Omar Apollo’s career began with a stolen guitar. It almost ended with one, too.

The self-taught musician, then 14, had been playing for two or three years when robbers took his beloved instrument from the family car after a gig. With no money to replace it, Apollo took up dancing and worked various jobs while in high school. He had let his music-making days go — until one day he couldn’t anymore. 

"The feeling overwhelmed me," he tells GRAMMY.com. "Music had taken over the part in my brain that needed to be creative." He went to a pawn shop and bought another guitar.

Following that feeling served him well. Apollo uploaded his song "Ugotme" to Spotify in 2017 and it was quickly blew up after being placed on a Fresh Finds playlist. Over the next three years, he released two EPs and a mixtape — Stereo (2018), Friends (2019) and Apolonio (2020) — which showcased his wide range of sounds including funk, pop, disco, R&B and Spanish corridos. Apollo’s dreamy croons and wistful lyrics about love (or lack of it) were a raw new voice to the youth experience of putting words to yet-unplumbed feelings. The son of Mexican immigrants, he also became a relatable figure for fellow first-generation Latinos.

This past year has been especially momentous. In April 2022, Apollo released his debut album, Ivory, which features Kali Uchis ("Bad Life"), Daniel Caesar ("Invincible") and production by the Neptunes ("Tamagotchi"). Another single from the LP, "Evergreen," went viral on TikTok, earned him his first placement on Billboard’s Hot 100 chart and currently boasts over 118 million Spotify streams. It’s all culminated in a Best New Artist nomination for the 65th GRAMMY Awards. 

Of course, these achievements didn’t all come easily. Behind the scenes, he reckoned with scrapped albums, tight deadlines and the type of overthinking that can crumble any artist’s career. Yet these hurdles only helped Apollo sharpen his vision — and he’s just only getting started.

How did your parents react to your nomination?

My dad was like, "Congratulations." My dad’s thought every single award was a GRAMMY nomination. So like, I won an award recently and he's like, "I heard you got another GRAMMY, mijo." And I was like, it wasn’t a GRAMMY [laughs]. It was so fun. My mom instantly was like, "What are we wearing?"

Are you bringing them to the GRAMMYs?

Of course.

As a fellow child of immigrants, I think we're very aware of the sacrifices that our parents made to build the life that we have now. How does that impact you?

With my parents being from Mexico, then coming here so their kids could have a better life, there's that pressure of needing to be successful or wanting to be — not so much in a creative way; more like, no, you go to college and get a job, that kind of thing.

But honestly, the feeling to make music was far greater than the pressure. I didn't think of it as a career; it just kind of snowballed into one. It was tough for them at first to understand. If I was living in Mexico and crossed the border illegally so my kids could have a better life, and then my kid wakes up one day and is like, oh, I wanna be a singer, I would be stressed out too. So I never blamed them for it. Now I have a great relationship with them.

How do you feel about the general Best New Artist category?

I'm happy to be recognized as new [laughs]. I wake up every day and just think about the future, and wanting to keep making music and progressing. Some people are like, you've been touring for a while, but I honestly feel like I'm barely getting started. It's just wonderful to be recognized, and with other great talented artists that I've known about and really like their music, too.

Ivory almost didn't happen in its current state. Why did you scrap the first version of the album, and how did you know you were on the right track for this one?

I scrapped the first album because I hated it. I wasn't excited to perform it. Everything was post-rationalized; it didn't have any theme. It was just me linking up with a bunch of producers and then putting whatever happened in those two months all together. It didn't feel like me by any means. It wasn't made on my laptop while I've been making music; it was on everyone else's computers. It was just weird. 

I learned so much from working with other people that I don't regret that at all. It also led me to making an album that I was proud of. So after I realized that it was an album that I didn't like, I made a new one in like three months. I booked houses in Idyllwild and Greenpoint in New York and just isolated myself, just took everything I learned. Very few people were involved in that process. I didn't even play it for my manager or nobody until it was done. I think that boundary really made all those songs into what they are.

Three months to make a new album sounds incredibly stressful. Do you find that you thrive in periods of crunch time?

That was definitely my most stressful time with music for sure. It was very dark. I felt like I was gonna burn a bridge with my label. But I got so much done. I made a hundred songs in three months and cut it down. Now I don't think I need to do that. 

