GRAMMY-winning R&B group TLC, GRAMMY-winning rapper Nelly and GRAMMY-nominated rapper Flo Rida are joining forces to go on an electrifying tour that will bring together hits you've been listening to since the '90s.

The acts will kick off the tour in Tuscaloosa, Ala. on July 23, stop by cities including Boston and Chicago and close it out on Aug.31 in Irvine, Calif. 

The North American tour won't be the first time TLC and Nelly have been on the road together, Nelly noted in the announcement on Buzzfeed's AM2DM. 

<blockquote class="twitter-tweet" data-lang="en"><p lang="en" dir="ltr">&quot;Nelly (<a href="https://twitter.com/Nelly_Mo?ref_src=twsrc%5Etfw">@Nelly_Mo</a>) , TLC (<a href="https://twitter.com/OfficialTLC?ref_src=twsrc%5Etfw">@OfficialTLC</a>) &amp; Flo Rida (<a href="https://twitter.com/official_flo?ref_src=twsrc%5Etfw">@official_flo</a>) Summer Tour&quot; - see the post &gt; <a href="https://t.co/wqxfc4j0EW">https://t.co/wqxfc4j0EW</a> <a href="https://t.co/mxHYDduAIi">pic.twitter.com/mxHYDduAIi</a></p>&mdash; Jermaine Dupri (@jermainedupri) <a href="https://twitter.com/jermainedupri/status/1105205136312463360?ref_src=twsrc%5Etfw">March 11, 2019</a></blockquote>
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"We're looking very much forward to it, man," Nelly said alongside TLC's Chilli. "We had the pleasure of working together before on a separate tour, but it wasn't ours so we decided since we had so much fun on that one we decided we would come together and do our own thing so we're looking forward to reaching out to everybody this summer and killing it."

As for what to expect on the tour, Chilli said fans can look forward to the music they love infused with "new things."

"We have so many surprises," she said. "It's gonna be a very different tour and I think you guys are gonna be very excited."

Pre-sale tickets go on sale March 12, and tickets for the general public go on sale March 15. For more information, visit Live Nation's website. 

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From the moment TLC burst onto the scene in 1991, they've tested the limits of what R&B is and can be. Formed as a tomboyish alternative to Bell Biv DeVoe, the Atlanta trio soon ended up eclipsing the New Jack Swing pioneers — and pretty much every other R&B act of the 1990s — with a sound and style that perfectly straddled the gritty and the smooth, the playful and the poetic, and the old and the new.  

Furthermore, each member of TLC brought something distinctive to the table. Tionne 'T-Boz' Watkins had the kind of huskiness that could make the phone book appear seductive; Rozonda 'Chilli' Thomas offered a poppier register tailor-made for radio; and the late Lisa 'Left Eye' Lopes possessed a lyrical flow that flitted between the mischievous and socially conscious. They simply sounded like no other girl group who had come before. 

Of course, the four-time GRAMMY winners subsequently spawned their fair share of emulators — most notably Left Eye protégés Blaque — and inspired a younger generation to channel their winning brand of crazy, sexy, and cool: BLACKPINK, Little Mix, and Fifth Harmony are just a few of the more contemporary girl groups who have publicly acknowledged their influence.

In the same year TLC celebrate both the 30th anniversary of their diamond-selling blockbuster, CrazySexyCool, and the 25th anniversary of its chart-topping follow-up FanMail, here's a welcome reminder of why the three-piece were such a game-changer.

They Empowered Their Audience

Like their arguably most obvious predecessors Salt-N-Pepa, TLC weren't afraid to talk about sex. "Red Light Special" and "Let's Take Our Time," in particular, were steamy enough to leave your speakers dripping; the X-rated "I'm Good at Being Bad" almost makes Megan Thee Stallion and Cardi B's "WAP" sound chaste. This was an admirably bold move in an era where male R&B performers were celebrated for being insatiable horndogs, and women were castigated for showing the merest sign of lust.

It wasn't just in the bedroom where TLC rallied against such double standards, though. Inspired by a blatant display of toxic masculinity on an episode of"Ricki Lake," "Unpretty" fought back against the ridiculous expectations imposed on women, ultimately setting a benchmark for every female self-empowerment anthem that followed.

