Source Photos (L-R): Kevin Mazur/Getty Images for Coachella; Charles Sykes/Bravo/NBCU Photo Bank via Getty Images; Stephen J. Cohen/Getty Images; Gary Miller/FilmMagic; Santiago Bluguermann/Getty Images
Super Bowl 2022 Playlist: Listen To Dr. Dre, Eminem, Snoop Dogg, Mary J. Blige, Kendrick Lamar & More Before The Big Game
From Mary J. Blige to Mary Mary, get to know the musical performers set to take the stage at Super Bowl 2022
Super Bowl LVI kicks off in Los Angeles at SoFi Stadium on Feb. 13, as the Los Angeles Rams face off against the Cincinnati Bengals. While this will be the first Super Bowl appearance for many of the stars on both teams, artists performing during Super Bowl LVI are more familiar with the big stage.
The crossover between the biggest game of the year and the biggest stage in music gets started before kickoff, with four-time GRAMMY nominee Mickey Guyton set to perform the national anthem, six-time GRAMMY nominee Jhené Aiko singing "America the Beautiful," and two-time GRAMMY nominees Mary Mary slated to perform "Lift Every Voice And Sing." This year's halftime performers — Dr. Dre, Snoop Dogg, Mary J. Blige, Kendrick Lamar and Eminem — have a combined 44 GRAMMY wins and 156 nominations.
With such a revered cast of performers for Super Bowl LVI, this year's pregame and halftime shows are must-see TV. Here's a playlist to help you get familiar with the artists set to take over a screen near you this weekend.
Photo: Frazer Harrison/Getty Images
Dr. Dre Is The Recipient Of The Inaugural Dr. Dre Global Impact Award At The 2023 GRAMMYs
At the 2023 GRAMMYs, seven-time GRAMMY winner Dr. Dre was the recipient of the inaugural Dr. Dre Global Impact Award.
At the 2023 GRAMMYs, seven-time GRAMMY winner Dr. Dre was the recipient of the inaugural Dr. Dre Global Impact Award for his multitude of achievements through his innovative, multi-decade career.
Dr. Dre was presented the award after a plethora of televised bona fides, and offered his thanks to the Recording Academy and Black Music Collective for the prestigious honor in light of the Recording Academy's celebration of the 50th anniversary of hip-hop.
Check out the complete list of winners and nominees at the 2023 GRAMMYs.
Photo: Kevin Winter/Getty Images for The Recording Academy
Kendrick Lamar Wins Best Rap Album For 'Mr. Morale & The Big Steppers' | 2023 GRAMMYs Acceptance Speech
Kendrick Lamar took home the award for Best Rap Album, recognizing how 'Mr. Morale' allowed him to grow as an artist.
Kendrick Lamar won the GRAMMY for Best Rap Album for Mr. Morale & The Big Steppers at the 2023 GRAMMYs. Lamar thanked his family for giving him the "courage and vulnerability" to tell his stories, as well as his fans for trusting him with the stories.
Photos: Christopher Polk/Staff / Getty Images; Bennett Raglin / Stringer / Getty Images; Jeff Kravitz / Contributor / Getty Images
Listen: Playlists To Honor Global Impact Award Honorees Dr. Dre, Missy Elliott, Lil Wayne, & Sylvia Rhone
As these independent legacies are set to receive a Global Impact Award at The Recording Academy Honors Presented By The Black Music Collective Event, rediscover honorees Dr.Dre, Missy Elliott, and Lil Wayne with these playlists.
Ahead of the 2023 GRAMMYs, revered GRAMMY Award-winning artists Dr. Dre, Missy Elliott, and Lil Wayne and music executive Sylvia Rhone will each receive the Recording Academy Global Impact Award for their personal and professional achievements in the music industry at the Recording Academy Honors Presented By The Black Music Collective.
The second annual Black Music Collective event and official GRAMMY Week event takes place Thursday, Feb. 2, at the Hollywood Palladium in Los Angeles and is sponsored by Amazon Music and Google Pixel Phone. It will once again feature first-time GRAMMY nominee Adam Blackstone as the musical director of the evening. Recording Academy Board of Trustees Vice Chair Rico Love will also return to Chair the event.
Dr. Dre is a seven-time GRAMMY Award-winning artist, producer, founder, entrepreneur, philanthropist, and CEO of Aftermath Entertainment and Beats Electronics. His career has spanned over three decades starting as a member of the World Class Wreckin’ Cru shortly after, he co-founded the revolutionary group N.W.A. In 1996, Dre launched Aftermath Entertainment, where over the years, he discovered hip-hop superstars such as 50 Cent, The Game, Kendrick Lamar, Anderson Paak, and Eminem.