Now it's not so much discovery, it's more execution. Discovery can take years, you know? I think that the process of Ivory and me releasing it gave me so much to learn from next time I'm in the process of writing.

Like what?

Themes, tones, overall cohesiveness and making an album. I could be like, this album is about this as opposed to doing 10 different genres. At the heart of everything that I do, I feel like there's soul even when I'm rapping. I think that's when I realized it's the type of music that I wanna make and play forever.

Did you expect "Evergreen" to take off the way that it did?

I don't think any of us did. It's so funny 'cause I always hear people talk about, when the song goes big, they're like, "we never knew." But we genuinely never knew. We even had a conversation when we were doing the splits of the song. It was me, Manny [Barajas], and Teo [Halm], and something came up along the lines of like, yeah, this isn't gonna be like, the song [laughs]. It’s just funny that it was.

Why do you think it resonated with so many people?

There was a giant release on that song and it almost didn't happen. The bridge is the release, the thing that ties the whole song together. Otherwise, it would just be a very sad song. I think that the part where [I sing] "You didn't deserve me at all" — just the way that it was set up and done — people could relate to it.

 It's a feeling that we've all felt in a relationship where it's just like, you tell yourself things to get over it and move on. One of those things is like, you didn't deserve me and the love I had to give.

I personally love "En El Olvido." Have you thought about making an album entirely of corridos or an all Spanish language record?

I totally have. I don't know how I would do it though. Right now I'm focused on writing. I'm going to the studio every day; I'm probably gonna go after this. There's just things I have to get out first, but who knows, they might develop or change. I just try to honor the inspiration that I feel and get it out as much as I can.

What's inspiring you now?

I've become obsessed with synthesizers; I just got one that I've been making every song on. And analog, '70s stuff. The atmospheric tones from that era have been inspiring me. I've been listening to a lot of Brian Eno, a lot of ambient [music]. 

I made a playlist, it's four hours long, that I spent like eight hours making one day in the green room. I was doing a show and just made like a whole… all of my knowledge of ambient music and even new stuff, just altogether in one thing. I don't know why, I've just been really drawn to that ambient feeling. I want to be able to sing over it because I love how it makes me feel. I want to amplify that feeling, that atmosphere, that world. Just be engulfed in it.

Tell me more about that world.

It slows everything down for me. I feel like when you're on the road and you have to constantly be perceived, it gets kind of heavy and then you start overthinking every interaction. Even the ones that aren't being recorded. That music puts me to sleep at night and makes me feel like everything's okay. 

Longing has been a major theme in your work. What is longing to you and why is it so dominant in your music?

Living in a state of longing is probably some of the most intense moments that I've had and the ones that I remember. Always traveling and not being able to have a conventional relationship as much as I'd like to. I've accepted longing as a feeling and, instead of being sad about it, I just like to live in it, I like to bask in it. It’s like a Freudian slip. Whenever I talk about longing, it's just there, like a sadness that I love to carry. 

I feel that. When you talked about how Pedro Infante’s "Cien Años" was foundational to your understanding and love of corridos, as soon as I read that I had to listen to it. It's still stuck in my head.

It's so good, man. Especially when you're longing for somebody but you know you’ll see them again. The longing of someone unrequited is what sucks. That one I don't like [laughs]. But the longing of somebody's presence, wanting to see them, be around them, see how they react to the simplest things. You get joy from it. That's the part I miss.

You're big on manifestation. In the last few years you've manifested two "Tonight Show" appearances, a Coachella gig and possibly this Best New Artist win. So let's put it out there: What else do you want to manifest?

What I want to manifest ultimately is being able to say what I wanna say in the most poetic way. That's all I really think about, is just being able to put words to these feelings that I get, and make something that I'm proud of.

2023 GRAMMY Nominations: See The Complete Nominees List

Danna Paola feels comfortable coexisting with her shadows. 

The Mexican singer, model and actress first appeared on television at age five, and has spent recent years dwelling on memories of her youth. Now 28, Danna is dismantling the myths and taboos around her artistic persona.

This process resulted in CHILDSTAR, which arrives April 11. Danna's seventh LP is her most authentic production and one where she makes peace with her childhood.

Accomplishing this freedom took her two years of therapy, the singer confesses to GRAMMY.com. "I deconstructed myself and my beliefs and unlearned many things to learn new ones. The pandemic also opened Pandora's box. That's where everything came out."

