edit of her single "Houdini," and Lana Del Rey's cover of "Take Me Home, Country Roads," listeners are being treated to new tracks from familiar favorites today.

But surprise releases were the theme of the day as Beyoncé dropped "MY HOUSE," a single accompanying her Renaissance concert film.

Dec. 1 also sees a bevy of reissue and archival releases, exciting new projects from artists like singer/songwriter Dove Cameron, and the second studio album from K-pop group ATEEZ. 

Start off your month by listening to these tracks and albums from seven artists that will jumpstart your month.

Beyoncé - "MY HOUSE"

Queen Bey surprised fans with an early Christmas present by dropping "MY HOUSE," her first single since 2022’s Renaissance. This track was featured during the credits of her new Renaissance concert film.

Written and produced by The-Dream, this song showcases Beyoncé’s rapping skills, as she effortlessly weaves verses over a powerful horn melody. There's a vibe check in the song's second half, where the music becomes a smooth, electronic dance groove reminiscent of Renaissance’s ballroom vibe. 

Jung Kook & Usher - "Standing Next To You (Remix)"

BTS' pop singer Jung Kook is back with a remix to his track "Standing Next To You," this time joined by an R&B sensation. The remix features a new verse from  Usher, who adds a delicate touch to the vibrant, high-paced song.

The original track was released last month as a single on Jung Kook’s debut album, GOLDEN. This could be fans' last time hearing Jung Kook's music for a while — the "golden maknae" of BTS announced he’s enlisting for mandatory military service this month.

Tyla - "Truth or Dare"

GRAMMY-nominated Afrobeats star Tyla is closing the year with a sneak peek of her upcoming self-titled album. The hypotonic single "Truth or Dare," following the success of her GRAMMY-nominated song "Water" (the song is nominated for Best African Music Performance at the 2024 GRAMMYs alongside "Amapiano" by ASAKE & Olamide, "City Boys" by Burna Boy, Davido's "UNAVAILABLE" feat. Musa Keys, and "Rush" by Ayra Starr).

In this new song, Tyla revisits an old flame — this time with newfound wisdom and assurance that she won’t fall for his charm anymore: "So let's play truth or dare, dare you to forget / That you used to treat me just like anyone."

Tyla announced her upcoming self-titled album on social media, captioning, "African music is going global and I’m so blessed to be one of the artists pushing the culture. I’ve been working on my sound for 2 years now and I’m so ready for the world to hear it."

Lana Del Rey - "Take Me Home, Country Roads"

After performing during "Christmas At Graceland," a televised tribute to Elvis Presley, Lana Del Rey dropped a surprise cover of John Denver’s 1971 hit "Take Me Home, Country Roads."

This cover might not come as a shock for fans after she referenced a line from Denver’s 1972 "Rocky Mountain High" on her track "The Grants" from GRAMMY-nominated album Did You Know There’s A Tunnel Under Ocean Blvd. (At the 2024 GRAMMYs, Did You Know is nominated for Album Of The Year alongside Jon Batiste's World Music Radio, Olivia Rodrigo's Guts, Swift's Midnights, Janelle Monae's The Age Of Pleasure, SZA's SOS, Miley Cyrus' Endless Summer Vacation and the record by boygenius. Did You Know is also nominated for Best Alternative Music Album alongside The Car by Arctic Monkeys, PJ Harvey's I Inside The Old Year Dying, Gorillaz's Cracker Island and boygenius' album.)

The track features Del Rey’s signature soothing vocals, as a Western-style melody balances the instrumentation. She brings her own sultry style to this '70s country classic, while continuing to show her musical versatility.

ATEEZ - The World EP:FIN:WILL

Five years after their debut album, K-pop group ATEEZ  have returned with The World EP:FIN:WILL. The 12-track album is led by "Crazy Form," an Afrobeats/dancehall-influenced track, and also features many solo and unit tracks from the group.

