Music's Biggest Night, the 54th Annual GRAMMY Awards, will air live from Staples Center in Los Angeles on Sunday, Feb. 12 at 8 p.m. ET/PT on CBS.

 In the weeks leading up to the telecast, we will take a stroll down music memory lane with GRAMMY Rewind, highlighting the "big four" categories — Album Of The Year, Record Of The Year, Song Of The Year, and Best New Artist — from past awards shows. In the process, we'll examine the winners and the nominees who just missed taking home a GRAMMY, while also shining a light on the artists' careers and the eras in which the recordings were born.

 Join us as we take an abbreviated journey through the trajectory of pop music from the 1st Annual GRAMMY Awards in 1959 to last year's 53rd Annual GRAMMY Awards.

48th Annual GRAMMY Awards
Feb. 8, 2006

Album Of The Year
Winner: U2, How To Dismantle An Atomic Bomb
Mariah Carey, The Emancipation Of Mimi
Paul McCartney, Chaos And Creation In The Backyard
Gwen Stefani, *Love. Angel. Music. Baby.*
Kanye West, Late Registration

After trumping Michael Jackson's Bad for the Album Of The Year trophy in 1987, U2 cleared yet another hurdle by beating out one-fourth of the Beatles, 2012 MusiCares Person of the Year honoree Sir Paul McCartney [http://www.grammy.com/news/paul-mccartney-to-perform-at-2012-musicares-person-of-the-year-gala\]. How To Dismantle An Atomic Bomb, said to be the group's return to the big-anthem classics produced in the '80s, charted at No. 1 on the Billboard 200 and garnered seven additional GRAMMYs in 2004 and 2005, including Best Rock Song for "City Of Blinding Lights" and "Vertigo." Also making a comeback of sorts was Carey, whose 10th studio release, The Emancipation Of Mimi, won her three GRAMMY Awards, including Best R&B Song for the No. 1 hit "We Belong Together." In 1990 Carey won her first two GRAMMYs, including Best New Artist. For Chaos And Creation In The Backyard, produced by GRAMMY winner Nigel Godrich, McCartney returned to the one-man band style exhibited on his self-titled solo debut, playing nearly every instrument on the album from guitars and keyboards to bass and drums. Stefani earned a nomination for her solo debut effort, Love. Angel. Music. Baby. The album spawned four additional nods and featured her first No. 1 single as a solo artist, the infectious "Hollaback Girl." West's sophomore release, Late Registration, marked his second Album Of The Year nod (he also received recognition for production work on Carey's The Emancipation …). The album topped the Billboard 200 in 2005 and featured the No. 1 hit "Gold Digger."

node: video: U2 Win Album Of The Year

Record Of The Year
Winner: Green Day, "Boulevard Of Broken Dreams"
Mariah Carey, "We Belong Together"
Gorillaz Featuring De La Soul, "Feel Good Inc."
Gwen Stefani, "Hollaback Girl"
Kanye West, "Gold Digger"

Rock reigned supreme in the Record Of The Year category as Green Day won for their hit "Boulevard Of Broken Dreams." The track appears on American Idiot, which won the group a GRAMMY for Best Rock Album the year prior and gained them presence on Broadway when it was later made into a musical in 2009. Carey's "We Belong Together" skyrocketed to the top of several pop charts in 2005 and earned her two GRAMMY wins, including Best Female R&B Vocal Performance. Adding variety to the field was virtual hip-hop group Gorillaz with the viral "Feel Good Inc." featuring De La Soul. The track earned them a GRAMMY for Best Pop Collaboration With Vocals and a virtual duet with Madonna on the GRAMMY telecast. Stefani's "Hollaback Girl" scored a nomination with the help of GRAMMY-winning producers the Neptunes. West's "Gold Digger," which features Jamie Foxx sampling pieces from Ray Charles' "I Got A Woman," garnered the 14-time GRAMMY winner a win for Best Rap Solo Performance.

node: video: Green Day Win Record Of The Year

Song Of The Year
Winner: U2, "Sometimes You Can't Make It On Your Own"
Mariah Carey, "We Belong Together"
John Legend, "Ordinary People"
Rascal Flatts, "Bless The Broken Road"
Bruce Springsteen, "Devils & Dust"