Through that self-discovery process, Danna knew she had to break with a constant that had accompanied her for two decades: acting. The last character she portrayed was Lucrecia in the Netflix series "Elite," a popular role that led her to reignite her music career after an eight-year hiatus. Beginning to live authentically, without the vices that fictional characters can leave behind, was the crucial step that led the Latin GRAMMY-nominated singer to CHILDSTAR.

CHILDSTAR follows a lengthy depression and a break from her management team, which Danna has described as controlling. On the new album, she embraces indulgence — singing about female pleasure for the first time in her career — and draws inspiration from her after-hour encounters. CHILDSTAR's darkly powerful electronic rhythms and synth-pop, tell a tale about a weekend of partying, alcohol, and sex to create the perfect escape from "your demons, your life, and your reality." 

Ahead of her album release, Danna Paola discussed the processes that led her to break with her past, how her boyfriend was instrumental to her return to the studio, the synthesizer that inspired the album's sound, and the gift that Omar Apollo left for her. 

This interview has been edited for length and clarity.

Tell me about the process that led you to co-produce for the first time.

This album is made with a lot of love, many hours, but above all, a lot of freedom. It's a very energetic and aggressive album, liberating.

It was a journey of introspection, empowerment, and self-confidence. Beyond being a sad story, the complete meaning of the album is not to talk and throw shade at my childhood. [It's about what] I have discovered since that first therapy session to find and make peace with my past, and that instead of being a place of embarrassment for me, it empowered me.

CHILDSTAR is the first album in my entire career where every inch, detail, and decision are curated and made by me. That's something that I am very proud of. I made an album for myself and that little Danna who has always wanted to do this. 

It is energetic, super intense, and sexual. Electronic music, funk, dance, synth-pop, and R&B lead me to drain all these emotions. The choice of each song, and the details and creating them from start to finish, [has] been very cathartic.

In "The Fall," you sing, "You don't know me, you don't know s–– about me. I'm not a shooting star." Was it painful to relive the memories of being a child star?

Yes. I grew up in 2000s television. Back then, creating a child's image came from a lot of machismo: being the perfect girl, the girl who doesn't speak badly, the girl who smiles for everything, and whose characters are all good. She can't do bed scenes, can't talk about sex. 

With this project, I embrace that [version of] Danna. I told that girl that everything would be fine. It's OK if you make mistakes, and it is OK to fall in love. Falling in love terrified me because I've been on different projects… every six or eight months; the longest a project lasted for me was a year. I made relationships with people and friends, [but] people always left my life. I built a pretty lonely life; I almost did not spend time with my family. I poured my life into work.

I had this distortion of reality where Danna Paola was the superheroine, and I forgot who Danna was. That's why I stopped acting; creating characters and being in someone else's skin was moving me further and further away from discovering myself as a human being in the ordinary course of life, of creating myself based on situations, emotions, and relationships. 

In therapy, of course, I understood that. I made peace, and today, I am discovering many beautiful things about myself as a child that were precious, happy, and full of love. Of course, I don't blame my parents because they did their best. Nobody teaches you how to be a child star from age five.

The album led you to shine a light on your darkest sides. What did you discover about yourself and Danna as a person and artist?

I was terrified to take risks, to speak, or to create. [To me] creating a project takes a long time, at least with music. I discovered that, for me, [making music] is a spiritual act. It is an everyday practice. It is to continue to discover and continue to learn. It's falling in love again with my profession and giving the industry another chance.

I also learned that our capacity for reinvention is infinite so we can start over. Today, I also begin to be a little more human. However, I don't aspire to be an example for anyone. I want to share my experiences and the lessons I have learned so I can move forward, continue to love what I do, and not lose myself. I used to say that I wouldn't make it to 27. That was in my head.

I'm making a wonderful balance between my personal life and my work. I'm also building my family at home with my boyfriend [artist Alex Hoyer], my two little dogs, my friends, and my chosen family. It's making peace and creating the life of my dreams.

Do you like who you are now?

I love it. I continue to polish many things about my personality. I work hard to be a better human being. Life is about learning and transforming yourself. I can release another album in a couple of years; I may release another this year. I don’t want to stop making music. [I want to] continue transforming myself through my art. 

In the first two tracks, "The Fall" and "Blackout," you repeat that people don't know you. How would you describe the Danna of this record? 