Members Hong Joong and Seonghwa took the reins on "Matz," a dynamic hip-hop track, while Yeosang, San and Wooyoung collaborated for the R&B-influenced "It’s You." 

During a Seoul press conference, Lead Hong Joong spoke about the group’s evolution and how fans should look forward to future releases. 

"This year marks our fifth debut anniversary and so far, our greatest achievement has been establishing a strong relationship with our fans around the world. We hope to continue presenting music that can make our fans proud of us," he said. 

Living Legends: Stephen Marley On 'Old Soul,' Being A Role Model & The Bob Marley Biopic 

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.

Listen To GRAMMY.com's 50th Anniversary Of Hip-Hop Playlist: 50 Songs That Show The Genre's Evolution

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The 2023 Latin GRAMMYs were a big night for Ozuna. Not only did the Puerto Rican superstar walk in a nominee — his viral hit with Colombian singer Feid, "Hey Mor," received a nod for Best Reggaeton Performance — but he was also just hours away from releasing his sixth album, Cosmo. And to top it all off, he took the stage to perform his new collab with French DJ David Guetta. 

Ozuna first opened his performance with a sexy solo rendition of "Hey Mor." Reflecting the darker edge of his Cosmo album, he sang the song in all black leather with a team of female dancers. 

The performance turned colorful when Guetta joined Ozuna from behind his DJ deck for "Vocation," premiering the new track for the first time before its arrival on Nov. 17. Through a thermal vision lens, Ozuna brought the party alongside his latest collaborator as sparks literally flew around them. 

Ozuna is no stranger to exploring the EDM genre. In 2018, he scored the global hit "Taki Taki" with DJ Snake, Selena Gomez, and Cardi B. Earlier this year, Australian trio PNAU enlisted Ozuna and Bebe Rexha for their dance track "Stars." "Vocation" marked the first time that the two global acts collaborated, and the performance served as Guetta's Latin GRAMMY Awards debut. 

The Latin Urbano star is also no stranger to the Latin GRAMMYs. A 15-time nominee, Ozuna has won two Latin GRAMMYs to date, thanks to "Yo x Ti, Tú x Mí," his collaboration with Spanish pop star Rosalía that won Best Urban Fusion/Performance and Best Urban Song in 2020. 

2023 Latin GRAMMYs: See The Complete Nominations List

One of three new categories debuting at the 2024 GRAMMYs, Best Pop Dance Recording will be hotly contested in its first year.

The inaugural round of Best Pop Dance Recording nominees features not one, but two David Guetta collaborations ("Baby Don’t Hurt Me" with Anne-Marie and Coi Leray, and "One In A Million" with Bebe Rexha), and the long-awaited reunion of Calvin Harris and Ellie Goulding on "Miracle." The new category also features two earworms from Australian pop dance exports: Kylie Minogue’s "Padam Padam" and Troye Sivan’s "Rush." 

Ahead of the 2024 GRAMMYs on Feb. 4, 2024, get to know the five nominees in this newly minted category.

David Guetta, Anne-Marie & Coi Leray -"Baby Don't Hurt Me"

In a year defined by dance producers putting a modern spin on dance music’s past, David Guetta reached back to 1993 to interpolate Haddaway’s dance-pop hit, "What Is Love," for "Baby Don’t Hurt Me." The song is a fitting follow-up to Guetta and Bebe Rexha’s 2022 hit, "I’m Good (Blue)", which winkingly rekindled Eiffel 65’s Eurodance anthem, "Blue (Da Ba Dee)".

"Baby Don’t Hurt Me" brings Haddaway’s irresistible hook into 2023 with distinctive verses from British vocalist Anne-Marie (who memorably joined Marshmello on 2018’s smash  "Friends") and fast-rising Boston rapper Coi Leray. 

Paired with a video that references ‘90s clubbing and cult movie A Night at the Roxbury, "Baby Don’t Hurt Me" is a familiar sugar rush that plays to the individual strengths of its perhaps unlikely trio. 