The second Song Of The Year win for U2, the emotional "Sometimes You Can't Make It On Your Own," was written by Bono and U2, and also garnered the self-proclaimed best band in the world a GRAMMY for Best Rock Performance By A Duo Or Group With Vocal that year, beating out Coldplay, Foo Fighters, Franz Ferdinand, and the Killers. Carey's third nomination in the General Field was co-written with an all-star cast that included Johnta Austin, Babyface and Jermaine Dupri. Making his GRAMMY debut this year was Legend, who co-wrote "Ordinary People" with Black Eyed Pea will.i.am. The singer/pianist's debut studio album, Get Lifted, won a GRAMMY for Best R&B Vocal Album, a trophy that was replaced [link to: http://www.grammy.com/news/legend-gets-a-do-over\] in 2010 by The Recording Academy after an incident involving Legend's nephew. One of the first country groups in recent memory to receive a Song Of The Year nomination was Rascal Flatts' "Bless The Broken Road," written by Bobby Boyd, Jeff Hanna and Marcus Hummon. The track, previously recorded by the Nitty Gritty Dirt Band, won for Best Country Song. The final entry, Springsteen's self-penned "Devils & Dust," which appears on the No. 1 album of the same name, earned the Boss five GRAMMY nominations this year, including a win for Best Solo Rock Vocal Performance.

node: video: "Sometimes You Can't Make It On Your Own" Wins Song Of The Year

Best New Artist
Winner: John Legend
Ciara
Fall Out Boy
Keane
Sugarland

Neo-soul artist Legend, who made two big debuts in 2005 with his first studio album and first appearance at the GRAMMY Awards, picked up Best New Artist honors. Get Lifted also broke the Top 5 on the Billboard 200. Texas-native Ciara, named the "First Lady of Crunk and B" by producer Lil Jon, scored a nod. She also took home a Best Short Form Music Video GRAMMY for "Lose Control." Pop/punk outfit Fall Out Boy received their only GRAMMY nomination to date. The group's 2005 album, From Under The Cork Tree, peaked at No. 9 on the Billboard 200. Piano-driven pop/rock group Keane added more variety to the diverse field, and picked up a second nomination the following year for "Is It Any Wonder?" The second country act to garner a nod in the General Field was the then-trio Sugarland, featuring Kristian Bush, Kristen Hall and Jennifer Nettles. The group won a GRAMMY two years later for Best Country Performance By A Duo Or Group With Vocal — minus Hall —for the tear-jerker "Stay."

node: video: Carrie Underwood Wins Best New Artist

Come back to GRAMMY.com tomorrow as we revisit the 49th Annual GRAMMY Awards.

Follow GRAMMY.com for our inside look at GRAMMY news, blogs, photos, videos, and of course nominees. Stay up to the minute with GRAMMY Live. Check out the GRAMMY legacy with GRAMMY Rewind. Keep track of this year's GRAMMY Week events, and explore this year's GRAMMY Fields. Or check out the collaborations at Re:Generation, presented by Hyundai Veloster. And join the conversation at Facebook, Twitter, and YouTube.

As expected, much buzz followed the release of Taylor Swift's 11th studio album, The Tortured Poets Department, on April 19. Fans and critics alike have devoured the sprawling double album’s 31 tracks, unpacking her reflections from "a fleeting and fatalistic moment in time" in search of Easter eggs, their new favorite lyrics and references to famous faces (both within the pop supernova’s closely guarded orbit and the historical record). 

Shoutouts abound in The Tortured Poets Department: Charlie Puth gets his much-deserved (and Taylor-approved) flowers on the title track, while 1920s screen siren Clara Bow, the ancient Greek prophetess Cassandra and Peter Pan each get a song titled after them. Post Malone and  Florence + the Machine’s Florence Welch each tap in for memorable duets. Relationships old (Joe Alwyn), new (Travis Kelce) and somewhere in between (1975’s Matty Healy) are alluded to without naming names, as is, possibly, the singer’s reputation-era feud with Kim Kardashian. 

Swift casts a wide net on The Tortured Poets Department, encompassing popular music, literature, mythology and beyond, but it's far from the first time the 14-time GRAMMY winner has worn her influences on her sleeve. While you digest TTPD, consider these 10 figures who have influenced the poet of the hour — from Stevie Nicks and Patti Smith to Emily Dickinson, William Wordsworth, Arya Stark and more.