Missy 'Misdemeanor' Elliott has remained relevant as a true visionary and pioneer for women in hip-hop for over 25 years. The multi-GRAMMY-Award-winning rapper, singer, songwriter, and producer made an immediate impact on the music industry with her critically acclaimed debut album Supa Dupa Fly. Her experimental sound and groundbreaking music videos changed the music landscape and challenged artists not to conform to the norm. Among other awards and accolades, Elliott became the first woman rapper inducted into the Songwriters Hall of Fame. The Virginia native has produced for and collaborated with artists such as Aaliyah, Beyoncé, Janet Jackson, Mariah Carey, Ciara, Lil' Kim, J. Cole, Busta Rhymes, Ludacris, Chris Brown, and Lil Wayne.
Lil Wayne has left a lasting impact on the culture as a five-time GRAMMY Award-winning, multiplatinum rap icon, Young Money Entertainment founder and CEO, Young Money APAA Sports founder, acclaimed author, pro skater, and philanthropist. By 2020, he cemented his legacy forever as "one of the best-selling artists of all time." Among many milestones, he emerged as "the first male artist to surpass Elvis Presley with the most entries on the Billboard Hot 100," logging a staggering 183 entries – the third most of all time. Simultaneously, Wayne owns and operates Young Money Entertainment, the company that ignited the careers of Drake, Nicki Minaj, Tyga, and many more.
Sylvia Rhone has set the pace for the music industry as one of the most impactful, influential, and important executives in history. She has devoted her professional life to music, she broke a glass ceiling for the first time, and changed the landscape forever as the “only African American and first woman ever” to be named Chairwoman and CEO of Elektra Entertainment Group in 1994. She made history once more in 2019 when Sony Music Entertainment selected her as Chairwoman and C.E.O of Epic Records, enshrining her as "the first woman CEO of a major record label owned by a Fortune 500 company and the first Black woman to attain such a title." Along the way, Rhone has impressively left an indelible imprint on pop, hip-hop, rock, heavy metal, R&B, soul, and electronic music with an impeccable track record. She has shepherded the success of everyone from Missy Elliott, Anita Baker, the late Ol’ Dirty Bastard, Jason Mraz, Busta Rhymes, Pantera, and Metallica to Lil Wayne, Kelly Rowland, Akon, Kid Cudi, Nicki Minaj, A Tribe Called Quest, Fabolous, Tamia, and Gerald Levert, just to name a few. Currently, she is at the helm of Epic Records where she has overseen historic releases from Future, Travis Scott, 21 Savage, DJ Khaled, Camila Cabello, and many more. A music industry trailblazer for four decades, Rhone has catalyzed the careers of artists who have changed music and the world at large — and she will continue to do so.
As these independent legacies are set to be honored with a Global Impact Award for their personal and professional achievements in the music industry, rediscover Dr.Dre, Missy Elliott, and Lil Wayne with these playlists curated by Amazon’s music experts.
Photo: Steve Russell/Toronto Star via Getty Images
Hip-Hop's Secret Weapon: Producer Boi-1da On Working With Kendrick, Staying Humble And Doing The Unorthodox
The self-described "young veteran" producer, up for four awards at the 2023 GRAMMYs, including Producer Of The Year, Non-Classical, has his hand on songs by Drake, Beyoncé and Kendrick Lamar. He spoke with GRAMMY.com about creating with hip-hop greats.
If a rapper staying atop the mainstream for more than a decade is a herculean feat, then a producer doing the same is downright sisyphean. Boi-1da, the 36-year-old Canadian producer who netted four nominations at the 2023 GRAMMYs — including the coveted Producer Of The Year, Non-Classical — has risen to the very top of the industry, and remained there because he hasn’t lost the perspective from when he first started rolling the boulder up the hill
"I feel like my awareness is a lot of the reason I’ve been doing this for a long time, because I’m very socially aware of what’s going on and I can see," he tells GRAMMY.com. "In some rooms, you’ve got to find out what role you play. Sometimes, you've gotta play a bigger role. I find, working with newer artists, you have to play more of a mentoring role. But I find with other people, it’s about finding your use and being a utility."
Boi-1da initially rose to prominence as one of Drake’s trusted beatsmiths and has his thumbprint on hits like "Best I Ever Had," "Over," and the GRAMMY-winning "God's Plan." His credits grew to include Rihanna's "Work" and Kanye West's Donda. Yet, even by these standards, 2022 was a banner year: Boi-1da contributed to Beyoncé’s Album of the Year nominee Renaissance ("Heated"), scored a pair of credits on Kendrick Lamar’s progressive, polarizing AOTY hopeful Mr. Morale & the Big Steppers ("N95," "Silent Hill"), and crafted the understated, elegant instrumental for Jack Harlow and Drake’s Best Rap Song contender "Churchill Downs."