They Delivered A Bold Message

The trio also opened up conversations on sex outside the pleasure principle. The video for debut single "Ain't 2 Proud 2 Beg" saw all three members attach condoms to their bright, baggy outfits, with Left Eye famously sporting one on the body part that inspired her nickname to further promote the issue of safe sex. 

Their second No. 1, "Waterfalls," highlighted the need for such protection with a subtle reference to HIV ("Three letters took him to his final resting place," T-Boz warns in the second verse). And the remix of their first chart-topper, "Creep," saw Left Eye spell out more explicitly the dangers of messing around on the downlow. For those who grew up in the early '90s, TLC were arguably more effective than any sexual health initiative.  

They Gave R&B The Blockbuster Treatment

Ah, the '90s, a time when music executives thought nothing of giving artists music video budgets akin to a small country's GDP. Luckily for Arista Records, TLC always delivered plenty of bang for their million-plus bucks.

Interspersing gritty depictions of both the drug and AIDS epidemics with groundbreaking performance footage of the trio in liquified form, "Waterfalls" picked up four wins at the annual VMAs, including Video of the Year. The GRAMMY-nominated visual for "Unpretty" tackled the issue of body image, racism, and gang violence in another highly dramatic mini masterpiece, while "No Scrubs" saw Hype Williams work his usual cyber-futuristic magic on the world's coolest space station. As a result, TLC became the defining R&B act of MTV's second generation.

They Merged The Worlds Of R&B And Hip-Hop 

While Mary J. Blige is often dubbed the Queen of Hip-Hop Soul, it could be argued that the title should be shared amongst TLC. The trio were plausibly the first major outfit to blend the beats and rhymes of rap music with the melodic sensibilities of R&B without any outside assistance. They scored almost as many No. 1s on Billboard's R&B/Hip-Hop Songs chart as they did on the Hot 100 as proof.

Left Eye, a firecracker of an MC whose lyrical flow was every bit as flamboyant as her fashion sense, was undoubtedly the group's secret weapon, allowing them to bounce between slow jams and party anthems with ease. An inspired choice of producers — ranging from established hitmaker Babyface to fellow Atlantans Organized Noize — also helped them to reflect both the sounds of commercial radio and the sounds of the streets.

They're The Queens Of Survival 

While there have been plenty of resilient pop stars, TLC repeatedly proved that they were experts in bouncing back. After all, the trio were forced to deal with near-insurmountable hardships in between nearly every album campaign. Following 1991's Ooooooohhh... On the TLC Tip, T-Boz became severely ill with sickle cell anemia, a condition she'd previously kept under wraps. On the other hand, Left Eye gave the tabloids a field day thanks to a turbulent relationship with Andre Rison, which involved numerous physical altercations and, most famously, the rapper burning the NFL star's house down.

Despite selling 23 million copies of 1994's CrazySexyCool, the group found themselves filing for bankruptcy after discovering they'd been the victim of an exploitative record contract. And then most tragically of all, 2002's 3D had to be completed as a duo when Left Eye lost her life in a car crash. After years of studio inactivity, T-Boz and Chilli once again proved their indomitable spirit with 2017's eponymous LP, particularly on opener "No Introduction" and the Boney M-sampling "It's Sunny" ("Don't be trippin' all over your fears/'Cause the good comes after bad/First you cry and then you laugh/As we head into another year").

They Pushed R&B Into The 21st Century 

After incorporating everything from classic Philly soul to '80s Prince on the retro-leaning CrazySexyCool, TLC decided to push things forward on follow-up FanMail, a thrillingly futuristic record which essentially reshaped the R&B scene for the 21st century. Skillfully interweaving all kinds of Y2K sounds (most notably, the dial-up modem), the opening title track and "Silly Ho" perfectly reflect the album's cyber artwork. Way ahead of their time, meanwhile, several spoken word interludes are attributed to a talking android named Vic-E.

If all this sounds a little gimmicky, then FanMail also had substance to its technological style, with the disconnect between the online and real worlds a recurring theme. "No Scrubs," meanwhile, essentially set a new feminist agenda, spearheading a wave of useless man-dragging anthems from the likes of Destiny's Child ("Bills, Bills, Bills"),Pink ("There You Go"), andToni Braxton ("He Wasn't Man Enough").