Stevie Nicks

If Taylor Swift is the chairman of The Tortured Poets Department, Stevie Nicks may as well be considered its poet laureate emeritus. The mystical Fleetwood Mac frontwoman earns an important mention on side A closer "Clara Bow," in which Swift ties an invisible string from herself to a pre-Rumours Nicks ("In ‘75, the hair and lips/ Crowd goes wild at her fingertips"), and all the way back to the 1920s It Girl of the song’s title.

For her part, Nicks seems to approve of her place in Swift’s cultural lineage, considering she penned the poem found inside physical copies of The Tortured Poets Department. "He was in love with her/ Or at least she thought so," the Priestess of Rock and Roll wrote in part, before signing off, "For T — and me…"

Swift’s relationship with Nicks dates back to the 2010 GRAMMYs, when the pair performed a medley of "Rhiannon" and "You Belong With Me" before the then-country upstart took home her first Album Of The Year win for 2009’s Fearless. More recently, the "Edge of Seventeen" singer publicly credited Swift’s Midnights cut "You’re On Your Own, Kid" for helping her through the 2022 death of Fleetwood Mac bandmate Christine McVie.

Patti Smith

Swift may see herself as more "modern idiot" than modern-day Patti Smith, but that didn’t stop the superstar from name-dropping the icon synonymous with the Hotel Chelsea and punk scene of ‘70s New York on a key track on The Tortured Poets Department. Swift rather self-deprecatingly compares herself to the celebrated Just Kids memoirist (and 2023 Songwriters Hall of Fame nominee) on the double album’s synth-drenched title track, and it’s easy to see how Smith’s lifelong fusion of rock and poetry influenced the younger singer’s dactylic approach to her new album. 

Smith seemed to appreciate the shout-out on "The Tortured Poets Department" as well. "This is saying I was moved to be mentioned in the company of the great Welsh poet Dylan Thomas. Thank you Taylor," she wrote on Instagram alongside a photo of herself reading Thomas’ 1940 poetry collection Portrait of the Artist as a Young Dog.

Emily Dickinson

When it comes to iconic poets, Swift has also taken a page or two over her career from Emily Dickinson. While the great 19th century poet hasn’t come up explicitly in Swift’s work, she did reference her poetic forebear (and actual sixth cousin, three times removed!) in her speech while accepting the award for Songwriter-Artist of the Decade at the 2022 Nashville Songwriter Awards.

"I’ve never talked about this publicly before, because, well, it’s dorky. But I also have, in my mind, secretly, established genre categories for lyrics I write. Three of them, to be exact. They are affectionately titled Quill Lyrics, Fountain Pen Lyrics and Glitter Gel Pen Lyrics," Swift told the audience before going on to explain, "If my lyrics sound like a letter written by Emily Dickinson’s great-grandmother while sewing a lace curtain, that’s me writing in the Quill genre," she went on to explain.

Even before this glimpse into Swift’s writing process, Easter eggs had been laid pointing to her familial connection to Dickinson. For example, she announced her ninth album evermore on December 10, 2020, which would have been the late poet’s 190th birthday. Another clue that has Swifties convinced? Dickinson’s use of the word "forevermore" in her 1858 poem "One Sister Have I in Our House," which Swift also cleverly breaks apart in Evermore’s Bon Iver-assisted title track ("And I couldn’t be sure/ I had a feeling so peculiar/ That this pain would be for/ Evermore").

The Lake Poets

Swift first put her growing affinity for poetry on display during her folklore era with "the lakes." On the elegiac bonus track, the singer draws a parallel with the Lake Poets of the 19th century, wishing she could escape to "the lakes where all the poets went to die" with her beloved muse in tow. In between fantasizing about "those Windermere peaks" and pining for "auroras and sad prose," she even manages to land a not-so-subtle jab at nemesis Scooter Braun ("I’ve come too far to watch some name-dropping sleaze/ Tell me what are my words worth") that doubles as clever wordplay on the last name of Lake Poet School members William and Dorothy Wordsworth.

Swift revealed more about why she connected to the Lake Poets in her 2020 Disney+ documentary folklore: the long pond studio sessions. "There was a poet district, these artists that moved there. And they were kind of heckled for it and made fun of for it as being these eccentrics and these kind of odd artists who decided that they just wanted to live there," she explained to her trusted producer Jack Antonoff. "So ‘the lakes,’ it kind of is the overarching theme of the whole album: of trying to escape, having something you wanna protect, trying to protect your own sanity and saying, ‘Look, they did this hundreds of years ago. I’m not the first person who’s felt this way.’"