Calvin Harris featuring Ellie Goulding - "Miracle"

Calvin Harris and Ellie Goulding are a dance music dream team, having previously released "I Need Your Love" (2012) and "Outside" (2014). After waiting almost a full decade to reunite, the pair returned in 2023 with their third collaboration, "Miracle."

An out-and-out trance-meets-Eurodance throwback (think inspirations like Robert Miles' "Children"), "Miracle" aims straight for the nostalgic pleasure centers. Harris told Apple Music that he needed Goulding's "angelic" vocal talents, and the British singer skillfully plays off the song's maximal production. Working alongside his longtime studio partner Burns, Harris packs the rave euphoria into a crisp three minutes, right through to the unexpected breakbeat outro. 

The non-album single signaled a new phase for Harris, and follows 2022's Funk Wav Bounces Vol. 2 as well as his ravier experiments as Love Regenerator. In July, Harris returned to the trance sounds of his teen years with "Desire" featuring Sam Smith, proving these faster tempos are not just a passing phase. 

Kylie Minogue - "Padam Padam" 

Now 16 albums into a glittering career, Kylie Minogue is a true icon of international pop. However, not even the most ardent Kylie fans could've predicted her 2023 glow-up, courtesy of viral sensation "Padam Padam." 

The song first came to Minogue in a demo version by Norwegian singer/songwriter Ina Wroldsen and UK producer Lostboy, which immediately caught her ear. "Straightaway, I was in," she recalled to GRAMMY.com, noting that she knew it was "perfect for me."

The first single from the Australian singer's latest album, Tension, the instantly danceable beat and one-word hook of "Padam Padam" inspired countless TikTok videos and memes. "I finally get TikTok. Yes, I've been slow but I finally am there," Minogue admitted upon Tension's release.

Minogue also celebrated the queer community and Gen Z's embrace of her runaway hit. "I hope to continue having fun with that," she added. "It was really organic. I don't think you can force that. It happened and I loved every second of it."

Bebe Rexha & David Guetta - "One In A Million"

Ever since co-writing Eminem and Rihanna's "The Monster" in 2013, Brooklyn-born Bebe Rexha has mastered the art of collaboration. Over a prolific decade, including three albums of her own, the pop singer/songwriter has teamed up with a diverse range of artists, including Nicki Minaj, Doja Cat, Florida Georgia Line and Dolly Parton, to feature on her songs.

In the pop dance world, French hitmaker David Guetta is Rexha's most reliable collaborator. After striking gold on 2022's "I'm Good (Blue)" — which peaked at No. 4 on the Billboard Hot 100 at the top of 2023 — the pair returned with a new standalone single, "One In A Million."

With a piano line that evokes Guetta's own "When Love Takes Over," "One In A Million" channels the giddy feeling of new love over a racing beat. The song arrived in a typically whirlwind year of collaborations for Guetta, who also mined the past alongside Jason Derulo, Oliver Tree and Zara Larsson. 

Troye Sivan - "Rush"

After a long wait between solo releases, Australian pop chameleon Troye Sivan boldly announced a new era with "Rush." Released at the height of summer as the lead single from Sivan's third album, Something To Give Each Other, "Rush" instantly hit its mark as a celebration of queer pleasure-seeking. In a statement, Sivan described the single as an accumulation of "all of my experiences from a chapter where I feel confident, free and liberated."

The song's lusty bassline, exultant piano-house keys and chanted chorus perfectly play off Sivan's falsetto, creating a heady mood of dance floor abandon. (Fittingly, the Berlin-shot music video is a parade of sweaty bodies in motion.) A ready-made anthem, "Rush" set the stage perfectly for the assured and life-affirming Something To Give Each Other, leaving no doubt that Sivan is thriving in 2023. 

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 4, 2024, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy's Voting Membership.

2024 GRAMMY Nominations: See The Complete Winners & Nominees List