They Were Great At Harnessing New Talent 

One thing TLC don't get enough credit for is how they recognized and utilized talent that had only just started their path to world dominance. Take André 3000, for example. Having just released their fabulously titled debut Southernplayalisticadillacmuzik, Outkast were still largely unknowns when the flautist unleashed his laid-back drawl on CrazySexyCool closer "Sumthin' Wicked This Way Comes." Within a year, the duo were runners-up on the Billboard 200.

TLC were also the first major label outfit to draw upon the production skills of Jermaine Dupri ("Bad By Myself"), the So So Def founder responsible for 10 Hot 100 chart-toppers, and Kevin 'She'kspere' Briggs ("No Scrubs"), the hitmaker whose partnership with former Xscape vocalist Kandi Burruss set the blueprint for turn-of-the-century R&B.

They Broke Down Barriers 

There are plenty of stats to back up TLC's game-changing status, too. In 1995, they achieved a feat that had remarkably eluded Michael Jackson, Janet Jackson, and Prince: the first act of color ever to win Video of the Year at the MTV VMAs.

In 2000, they became the first female act to win GRAMMYs for Best R&B Song, Best R&B Performance by a Duo or Group with Vocals, and Best R&B Album in the same year. And having shifted an astonishing 65 million records worldwide, they're second only to the legendarySupremes when it comes to America's best-selling girl group. If that wasn't enough, CrazySexyCool's 10 million domestic album sales means they joinDixie Chicks as one of only two all-women outfits to receive an RIAA Diamond award.

They Were Able To Evolve Their Style 

TLC could never be accused of playing it safe. After gatecrashing the New Jack Swing scene with their playful 1991 debut, the trio transformed into soulful seductresses on the timeless CrazySexyCool before capturing the sound of the millennium on the innovative FanMail.

And while their 21st century releases haven't been quite as game-changing, 2002's 3D and their 2017 self-titled LP still highlighted TLC's ability to move with the times (see the Pharrell and Timbaland productions on 3D and social media clapback "Haters" on TLC).

They've been equally adaptable when it comes to their sense of style, from the Day-Glo overalls of their early years, to the slinky pajamas and sleek crop tops of their mid-'90s phase, to the striking space-age fashions of Y2K. And their sartorial vision has continued to make waves, with Vogue magazine declaring in 2017 that labels including Gypsy Sport, Valentino, and Balenciaga had all borrowed from the group's 'glam-leisure' look in recent years.

They've Continued To Pervade Pop Culture 

Although their recording output has been relatively slim over the last 20 years, TLC have still remained a part of the pop culture landscape. One of the 21st century's most streamed hits, Ed Sheeran's "Shape of You," was deemed so similar to "No Scrubs" that the Brit was forced to acknowledge its influence in the songwriting credits.

Drake, Zendaya, and Kaytranada are just a few of the contemporary names who've either sampled or covered the trio, while rapper J. Cole managed to persuade T-Boz and Chilli themselves to join him in the studio on 2013's "Crooked Smile." A 2023 Lifetime documentary special and appearances on various nostalgia tours have further kept the TLC name in the spotlight.

And could we soon be seeing their eventful story played out on Broadway? At the 2023 '90s Con, the duo revealed they'd been working on a new stage musical with the team behind award-winning phenomenon Hamilton.

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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

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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Rap albums of the 1990s showcased diverse sides of the hip-hop landscape, broadening both the sound of the underground and hits of the mainstream. By the 2000s, reigning hip-hop artists were either reinventing themselves —  among them, Jay-Z, Nas, Snoop Dogg and Lil' Kim — or giving way for up-and-comers. 

The 2000s hip-hop held space for rappers entering different phases of their careers, from luxuriant to conscious. Most 2000s hip-hop soundtracked a rowdy decade-long party, where Timbaland became a sought-after beatmaker for his experimental sounds, and the Neptunes’ synthetic production made them dominate radio play. Rappers continued to retell their rags to riches stories, while celebrating the fruits of their labor. 

A creative streak permeated throughout the decade, creating new styles and geographical hotspots. While the East, West Coast and Midwest held down their rap enclaves, hip-hop’s core largely went below the Mason-Dixon line, giving cities such as New Orleans, Atlanta, Houston and Miami well-deserved respect in the game. 