Hip-hop producers are often pigeonholed, but Boi-1da’s three biggest records from last year have virtually no sonic overlap. This malleability is the cornerstone of the self-described "young veteran"’s success, as he realized that eschewing one signature sound was the best way to remain in the zeitgeist.
"There have been many times where I’ve created sounds and it gets emulated and everybody starts doing it," he says. You’re liable to hear Boi-1da in every phylum of contemporary rap and pop music, from the horror movie menace of Nardo Wick’s "Wicked Freestyle," to Alessia Cara’s emphatic kiss-off "Lie to Me" to the bristling boom-bap of Freddie Gibb’s "Space Rabbit." More than 15 years into his career, Boi-1da continues to reinvent himself, and is gearing up to release his first solo studio album later in 2023.
Ahead of Music's Biggest Night, the GRAMMY-winning producer shared stories about working with Drake, Beyoncé, and Kendrick, as well as the importance of mentoring young talent, and why even after more than a dozen nominations, getting GRAMMY recognition still feels special.
This is your second time getting the Producer Of The Year nod after being nominated in 2019. What does that recognition mean to you and are there any ways it feels different than the first time?
I feel like it’s the highest honor as a producer. So I was extremely honored the first time and to be here again is even more of an honor. I’m not gonna lie, the first time I did it, I was going crazy and I was like, Man, that was so hard to even get nominated. I didn’t win the first time, so I was like, I’m gonna try equally hard and see if I can get back here. And by the grace of God, I’m back here again. You know, it just took a lot of hard work, a lot of putting my head down and making a lot of sacrifices.
What do you think has changed the most about the way you’ve approached making music since you were last nominated?
I think the growth point is truly the way I listen to music and the way I intake music. I’m learning to do that differently. I think the approach of creating is always the same for me, other than adding new elements, new sounds and whatnot.
I feel like music is so different and it’s rapidly changing, so there’s a lot of adjustments. I feel like that’s the only thing that has really changed for me. I’ve been doing this for a long time; I feel like I’m kind of like a young veteran. Right now, there are a bunch of new kids growing up in this generation of music and their taste and style is totally different. I like to come left-field and do stuff unorthodox and different, so figuring out how to pivot and keep yourself relevant is what I’ve been doing.
Definitely. What I find today with a lot of music is people love extremely familiar samples over really straight-to-the-point beats. Not a lot of detail, something familiar, which is basically what we did with a song like "Circo Loco." The type of producer I am, I like to make beats; I’ll make one of five types of beats that sound the same, or use ideas that sound the same, and then I’ll move on.
That’s the way I’ve been able to stay relevant for so long, moving on from sounds. There have been many times where I’ve created sounds and it gets emulated and everybody starts doing it. You can be mad and sit there and be like, "Yo, everybody’s biting my style." I feel like I’m just that creative where I can move onto the next thing and be like "Okay, cool, you guys can have that. I’ll make something else."
It shows, because the three biggest songs you produced this year, "Heated," "Churchill Downs," and then "N95," those are wildly different poles in rap/R&B/pop music production. Were you and Drake already working on "Heated" when Beyoncé reached out?
Drake had been working with B; that was just an idea that we had started with Drake and he and B ended up finishing up the idea with me. I think Beyoncé added to the production as well.
I wasn’t around for the process of Beyoncé making that song, but I was heavily involved in the production. Whenever I work with Drake or someone like Beyoncé, it’s on easy mode. You have something they like, they usually know exactly what they want to do with it and you just trust ‘em completely. Sometimes, I’m hands off, I’m like, "Cool, y’all like it? Here you go. I know what you guys do and you guys do that."
The liner notes on a lot of your songs, like "I Got a Shot" off Jack’s album, that has a ton of people credited. Is there a level of ego sublimation with that where it’s like "You might not be able to hear my contributions in the final product, but I know that I did my part to get this song where it needs to go?"
[Jack Harlow] likes it to be a room full of producers. It’s like a band. We’d construct stuff and put it together. I have no ego when it comes to collaborating. I really just want the song to sound exactly how I want it to sound. If it takes 50 people to do that, then so be it. I’d rather it sounds the best that it can sound than like, "Oh, no, I’m getting lower publishing on this song."
It’s so fun to be in there with a bunch of people. You get that feeling of doing something and you see somebody else’s reaction and it just motivates you to be like, "Yeah, okay, I know what I’m doing." When I was younger, I’d sit in a room by myself and make music. That’s cool and all and I still do it, but it’s so much fun to be in a room of people with different energies.
How did the "Churchill Downs" record come together?