Paul McCartney

Paul McCartney and Swift have publicly praised one another’s work for years, leading to the 2020 Rolling Stone cover they posed for together for the special Musicians on Musicians issue. The younger singer even counts Sir Paul’s daughter Stella McCartney as a close friend and collaborator (Stella designed a capsule collection for Swift’s 2019 studio set Lover and earned a shout-out of her own on album cut "London Boy").

However, Swift took her relationship with the Beatles founder and his family a step further when it was rumored she based Midnights deep cut "Sweet Nothing" on McCartney’s decades-long romance with late wife Linda. While the speculation has never been outright confirmed, it appears Swift’s lyrics in the lilting love song ("On the way home, I wrote a poem/ You say, ‘What a mind’/ This happens all the time") were partially inspired by a strikingly similar quote McCartney once gave about his relationship with Linda, who passed away in 1998. To add to the mystique, the Midnights singer even reportedly liked a tweet from 2022 espousing the theory.  

The admiration between the duo seems to go both ways as well, with the former Beatle admitting in a 2018 BBC profile that the track "Who Cares" from his album Egypt Station was inspired by Swift’s close relationship with her fans.

The Chicks

From her days as a country music ingénue to her ascendance as the reigning mastermind of pop, Swift has credited the Chicks as a seminal influence in her songwriting and career trajectory. (Need examples? Look anywhere from early singles like "Picture to Burn" and "Should’ve Said No" to Evermore’s Haim-assisted murder ballad "no body, no crime" and her own Lover-era collab with the band, "Soon You’ll Get Better.") 

In a 2020 Billboard cover story tied to the Chicks’ eighth album Gaslighter, Swift acknowledged just how much impact the trio made on her growing up. "Early in my life, these three women showed me that female artists can play their own instruments while also putting on a flamboyant spectacle of a live show," she said at the time. "They taught me that creativity, eccentricity, unapologetic boldness and kitsch can all go together authentically. Most importantly, they showed an entire generation of girls that female rage can be a bonding experience between us all the very second we first heard Natalie Maines bellow ‘that Earl had to DIE.’"

"Game of Thrones"

When reputation dropped in 2017, Swift was on a self-imposed media blackout, which meant no cover stories or dishy sit-down interviews on late-night TV during the album’s roll-out. Instead, the singer let reputation speak for itself, and fans were largely left to draw their own conclusions about their queen’s wildly anticipated comeback album. Two years later, though, Swift revealed the dark, vengeful, romantic body of work was largely inspired by "Game of Thrones."

"These songs were half based on what I was going through, but seeing them through a 'Game of Thrones' filter," she told Entertainment Weekly in 2019. "My entire outlook on storytelling has been shaped by ["GoT"] — the ability to foreshadow stories, to meticulously craft cryptic story lines. So, I found ways to get more cryptic with information and still be able to share messages with the fans. I aspire to be one one-millionth of the kind of hint dropper the makers of 'Game of Thrones' have been."

Joni Mitchell

Swift has long made her admiration of Joni Mitchell known, dating back to her 2012 album Red, which took a cue from the folk pioneer’s landmark 1971 LP Blue for its chromatic title. In an interview around the time of Red’s release, the country-pop titan gushed over Blue’s impact on her, telling Rhapsody, "[Mitchell] wrote it about her deepest pains and most haunting demons. Songs like ‘River,’ which is just about her regrets and doubts of herself — I think this album is my favorite because it explores somebody’s soul so deeply."

Back in 2015, TIME declared the "Blank Space" singer a "disciple of Mitchell in ways both obvious and subtle" — from her reflective songwriting to the complete ownership over her creative process, and nearly 10 years later, Swift was still showing her appreciation for Mitchell after the latter’s triumphant and emotional appearance on the GRAMMY stage to perform "Both Sides Now" on the very same night Taylor took home her historic fourth GRAMMY for Album Of The Year for Midnights.

Fall Out Boy & Paramore

When releasing the re-recording of her third album Speak Now in 2023, Swift cited two unexpectedly emo acts as inspirations to her early songwriting: Fall Out Boy and Paramore. 