In the 2000s, different sectors of entertainment wanted to cash in on hip-hop's ever-growing traction. Hood films of the ‘90s evolved into heists (Paid In Full), biopics (8 Mile) coming-of-age stories (ATL) and dance flicks (Honey), many which had rappers taking their first acting roles. These new faces of Hollywood were also even tapped to star in TV advertisements for the likes of Nike and Sprite, the latter which has championed hip-hop for over 35 years. At the same time, a diamond-encrusted bling redefined hip-hop style, and several artists helmed self-established streetwear brands. 

Most importantly, the music kept spinning, turning hip-hop into a free-for-all playground that grew more inclusive as the years rolled on. While hip-hop’s golden age had undoubtedly ended, the 2000s saw the ascension of now-household names whose music is now being reworked by Gen-Z rap and pop artists. Here are 10 albums that captured hip-hop’s growing diversity and influence in music in the first decade of the new millennium. 

Nelly - Country Grammar (2000)

The East vs. West Coast cataclysm took over in the late 1990s, but the Midwest waved its flag high in the Y2K era. St. Louis-raised Nelly unapologetically recited nursery rhymes and dished out heartland twang on his seminal debut Country Grammar. Bringing local culture to the masses, Country Grammar catapulted Nelly into megastardom, as the album topped the Billboard 200 in its first week.

Cornell Haynes Jr., Nelly would forgo his baseball dreams when"Country Grammar (Hot S—)" ran hip-hop airwaves. A consistent run of hits followed: party-starter "E.I.," the hoedown-worthy "Ride Wit Me," and the "The Jeffersons"-dedicated "Batter Up," which featured Nelly’s side project, St. Lunatics. The rapper’s commercial appeal made him an instant favorite for kids and club-goers, both who raved over Nelly’s sing-a-long music. Nelly gave the world a glimpse of his "derrty" character, solidifying him as an early 2000s rap mainstay. 

Missy Elliott - Miss E... So Addictive (2001)

If Missy Elliott's Supa Dupa Fly and Da Real World were the one-two punch of the late ‘90s, those releases were also a prelude to her most globally successful album. Elliott  sent her progressive sound out of the stratosphere on her third album Miss E… So Addictive. Hypnotic, authentic and brilliantly innovative , So Addictive imagined spaced-out hip-hop and R&B scenes that fans could revel in. 

Timbaland-produced lead single "Get Ur Freak On"—which heavily used elements of non-traditional Punjabi music Bhangra — burned up dancefloors worldwide and won a GRAMMY for Best Rap Solo Performance in 2002. The near-misandrist bedroom banger "One Minute Man" shamed weak male lovers while Elliott and Ludacris asserted their sexual dominance. 

So Addictive dropped just months before the death of Aaliyah, Elliott’s longtime friend and collaborator. Elliott later dedicated the downtempo ballad "Take Away" to the late 22-year-old. Elliott’s most experimental LP yet made her a powerhouse that never ran out of off-the-wall ideas.

Eminem - The Eminem Show (2002)

Already a superstar due to 1999’s The Slim Shady LP and 2000’s The Marshall Mathers LP, The Eminem Show gave the Detroit native the title of the highest-selling rapper of all-time. The album would even earn two GRAMMY Awards, one for Best Music Video ("Without Me") and another for Best Rap Album.

For his fourth studio album, the Real Slim Shady went rogue. Hip-hop needed "a little controversy," EM rapped on lead single "Without Me," offering the middle finger to sensationalized celebrities and political figures. Zany and comedic in nature, "Without Me" spoofed impressionable suburban kids and Electronic musician Moby. 

Yet The Eminem Show offered more than just shock value. On "White America," Eminem acknowledged that his commercial appeal was partially due to being a white rapper. He continued confronting his problematic childhood, troubled relationship with his mother and faults on the cathartic "Cleanin’ Out My Closet." 

"Sing for the Moment,"  which interpolated 1973 Aerosmith classic "Dream On," garnered more radio play while harkening back to Eminem's impoverished upbringing and rocky start to fatherhood. As Eminem was just six years into his career, The Eminem Show was a lightning rod in a continued streak as a polarizing artist.

