Syl Johnson proclaimed himself to be "the most sampled artist ever." Was he right? Depends on how you look at it. Quantifiably, he might not even be close: the WhoSampled database has the soul singer tallied at 414, while James Brown — the most-sampled artist on the site — has accumulated a whopping 14,353. But what if you take the word "most" spiritually — in terms of impact — and consider his braggadocious persona? Who could deny this cheeky king his crown, scepter and sash?

Whether or not the Godfather of Soul lapped him several times in the number of samples, it's undeniable that Syl Johnson's work has appeared in some of the greatest hip-hop songs ever. He's sampled on Public Enemy's "Fight the Power" and "Fear of a Black Planet" — does it get more monumental? — to say nothing of cuts by Boogie Down Productions, Wu-Tang Clan, Kanye West and Jay-Z, Tupac Shakur, N.W.A. and Cypress Hill. The list reads like a history of hip-hop, even if that last artist was a bone of contention.

In the crate-digging omniverse there's an ocean of options, so why did all these hip-hop heavyweights clamor to sample Johnson? Because his songs ruled. "Different Strokes," "Come On Sock It to Me" and "Concrete Reservation" are classics of the nexus of blues, soul and R&B.

Sadly, the singer/songwriter and record producer passed away Feb. 6 at age 85 of congestive heart failure, according to his daughter, Syleecia Thompson. And as CBS Chicago reported, he died just days after his older brother, Jimmy Johnson, passed at 93.

In a statement, Johnson's family described the singer as "a fiery, fierce fighter, always standing for the pursuit of justice" whose musical legacy "will be remembered as impeccable and a historical blueprint."

Even if one were to remove his many samples from the picture, Johnson's legacy would be ironclad. Born Sylvester Thompson in Holly Springs, Miss. to farmer parents, he moved to Chicago with his family in 1950. By the end of the decade, the guitarist was accompanying bluesmen like the mighty Junior Wells and Jimmy Reed. He released his first single as Syl Johnson, "Teardrops," in 1959.

In 1967, Johnson signed to Twilight (later Twinight) Records and recorded those aforementioned enduring tracks. But his biggest hit came in the following decade: after signing to Hi Records in Memphis in 1971, his 1975 cover of Al Green's "Take Me to the River" brought him his widest exposure to date. Johnson later became popular among hip-hop producers, though he was often rankled by unauthorized sampling and compelled to legal action.

When the dust settled, though, Johnson emerged as a true soul great with a noteworthy ability to create popular funk and soul dance music as well as topical, poignant message songs. In 2010, Numero Group released a lavish boxed set titled Complete Mythology, thus constructing a modern-day entryway to his catalog. In 2015, he got his own Rob Hatch-Miller-directed documentary, Any Way the Wind Blows.

Even though he may not be a household name — can everybody be? — Johnson's inimitable songbook, charmingly cocky attitude (he humbly deemed himself a "multifaceted genius") and hip-hop legacy shine on forevermore. Here are five essential tracks by the late soul man.

"Come On Sock It To Me" (1967)

While a little milder than the volcanic singles that would succeed it, "Come On Sock It to Me" is a groovy, appealing slice of soul with an excellent, call-and-response chorus between Johnson and the horns. (Sidebar: why are there no modern songs about "socking it to" somebody?)

"Different Strokes" (1967)

First, you hear Johnson's wolfish "Unngh!" and some giggling in the background — then, the irresistible, slamming rhythm section, with a whipcrack snare sound. Featuring stabbing horns and an uber-confident vocal performance, "Different Strokes" is Johnson at full bore. The song was sampled in songs by Wu-Tang Clan, Kanye West and Jay-Z, and featured in Public Enemy's "Fight The Power."

"Dresses Too Short" (1968)

Did these lyrics about a catcaller who can't help himself ("Why do you blame me, baby?/ I didn't tell you to put it on!") age particularly well? No, but does everything need to? Dig "Dresses Too Short" for its infectious funky soul groove and impressive horniness.

"Is It Because I'm Black" (1970)

Johnson got more topical and resonant with "Is It Because I'm Black" — with the help of a major kick from the drums. "The dark brown shades of my skin, only add color to my tears/

That splash against my hollow bones, that rocks my soul," he croons poetically. "I didn't want to write no song about hating this people or hating that people," Johnson later told Numero Group. "It's a sympathy song."