"Since Speak Now was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album," she wrote in an Instagram post revealing the back cover and complete tracklist for Speak Now (Taylor’s Version), which included Fall Out Boy collaboration "Electric Touch" and "Castles Crumbling" featuring Paramore frontwoman Hayley Williams.

Tim McGraw

For one of Swift’s original career inspirations, we have to go all the way back to the very first single she ever released. "Tim McGraw" was not only as the lead single off the 16-year-old self-titled 2006 debut album, but it also paid reverent homage to one of the greatest living legends in the history of country music. 

In retrospect, it was an incredibly gutsy risk for a then-unknown Swift to come raring out of the gate with a song named after a country superstar. But the gamble clearly paid off in spades, considering that now, when an entire generation of music fans hear "Tim McGraw," they think of Taylor Swift.

Taylor Swift's 'The Tortured Poets Department' Is A Post-Mortem Autopsy In Song: 5 Takeaways From Her New Album

While in a studio, Andrew Watt bounces off the walls. Just ask Mick Jagger, who once had to gently tell the 33-year-old, "Look, I can deal with this, but when you meet Ronnie and Keith, you have to dial it down a little bit."

Or ask Pearl Jam's Stone Gossard. "He really got the best out of [drummer] Matt [Cameron] just by being excited — literally jumping up and down and pumping his fist and running around," he tells GRAMMY.com.

As Watt's hot streak has burned on, reams have rightly been written about his ability to take a legacy act, reconnect them with their essence, and put a battery in their back. His efficacy can be seen at Music's Biggest Night: Ozzy Osbourne's Patient Number 9 won Best Rock Album at the 2023 GRAMMYs. At the last ceremony, the Rolling Stones were nominated for Best Rock Song, for Hackney Diamonds' opener "Angry."

On Pearl Jam's return to form, Dark Matter, due out April 19. Who was behind the desk? Take a wild guess.

"You want to see them live more than you want to listen to their albums, and they have the ability to look at each other and play and follow each other. I don't like my rock music any other way, as a listener," Watt tells GRAMMY.com. "All my favorite records are made like that — of people speeding up, slowing down, playing longer than they should."

As such, Watt had a lightbulb moment: to not record any demos, and have them write together in the room. "They're all playing different stuff, and it makes up what Pearl Jam is, and singer Eddie [Vedder] rides it like a wave."

If you're more of a pop listener, there's tons of Watt for you — he's worked with Justin Bieber ("Hit the Ground" from Purpose), Lana Del Rey ("Doin' Time" from Norman F—ing Rockwell) and much more. Read on for a breakdown of big name rockers who have worked with Andrew Watt.

Pearl Jam / Eddie Vedder

Watt didn't just produce Dark Matter; he also helmed Vedder's well-received third solo album, Earthling, from 2022. Watt plays guitar in Vedder's live backing band, known as the Earthlings — which also includes Josh Klinghoffer, who replaced John Frusciante in the Red Hot Chili Peppers for a stint.

The Rolling Stones

Dark Matter was a comeback for Pearl Jam, but Hackney Diamonds was really a comeback for the Stones. While it had a hater or two, the overwhelming consensus was that it was the Stones' best album in decades — maybe even since 1978's Some Girls.

"I hope what makes it fresh and modern comes down to the way it's mixed, with focus on low end and making sure the drums are big," Watt, who wore a different Stones shirt every day in the studio, has said about Hackney Diamonds. "But the record is recorded like a Stones album."

Where there are modern rock flourishes on Hackney Diamonds, "There's no click tracks. There's no gridding. There's no computer editing," he continued. "This s— is performed live and it speeds up and slows down. It's made to the f—ing heartbeat connection of Mick Jagger, Keith Richards, Ronnie Wood and Steve Jordan.

"And Charlie," Watt added, tipping a hat to Watts, who played on Hackney Diamonds but died before it came out. "When Charlie's on it."

Iggy Pop

Ever since he first picked up a mic and removed his shirt, the snapping junkyard dog of the Stooges has stayed relevant — as far as indie, alternative and punk music has been concerned.

But aside from bright spots like 2016's Josh Homme-produced Post Pop Depression, his late-career output has felt occasionally indulgent and enervated. The 11 songs on 2023's eclectic Watt-produced Every Loser, on the other hand, slap you in the face in 11 different ways.