Clipse - Lord Willin’ (2003)

Missy Elliott wasn’t the only Virgina-bred rapper who reigned during the 2000s. Virginia Beach rhymesayers Pusha T and No Malice, known jointly as Clipse, rode high on their major label debut Lord Willin’. An early act on the Neptunes’ record label Star Trak Entertainment, Lord Willin’ predestined the legacy of the twin brothers.

Bars of fury flew throughout the regional statement album, ensuring that lunchroom tables would never be the same when lead single "Grindin’" released. The song’s table-beating and locker-slamming nature recalled high school cypher nostalgia, while Clipse boasted of their hustle mentality. 

Pharrell Williams (one half of the Neptunes) acted as Clipse’s hype man with adlibs and memorable hooks throughout the album. Faith Evans belted on "Ma, I Don’t Love Her," where Clipse pleaded for their significant other to avoid messy dating gossip. Club banger and MTV favorite "When’s the Last Time" still brought the wordplay, as Pusha T cleverly referenced a legendary 1980s crooner ("What did it, the whip appeal or my baby face?").

Both in the zone, Clipse made their mixtape rap flair a crossover smash. The brothers, who would shut down ComplexCon for the LP’s 20th anniversary, continue to salute their groundbreaking debut during rare performances, the next being IQ/BBQ in Queens.

50 Cent - Get Rich or Die Tryin' (2003)

Queens titan and Eminem protégé 50 Cent brought hip-hop to its knees with his 2003 debut, daring critics to test his gangsta. Get Rich Or Die Tryin’ debuted at No. 1 on the Billboard 200, just three years after 50 Cent recovered from being shot nine times. Over 19 tracks, the G-Unit frontman retold his story of victim to villain. 

The former Jam Master Jay protégé kicks down the door on "What Up Gangsta," and denies being anyone’s Superman ("They say I walk around like I got a S on my chest / Nah, that's a semi-auto and a vest on my chest."). He keeps his enemies close and depicts near-death experiences on "Many Men (Wish Death)." The rapper showed his affectionate side on "21 Questions," where he probes his partner’s loyalty. He flosses his extravagant lifestyle on the steel pan-tinged "P.I.M.P.," which was customary to blinged-out artists of the 2000s. 

The album’s biggest single, "In Da Club," made a resurgence when 50 Cent was a surprise guest during the Dr. Dre-curated Super Bowl LVI halftime show in 2022. 50’s brief spot during the performance paid homage to his "In Da Club" music video, where his bold entry into hip-hop paved the way for his East Coast rap successors to reclaim the streets.

Outkast - Speakerboxxx/The Love Below (2003)

Atlanta rap forerunners Outkast brought quintessential funk to their fourth studio album. Released as a double album — where Big Boi’s Speakerboxxx boomed and André 3000 opened up his innermost romanticism on The Love Below  — each record highlighted the duo’s individualism. 

Big Boi gave a masterclass in rhyme and flow on Speakerboxxx, exuding a warmth that made songs like "The Way You Move," "Bowtie" and "The Rooster" playlist selections for summertime gatherings for years to come. The nightmarish "Bust" featuring fellow ATL emcee Killer Mike references a mid-’70s era George Clinton. The electronic production on "Tomb of the Boom" is the perfect freestyle backdrop for Boi to trade verses with  rap trio Konkrete, fellow Dungeon Family member Big Gipp and Ludacris.

3000 demonstrated his multi-hyphenate chops, acting as singer/-songwriter, rapper, producer and maestro on The Love Below. He falls into lustful temptation on the Prince-inspired "Spread" before finding his close-to-perfect match ("Prototype"). An Outkast reunion takes place on the soulful "Roses," where 3000 wails about a snobby "Caroline." Karaoke staple "Hey Ya!" invented whimsical and now-classic lines like "What’s cooler than being cool? (Ice Cold)" and "shake it like a Polaroid picture." 

Speakerboxxx / The Love Below preceded Outkast’s 2006 musical film Idlewild, which reinterpreted select songs, and the album scored three GRAMMY Awards in 2004, including the coveted Album of the Year. By 2004, Outkast approached their hiatus, which has continued albeit a brief music festival run in 2016.