When it comes to "Churchill Downs," I worked pretty closely with Jack. He and Drake are very good friends. Jack would always say, "Yo, I wanna do a song with Drake. Let’s make an idea." We were really and truly figuring it out. We were working in L.A. for some-odd weeks and I ended up going back home.
I went to a friend’s birthday party and he told me, "I’ve been working with this producer, I want you to hear some of his stuff." He gave me a flash drive…and it was full of samples. The first sample I heard was the one for "Churchill Downs." It sounded like a harp and a woman singing. I got home and chopped it up and did a little bounce to it and sent it over to my boy [TT] Audi, and he added some stuff to the beat and it was complete.
I had sent it to Jack because he was still in the studio. He immediately fell in love with the beat. He played me his part in the song and said, "I really want Drake on this record." I was like, "S—, you’re homies with Drake, too. Just hit him. I’m pretty sure he’ll rock with this. It’s hard." They met up on their own and recorded that song together.
I was amazed looking back through stuff you were doing 10, 11 years ago that there were songs of yours that Kendrick was on back then. How has your creative relationship with Kendrick changed over the decade that you’ve known each other?
I’ve known Kendrick Lamar for a long time. I knew him actually before Good Kid, M.A.A.D. City. I had met him through one of my good friends who actually signed him. Our relationship hasn’t changed. Kendrick is one of the coolest guys ever. Me and him always lock in and create music together. We have tons of music that we’ve made together and he’s just a great dude.
Kendrick really makes folks wait and wants to come with something that feels totally different and distinct with each new body of work. What was the direction that he was trying to push on Mr. Morale, and what did you bring to it?
When it comes to me working with Kendrick, it’s really just raw ideas and raw thoughts. A lot of the time, I’m not sure where it’s going or what he’s gonna do with it because I’m not really around for the song recording process. I like to sometimes just give artists…their own creative space and free-flow and whatnot. That’s why he’s one of my favorite guys to work with, because you go in there and it’s like, "Alright, what are we doing?"
I didn’t really know what was gonna happen with ["N95"] and where he was gonna go with it lyrically. I just recall me, Jahaan [Sweet] and Sounwave in there, we had cooked up the idea and I was like, "Man, this sounds really dope but I’m not sure where it’s going."
I ended up hearing it right before the album came out. We had done that before the pandemic and the pandemic happened and nobody saw each other for the longest time…and he did what he did to it. It’s always fun working with Kendrick because it’s just raw, it’s literally everybody doing whatever they wanna do and it meshing together.
You’ve done a lot through collaborations with Splice and people like Jahaan Sweet and WondaGurl, who’ve come up as proteges of yours. Why is taking that active role in mentorship and demystifying the production process important to you?
I didn’t have a mentor. I didn’t have YouTube, I didn’t have tutorials, I had to figure out everything [on my own]. I lived in Durham, Ontario, there was absolutely nothing to do, nothing going on. There was no way of reaching out to artists or reaching out to producers. So it’s like, if I could be some kind of mentor or do anything for anybody, I do it because I never had it. I know how it feels to be not heard and have to fight, tooth and claw, to get to where you gotta get to.
The feeling of serving and giving back is always rewarding, more rewarding than getting, to be honest. Remember, I had nothing, I came from Canada. People didn’t know we made hip-hop music in Canada or take us seriously. I’d go to America and people would ask me if there were polar bears where I live. But that’s the reason why I do it and I love it and I still continue to do it. I give bursaries to the highest music marks of my high school. I just always stay in tune and check stuff out. I love music and I love being around it and inspiring as much as I can.
You gotta stay in tune with the young guys, that’s the future right there. You’ve gotta [be] tapped in with them, because at the end of the day, it’s like you’re making music for them.
You’ve been nominated for 19 GRAMMYs, that’s staggering. Does that ever stop feeling special for you and the people in your circle, like Drake and 40?
No, it always feels great to be nominated and even win awards, as well. It just goes to show that sometimes, everybody that’s a human being will get into their head, especially as a musician. Especially someone like myself who has been doing it for a really long time, you sometimes question if you’re still doing the right thing, if you’re still dope. So literally being nominated for awards is a great feeling and [one] that will never get old to me. It lets me know that I’m still doing stuff that people love and heading in the right direction.
Is there anything else you want to mention about what you’re working on in 2023?
I’m working on a compilation album right now. It’s gonna be really dope, a lot of your favorite artists, a lot of new artists you’ve never heard of. A lot of dope music and I’m really excited to finish it and put it out.
It’s been in the works for a while. I’ve started and stopped it a few times because I’m really a perfectionist and I want to get it right. I’m not caring about numbers, I want to make the best project. I want people to hear it and be like "Wow, this is amazing." I care more about that than anything, which is why I’ve started and stopped it so many times. Music changes and I really just want to get it perfect.