"We would jam and make tracks and send them to Iggy, and he would like 'em and write to them or wouldn't like them and we'd do something else," Watt told Billboard. "It was very low pressure. We just kept making music until we felt like we had an album." (And as with Pearl Jam and Vedder's Earthlings band, Watt has rocked out onstage with Pop.

Ozzy Osbourne

You dropped your crown, O Prince of Darkness. When he hooked up with Watt, the original Black Sabbath frontman hadn't released any solo music since 2010's Scream; in 2017, Sabbath finally said goodbye after 49 years and 10 (!) singers.

On 2020's Ordinary Man and 2022's Patient Number 9, Watt reenergized Ozzy; even when he sounds his age, Ozz sounds resolute, defiant, spitting in the face of the Reaper. (A bittersweet aside: the late Taylor Hawkins appears on Patient Number 9, which was written and recorded in just four days.)

Maroon 5

Yeah, yeah, they're more of a pop-rock band, but they have guitars, bass and drums. (And if you're the type of rock fan who's neutral or hostile to the 5, you shouldn't be; Songs About Jane slaps.)

At any rate, Watt co-produced "Can't Leave You Alone," featuring Juice WRLD, from 2021's Jordi. Critics disparaged the album, but showed Watt's facility straddling the pop and rock worlds.

5 Seconds of Summer

When it comes to Andrew Watt, the Sydney pop-rockers — slightly more on the rock end than Maroon 5 and their ilk — are repeat customers. He produced a number of tracks for 5 Seconds of Summer, which spanned 2018's Youngblood, 2020's Calm and 2022's 5SOS5.

Regarding the former: Watt has cited Youngblood as one of the defining recording experiences of his life.

"I had started working with 5 Seconds of Summer, and a lot of people looked at them as a boy band, but they're not," Watt told Guitar Player. "They're all incredible musicians. They can all play every instrument. They love rock music. They can harmonize like skyrockets in flight. They just were making the wrong kind of music."

So Watt showed 5 Seconds of Summer a number of mainstays of the rock era, like Tears for Fears and the Police. The rest, as they say, is history.

Elton John

A year after Britney Spears was unshackled from her highly controversial conservatorship, it was time for a victory lap with the God of Glitter. What resulted was a curious little bauble, which became a megahit: "Hold Me Closer," a spin on "Tiny Dancer," "The One" and "Don't Go Breaking My Heart" that briefly launched Spears back into the stratosphere.

"Britney came in and she knew what she wanted to do," Watt recalled to The L.A. Times. "We sped up the song a little bit and she sang the verses in her falsetto, which harkens back to 'Toxic.' She was having a blast."

Blink-182

Watt has also worked with pop/punk heroes Blink-182 — but not after Tom DeLonge made his grand return. He produced "I Really Wish I Hated You" from 2019's Nine, back when Matt Skiba was in the band.

Where in the rock world will this tender-aged superproducer strike next? Watt knows.

Songbook: The Rolling Stones' Seven-Decade Journey To Hackney Diamonds

As a founding member of the National Recording Preservation Board, the Recording Academy was instrumental in lobbying and getting the board created by Congress. Now, the Library of Congress has added new treasures to the National Recording Registry, preserving masterpieces that have shaped American culture.

The 2024 class not only celebrates modern icons like Green Day’s punk classic Dookie and Biggie Smalls' seminal Ready to Die, but also honors vintage gems like Gene Autry’s "Rudolph, the Red-Nosed Reindeer" and Perry Como’s hits from 1957. These recordings join over 650 titles that constitute the registry — a curated collection housed within the Library’s vast archive of nearly 4 million sound recordings. 

Librarian of Congress Carla Hayden announced these additions as essential pieces of our nation’s audio legacy, each selected for their cultural, historical, or aesthetic importance. This selection process is influenced by public nominations, which hit a record number this year, emphasizing the public's role in preserving audio history.

Read more: Inside Green Day's Intimate "Right Here, Right Now" Global Climate Concert In San Francisco

"The Library of Congress is proud to preserve the sounds of American history and our diverse culture through the National Recording Registry," Hayden said. "We have selected audio treasures worthy of preservation with our partners this year, including a wide range of music from the past 100 years, as well as comedy. We were thrilled to receive a record number of public nominations, and we welcome the public’s input on what we should preserve next."

The latest selections named to the registry span from 1919 to 1998 and range from the recordings of the all-Black 369th U.S. Infantry Band led by James Reese Europe after World War I, to defining sounds of jazz and bluegrass, and iconic recordings from pop, dance, country, rock, rap, Latin and classical music.