T.I. - King (2006)

Titled after the rapper’s fifth child, King made a statement that T.I. had the "top spot," as declared on DJ Toomp-produced lead single "What You Know" (which also won a GRAMMY Award for Best Rap Performance in 2007). The album was a perfect cross-promotion with T.I.’s acting debut in the comedy-drama ATL, which arrived in theaters just days after the release of King.

T.I. recruited top hip-hop producers from all coasts to bring their best to his fourth studio album. The effort paid off, as Alabama’s Kevin "Khao" Cates reimagined Crystal Waters’ 1991 deep house anthem "Gypsy Woman (She's Homeless)" on "Why You Wanna." Bronx-born superproducer Swizz Beatz brought out the sirens on the marching band sounds of "Get It." The piano-laden "Goodlife" featuring Common was courtesy of the Neptunes, with Pharrell Williams providing the song’s hook. 

Whilst calling out his competition, the self-appointed King of the South came to the game with nothing left to prove.

Kanye West - Graduation (2007)

In 2007, Kanye West and 50 Cent went head-to-head over first week sales. The two were well into their respective careers, but the friendly rivalry went public, including a competitive Rolling Stone cover shot. 

But West would win the war, amassing 957,000 in first-week sales and earning the No. 1 spot on the Billboard 200 for his third studio album Graduation. Exploring more sonic ground, Graduation marked an end to West’s alt-rap heyday.

The Chicago-raised artist aired out his frustrations on "Stronger," which expertly sampled the 2001 Daft Punk single "Harder, Better, Faster, Stronger." The synthy and anthemic "I Wonder" finds West reaching his hip-hop dreams. The rapper gives a shout out to "Summertime Chi" and flaunts his riches on the head-knocking "Good Life." Barely escaping the clutches of a vengeful ex, "Flashing Lights" shows a more vulnerable West, who admits his relationship flaws. 

West’s final Graduation Bear era would earn him two GRAMMY Awards in 2008, in the categories of Best Rap Song ("Good Life") and Best Rap Album.

Lil Wayne - Tha Carter III (2008)

New Orleans lyricist Lil Wayne conquered mainstream hip-hop with his sixth studio album, Tha Carter III. In lieu of guest appearances and frequent mixtapes, Wayne challenged Jay-Z’s "best rapper alive" status while boasting features with some of R&B’s elite players. In fact, Wayne nabbed Jay-Z for  the chipmunk soul of "Mr. Carter," titled after the pair’s shared last name (no relation). 

The daring move paid off, as TC3 won GRAMMY Awards for Best Rap Album, Best Rap Solo Performance ("A Milli") and Best Rap Song ("Lollipop"). Hip-hop’s top hook singer of the mid-2000s, T-Pain, contributed his auto tuned vocals to the frenzied "Got Money." Bobby V’s absurd police car sounds coated "Mrs. Officer," where Weezy shows his affections for women in uniform. 

His agile rhyme schemes run rampant throughout the album, notably "Phone Home," where he proclaims "we are not the same, I am a martian." TC3 proved that Wayne was surely from another planet, and the rapper continues to demonstrate that he’s inimitable.

Kid Cudi -  Man on the Moon: The End of Day (2009)

Kanye West walked so Kid Cudi could run. Both hedonistic and conscious, the Cleveland rhymer marched to his own drum on Man on the Moon: The End of Day. Split into five acts, MOTM hazily conceptualized Cudi’s path to inner peace. 

Production that ranged from psychedelia to synth-pop also made the rapper distinct from his peers in the blog era of rap. Arguably the most memorable track, the diamond-certified "Pursuit of Happiness (Nightmare)" played as an electronic rap midnight jam session with collaborators MGMT and Ratatat. 

"Soundtrack 2 My Life" detailed Cudi’s mental health woes and the death of his father. The minimal ambience of "Day ‘N’ Night" saw Cudi taking shape as "The Lonely Stoner," who uses medication to escape depression. Despite Cudi’s bleak outlook on life, he gave space to his "wildest dreams" on "Enter Galactic (Love Connection, Pt. 1)," which later titled his 2022 Emmy-nominated animated Netflix special. 

MOTM gave way to a forward-thinking side of hip-hop, where rappers could ambitiously experiment with a multitude of genres. Cudi's fans include Travis Scott, Chance the Rapper and A$AP Rocky, each of whom followed Cudi's example in distinct ways.

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