She's a woman who is very sure of who she is, and nobody has given anything to me. I'm in love with my project, my music, and my life, and I'm enjoying it a lot.

I struggle a lot with fame, but today, I present myself as a liberated woman in a good headspace. I don't pretend to be perfect or an example for anyone. Quite the opposite; all I do is share experiences, lessons, and music.

I'm an artist in every sense of the word. I'm a creative, honest person and have a lot of love to give, and I love receiving it, too. That should be mutual. It's an energetic practice that when one really does things with love, the universe always rewards it.

In songs like "Atari" and "Platonik," you openly sing about female sexual pleasure. Is it the first time in your career that you sing about your sexuality? 

Yes. This album is very sexual. There's a taboo when it comes to women talking about sex. In reggaeton, there are thousands of ways in which we can talk about sexuality. In my case, I had always considered it forbidden. 

It's what I told you about the kid [actress] who doesn't [about sex], who's a virgin until marriage. There is no richer pleasure than sex and the sexual pleasure you can have as a woman. There's liberation, to feel good about yourself, with your body, and also the sexual education that I can also share with generations.

This liberation with my femininity is something that I also discovered: The pleasure of being a woman and having many experiences in my life that have led me today to enjoy who I am, to have a happy sex life, and to share it through my music.

In "Platonik," you discuss sexualizing a platonic relationship with a woman and sing "I can't help what I think in my bed." Why was exploring that relationship important to you?

I had a platonic love with a girl at a stage of my life. I kept this to myself; it was a personal experience that opened the conversation to a beautiful story.

I wrote this song with [producer and songwriter] Manu Lara. We made it in half an hour. This song has something unique because, besides talking about a personal experience that is also super sexual, it talks about universal love.

That's why I say that CHILDSTAR is an album of many stories that have marked my life and beyond, talking about only the childhood stage, which is what everyone speculates, but that's not the case.

You’re flirting more with synth-pop in this album. What caught your attention about this genre?

It comes from this aggressive part of saying, here I am. For me, electronic music connects and drains emotions. Every time I've been out partying, electronic music has been liberating for me, and when I put it together with pop and these lyrics, it has become a new way to enjoy the genre.

While creating CHILDSTAR in Los Angeles, I fell in love with a Jupiter [synth] we found at Guitar Center. That synthesizer is in every song. The inspiration [to use the instrument] comes from John Carpenter's synth album [Lost Themes III: Alive After Death]. In it, I discovered synthesizers had a way of incorporating sound design and darkness into the album. 

[Synth-pop is] the expression of that need to bring out the energy I had stuck through music. It’s an emotional purpose, the connection I have with electronic music.

Your boyfriend, Alex, was instrumental in making "XT4S1S" when you didn’t want to enter a recording studio. How was reconnecting with music with help from your romantic partner?

"XT4S1S" is the song that, to both of us, as a couple and as producers, connected us on a hefty level.

I was super blocked. It took me several years to get out of my depression hole. We returned one day from [La Marquesa park] here in Mexico, and started chatting. Alex opened his laptop and started pulling out a beat.

I started throwing melodies, and [shortly] we had the chorus. It brought me back to life. I started crying with excitement because I finally felt again these desires and this emotion that you feel when you create a song, and you can’t stop moving forward and keep creating.

I remember we recorded my vocals on a voice note and sent it to [the production software] Logic. Then, it took us four months to produce this song because it was a lot of discovery, in this case, for me as a producer.

Alex is a great musician, artist, a genius — and I don’t say that because he’s my boyfriend. Artistically, there’s a fascinating world inside his head that I have learned a lot from. 

The track "Amanecer," which features Omar Apollo, breaks dramatically with the story you tell in the album. Why did you end that party cycle with a more folksy, chill song?

"Amanecer" is a track that has us all in love. It was the last song I recorded for the album. 

I wrote it to my ex. On my birthday, he called me — I was already with Alex — and it was super weird. I always feared running into him on the street, seeing him with someone else, and feeling something. And it was the exact opposite. I had already healed internally, and that wound had stopped hurting. I stopped feeling all the emotions I had gone through in K.O., [the album nominated for Best Vocal Pop Album at the 2021 Latin GRAMMYs].

This song talks about knowing how to make peace and understanding how to let go. It’s the dawn of the album. It’s perfect to release all the drama, and all the intensity, and aggressiveness that is the entire album itself.