"Take Me To the River" (1975)

This easy-breezy soul classic inspired renditions by everyone from Foghat to the Grateful Dead to Bruce Springsteen — and Johnson, too. This superb version serves as a reminder of Green's bulletproof writing — and Johnson's ability to inhabit another's tune with panache and attitude.

Today, give Johnson a few spins — whether it's a tune that sampled him or one of his unforgettable singles. Does this "fiery, fierce fighter" — his loved ones' words — deserve any less than a royal sendoff?

Remembering Betty Davis: 5 Essential Tracks By The Singer/Songwriter, Fashion Icon & Funk Pioneer

The celebration isn't over after the 2024 GRAMMYs. In recognition of Black History Month, the GRAMMY Museum proudly honors the indelible impact of Black music on America and the fabric of global pop culture. 

This programming is a testament to the rich heritage and profound influence of Black artists, whose creativity and resilience have shaped the foundation of American music. Through a series of thoughtfully curated events — including educational workshops, family programs, special screenings, and intimate conversations — the Museum aims to illuminate the vibrant legacy and ongoing evolution of Black music. 

From a workshop on the rhythmic storytelling of hip-hop following its 50th anniversary and the soulful echoes of Bill Withers' classics, to the groundbreaking contributions of James Brown and the visionary reimagination of "The Wiz," these GRAMMY Museum programs encapsulate the enduring legacy and dynamic future of Black music.

The GRAMMY Museum invites audiences to delve into the stories, sounds, and souls that have woven Black music into the tapestry of our shared human experience. Through this journey, the Museum and the Recording Academy honor the artists, visionaries, and pioneers whose talents have forever altered the landscape of music and culture. 

Read on for additional information on the GRAMMY Museum's month-long tribute that explores, appreciates and celebrates the invaluable contributions of Black music to our world.

Thurs., Feb. 8

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Sat., Feb. 10

Family Time: Grandma’s Hands

WHAT: Join us for a very special family program celebrating the recently released children’s book Grandma’s Hands based on one of Bill Withers’ most beloved songs. Bill’s wife, Marcia, and daughter, Kori, will participate in a book reading, conversation, audience Q&A, and performance, followed by a book signing. The program is free (4 tickets per household.)

WHEN: 11 a.m. – 12:30 p.m. 

REGISTER: Click here.

Mon., Feb. 12

Celebrating James Brown: Say It Loud

WHAT: The GRAMMY Museum hosts a special evening on the life and music of the late "Godfather of Soul" James Brown. The program features exclusive clips from A&E's forthcoming documentary James Brown: Say It Loud, produced in association with Polygram Entertainment, Mick Jagger’s Jagged Films and Ahmir “Questlove” Thompson’s Two One Five Entertainment, followed by a conversation with Director Deborah Riley Draper, superstar Producer Jimmy Jam, and some surprises.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sat., Feb. 17

Backstage Pass: "The Wiz"

WHAT: Presented in partnership with the African American Film Critics Association, join us for an afternoon spotlighting the famed Broadway Musical, "The Wiz," with the producers and creative team responsible for the Broadway bound reboot. The program will feature a lively conversation, followed by an audience Q&A in the Museum’s Clive Davis Theater, and will be hosted by AAFCA President, Gil Robertson, and GRAMMY Museum Education & Community Engagement Manager, Schyler O’Neal. The program is free (four tickets per household).

WHEN: 1 p.m.

REGISTER: Click here.

Thurs., Feb. 22

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Reel To Reel: A Hip Hop Story

WHAT: In conjunction with the GRAMMY Museum's exhibit, Hip-Hop America: The Mixtape Exhibit, the GRAMMY Museum is thrilled to host a special screening of A Hip Hop Story with a post-screening conversation featuring Affion Crockett to follow.

WHEN: 7:00 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sun., Feb. 25

Lunar New Year Celebration

WHAT: Join us for a special program celebrating Lunar New Year as we usher in the Year of the Dragon with a performance by the South Coast Chinese Orchestra. The orchestra is from Orange County and uses both traditional Chinese instruments and western string instruments. It is led by Music Director, Jiangli Yu, Conductor, Bin He, and Executive Director, Yulan Chung. The program will take place in the Clive Davis Theater. This program is made possible by the generous support of Preferred Bank. The program is free (four tickets per household).