"For the past 21 years the National Recording Preservation Board has provided musical expertise, historical perspective and deep knowledge of recorded sound to assist the Librarian in choosing landmark recordings to be inducted into the Library’s National Recording Registry," said Robbin Ahrold, Chair of the National Recording Preservation Board. "The board again this year is pleased to join the Librarian in highlighting influential works in our diverse sound heritage, as well as helping to spread the word on the National Recording Registry through their own social media and streaming media Campaigns."

Tune in to NPR's "1A" for "The Sounds of America" series, featuring interviews with Hayden and selected artists, to hear stories behind this year’s picks. Stay connected to the conversation about the registry via social media and listen to many of the recordings on your favorite streaming service.

For more details on the National Recording Registry and to explore more about the selections, visit The Library of Congress's official National Recording Registry page.

National Recording Registry, 2024 Selections (chronological order)

1. "Clarinet Marmalade" – Lt. James Reese Europe’s 369th U.S. Infantry Band (1919)

2. "Kauhavan Polkka" – Viola Turpeinen and John Rosendahl (1928)

3. Wisconsin Folksong Collection (1937-1946)

4. "Rose Room" – Benny Goodman Sextet with Charlie Christian (1939)

5. "Rudolph, the Red-Nosed Reindeer" – Gene Autry (1949)

6. "Tennessee Waltz" – Patti Page (1950)

7. "Rocket ‘88’" – Jackie Brenston and His Delta Cats (1951)

8. "Catch a Falling Star" / "Magic Moments" – Perry Como (1957)

9. "Chances Are" – Johnny Mathis (1957)

10. "The Sidewinder" – Lee Morgan (1964)

11. "Surrealistic Pillow" – Jefferson Airplane (1967)

12. "Ain’t No Sunshine" – Bill Withers (1971)

13. "This is a Recording" – Lily Tomlin (1971)

14. "J.D. Crowe & the New South" – J.D. Crowe & the New South (1975)

15. "Arrival" – ABBA (1976)

16. "El Cantante" – Héctor Lavoe (1978)

17. "The Cars" – The Cars (1978)

18. "Parallel Lines" – Blondie (1978)

19. "La-Di-Da-Di" – Doug E. Fresh and Slick Rick (MC Ricky D) (1985)

20. "Don’t Worry, Be Happy" – Bobby McFerrin (1988)

21. "Amor Eterno" – Juan Gabriel (1990)

22. "Pieces of Africa" – Kronos Quartet (1992)

23. Dookie – Green Day (1994)

24. Ready to Die – The Notorious B.I.G. (1994)

25. "Wide Open Spaces" – The Chicks (1998)

21 Albums Turning 50 In 2024: 'Diamond Dogs,' 'Jolene,' 'Natty Dread' & More

On the first Saturday of Coachella, No Doubt made a striking comeback on the festival's main stage for their first performance together in nine years. 

Originating from Anaheim, California in 1986, the band is celebrated for their eclectic sound that defies easy categorization — from the ska-punk vibrancy of their early days to the polished pop anthems that later defined their career. 

Their big breakthrough album, Tragic Kingdom, was released in 1995 and propelled them to fame with hits like "Don't Speak" and "Just a Girl," which dominated the Billboard charts for 16 weeks. 

Featuring all original members — Gwen Stefani, guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young — No Doubt's Coachella performance was a tribute to their iconic past and a reminder of their beloved eccentricity. 

The standout set was filled with unbeatable stage presence, surprise guests, and showcased the band's timeless appeal nearly four decades into their career. Known for blending introspective brooding with a uniquely sardonic edge, the band has significantly influenced a generation of complex female artistry. Highlights from the performance, including Stefani's magnetic stage presence, heartfelt interactions with fans, and a surprise appearance by Olivia Rodrigo, underscore their palpable appeal and lasting influence on contemporary music. 

Read on to discover five key highlights from their hotly anticipated return at Coachella during their 'Weekend 1' set:

Gen Z And OG Fans United As One

As fans converged on Coachella's main stage for No Doubt's set, the diversity of the audience was immediately apparent. Younger fans, clad in social media-ready outfits inspired by Gwen Stefani’s iconic style (some even recreating her most iconic looks) braved the evening's brisk winds. 