[The song invites you] to hug yourself and say everything will be fine. There is always an opportunity to start over. 

It also has a beautiful story. Manu [Lara] taught Omar Apollo the instrumental parts of the song, and he made some melodies. At the moment of receiving them, [Omar] agreed we would make a song together, [but] it was almost impossible to record together.

[Instead, Omar] told me "You can use the melodies I made" and left me the last part of "Amanecer." He left us with that magical essence.

10 Women Artists Leading A Latin Pop Revolution: Kenia Os, Belinda & More

Six years after her last solo studio album, Beyoncé returned to the music industry with a bang thanks to RENAISSANCE. In homage to her late Uncle Johnny, she created a work of art inspired by the sounds of disco and house that wasn't just culturally impactful — it was history-making.

At the 2023 GRAMMYs, RENAISSANCE won Best Dance/Electronic Album. Marking Beyoncé's 32nd golden gramophone, the win gave the superstar the record for most gramophones won by an individual act.

In this episode of GRAMMY Rewind, revisit the historic moment Queen Bey took the stage to accept her record-breaking GRAMMY at the 65th Annual GRAMMY Awards.

"Thank you so much. I'm trying not to be too emotional," Beyoncé said at the start of her acceptance speech. "I'm just trying to receive this night."

With a deep breath, she began to list her praises that included God, her family, and the Recording Academy for their continued support throughout her career. 

"I'd like to thank my Uncle Johnny, who is not here, but he's here in spirit," Beyoncé proclaimed. "I'd like to thank the queer community for your love and inventing this genre."

Watch the video above for Beyoncé's full speech for Best Dance/Electronic Album at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind. 

Tune into the 2024 GRAMMYs on Sunday, Feb. 4, airing live on the CBS Television Network (8-11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) and streaming on Paramount+ (live and on-demand for Paramount+ with SHOWTIME subscribers, or on-demand for Paramount+ Essential subscribers the day after the special airs).

A Timeline Of Beyoncé's GRAMMY Moments, From Her First Win With Destiny's Child to Making History With 'Renaissance'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Create longevity. Create an asset. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Well, David Guetta is an incredible artist.

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

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

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

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

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

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

Read More: Women In Hip-Hop: 7 Trailblazers Whose Behind-The-Scenes Efforts Define The Culture

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

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

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

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

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

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

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

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

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

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

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

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

25 Artists To Watch In 2024: Chappell Roan, VCHA, Teezo Touchdown & More

Since the start of her career, four-time GRAMMY winner Lizzo has been making music that radiates positive energy. Her Record Of The Year win for "About Damn Time" at the 2023 GRAMMYs proved that being true to yourself and kind to one another always wins.

Travel back to revisit the moment Lizzo won her award in the coveted category in this episode of GRAMMY Rewind. 

"Um, huh?" Lizzo exclaimed at the start of her acceptance speech. "Let me tell you something. Me and Adele are having a good time, just enjoying ourselves and rooting for our friends. So, this is an amazing night. This is so unexpected."

Lizzo kicked off her GRAMMY acceptance speech by acknowledging Prince's influence on her sound. "When we lost Prince, I decided to dedicate my life to making positive music," she said. "This was at a time when positive music and feel-good music wasn't mainstream at that point and I felt very misunderstood. I felt on the outside looking in. But I stayed true to myself because I wanted to make the world a better place so I had to be that change."

As tracks like "Good as Hell" and "Truth Hurts" scaled the charts, she noticed more body positivity and self-love anthems from other artists. "I'm just so proud to be a part of it," she cheered.

Most importantly, Lizzo credited staying true to herself despite the pushback for her win. "I promise that you will attract people in your life who believe in you and support you," she said in front of a tearful audience that included Beyoncé and Taylor Swift in standing ovation, before giving a shout-out to her team, family, partner and producers on the record, Blake Slatkin and Ricky Reed. 

Watch the video above for Lizzo's complete acceptance speech for Record Of The Year at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind, and be sure to tune into the 2024 GRAMMYs on Sunday, Feb. 4, airing live on the CBS Television Network (8-11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) and streaming on Paramount+ (live and on-demand for Paramount+ with SHOWTIME subscribers, or on-demand for Paramount+ Essential subscribers the day after the special airs).

10 Must-See Moments From The 2023 GRAMMYs