Despite challenges, the alleged bad modern concert etiquette was not apparent, especially after Stefani's call for a return to old-school concert vibes before performing a “Simple Kind of Life.” 

“Let’s do this old school!” Stefani said as she confessed missing the days when fans would belt out all the lyrics at the top of their lungs without much care in the world. It was a sentiment that quickly resonated through the audience and a moment that not only bridged generational divides but also highlighted No Doubt's broad and enduring appeal. 

The Night Was Full Of Nostalgia

Outside of the fact that frontwoman Stefani is allergic to aging, for a group returning after nine years performing together, No Doubt’s stage presence was just as powerful as their past, dynamic performances.  

“There’s no f—king comparison!” Gwen Stefani roared during “Underneath it All,” capturing the intensity of the moment as she dropped to her knees, rhinestones sparkling on her eyebrows and a smile breaking through. 

Read more: GRAMMY Rewind: Watch No Doubt Accept Their GRAMMY Award For “Underneath It All” In 2004

The band's passion burned just as brightly when they were playing local college gigs in Orange County. There was no sign of awkwardness or a single misstep as Stefani showcased the same brilliance of her early days as a burgeoning musician.

She shared the spotlight seamlessly. As Dumont delivered a guitar solo during “Different People,” Stefani playfully skipped and ran across the expansive stage, never missing a note. 

No Doubt has always transcended nostalgia, yet they embraced their history at Coachella. Stefani dressed to the nines in a plaid, avant-garde outfit while background videos played personal and rehearsal footage from the '90s, evoking a simpler time for the group. Stefani appeared barefaced in a plain white tee, bouncing around a beat up truck in a video that explained the band's origins and showed the magnetic charisma that manifested a star turned supernova.

Olivia Rodrigo Made A Surprise Appearance

Right before Stefani took a brief water break, she flashed a mysterious smirk to the crowd. 

As the introspective track “Bathwater” thrummed to life, a brunette donning a glittering “I [love] ND” tank top emerged, her face turned from the audience. The murmurs quickly escalated into screams, particularly from the younger fans, signaling the arrival of pop starlet Olivia Rodrigo. Matching Stefani in energy and presence, Rodrigo proved a formidable presence on stage, trading verses and singing in duet through the chorus, their performance culminating in a sweet embrace. 

No Doubt’s influence on Rodrigo's music is palpable. After all, tracks like Rodrigo’s “Get Him Back!” and No Doubt’s “Bathwater” are cut from the same mascara-stained cloth — each with a poetic, vengeful twist. They were just girls! Living in captivity! The revenge? Being able to put into song the diabolical conditions of womanhood, while allowing themselves to truly feel — whether it be anger, delusion, or plain pettiness. 

The Band Members Have A Bond

No Doubt’s historic return to the stage elevated the entirety of the Coachella-going experience, setting a standard and outshining the majority of the other acts. Throughout their performance, the admiration they had for one another became increasingly evident. 

From Stefani frequently calling out “Tony! Tony!” to (Tony) Kanal during the set’s adlibs to the end of their set when the group remained locked in a hug for several moments, the group was clearly overjoyed to be back together again. Before exiting the stage, Stefani leaped onto the back of Young while she excitedly kicked her feet, as though in protest of having to leave. 

A Coachella backstage supervisor working onsite during their rehearsals candidly confessed that he was taken by the band's natural chemistry. During soundcheck, he stated they were so intrinsically confident and overjoyed about their performance it seemed as though they had never stopped performing with one another. 

They Showed Deep Gratitude For Their Fans

There was nothing but gratitude on display from each and every member during the festival set. After almost every other song Stefani would belt an “I love you!” to the crowd. 

During an experimental instrumental-only tribute to ska-pop, Kanal ran across the stage with a huge smile, at-the-ready to riff back-to-back with members of the group. 

“Indio, put your f—king hands up!” Stefani commanded the crowd as they gleefully complied. Then, as smoke filled the air under the brilliantly shining crescent moon, she celebrated the group coming together for the first time in nine years. 

“Isn’t this so crazy?” Stefani yelped during her performance for “It’s My Life.” “This is our life! Singing I love you!” 

It was an epic return for No Doubt as a band and Stefani as their fierce leader, showing up to Coachella naturally, just a girl. A girl who loves to sing, rile up the audience in a fierce sing-along, and remind everyone that self-acceptance is all their music has ever been about. 

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