WHEN: 1:30 p.m.

REGISTER: Click here.

Tues., Feb. 27

A Conversation With Nicole Avant

WHAT: The GRAMMY Museum is thrilled to welcome best-selling author, award-winning film producer, entrepreneur and philanthropist, Ambassador Nicole Avant to the museum’s intimate 200-seat Clive Davis Theater for a conversation moderated by Jimmy Jam about her new memoir Think You’ll Be Happy – Moving Through Grief with Grit, Grace and Gratitude. All ticket buyers will receive a signed copy of the book.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

GRAMMY.com’s 50th Anniversary Of Hip-Hop Coverage: A Recap

That’s a wrap for "A GRAMMY Salute To 50 Years Of Hip-Hop," a once-in-a-lifetime blowout in honor of one of America’s greatest musical exports to the world. But if you missed the initial broadcast on CBS and Paramount+, never fear: it’s still available on demand on Paramount+.

And if you’d like a preview of the festivities, check out a rundown of every performance at "A GRAMMY Salute To 50 Years Of Hip-Hop" — before you revisit it, or experience it for the first time!

LADIES FIRST

With Spinderella as DJ:

Queen Latifah and Monie Love — "Ladies First"

MC Sha-Rock — "It’s The Joint"

Roxanne Shanté — "Roxanne’s Revenge"

J.J. Fad — "Supersonic"

MC Lyte — "Cha Cha Cha"

Remy Ma — "All The Way Up"

Latto — "Put It On Da Floor"

Ensemble Finale — "U.N.I.T.Y."

HIP-HOP SOUTH

Jeezy — "Put On"

T.I. — "What You Know"

Bun B — "Int’l Players Anthem (I Choose You)"

GloRilla — "Tomorrow 2"

Three 6 Mafia — "Stay Fly"

Jermaine Dupri — "Welcome to ATL"

Boosie Badazz — "Wipe Me Down"

Uncle Luke — "Scarred" / I Wanna Rock (Doo Doo Brown)"

PUBLIC ENEMY

"Don’t Believe the Hype"

"Fight the Power / Welcome To The Terrordome"

"Bring The Noise"

WEST COAST

With Battlecat as DJ, and Mustard as hypeman:

Warren G — "Regulate"

The Luniz — "5 On It"

The Lady of Rage — "Afro Puffs"

YG — "Who Do You Love"

Tyga — "Rack City"

Roddy Ricch — "Ballin’"

DJ Quik — "Tonite"

Yo-Yo — "You Can’t Play With My Yo-Yo"

Cypress Hill — "Hand On The Pump" / "How I Could Just Kill A Man"

Too $hort — "Blow The Whistle"

E-40 — "Tell Me When To Go"

INTERNATIONAL

Akon & Styles P — "Mama Africa" / "Locked Up (Remix)"

Blaqbonez — "Like Ice Spice"

Akon — "I Wanna Love You" / "Smack That"

Akon & Jeezy — "Soul Survivor"

LYRICISM

Big Daddy Kane — "Raw"

Black Thought — "Freestyle #087 (Freestyles On Flex)"

Rakim — "My Melody," "I Ain’t No Joke"

CLUB BANGERS

2 Chainz — "Birthday Song"

Gunna — "Hot"

Coi LeRay — "Players"

Nelly — "E.I."

Rick Ross — "Hustlin"/"B.M.F."

Chance The Rapper feat. 2 Chainz — "No Problem"

DJ JAZZY JEFF & THE FRESH PRINCE

"Brand New Funk"

"Gettin’ Jiggy Wit It"

"Welcome To Miami"

Mashup: "The Fresh Prince of Bel-Air" / "Switch"

"Summertime"

6 Highlights From "A GRAMMY Salute To 50 Years Of Hip-Hop": Performances From DJ Jazzy Jeff & The Fresh Prince, Queen Latifah, Common & More

Today, Public Enemy's 1988 album It Takes a Nation of Millions to Hold Us Back is correctly viewed as a watershed not just for hip-hop, but all of music. But when Questlove's father overheard him playing it, it didn't even sound like music to him.

"He happened to pass my room while 'Night of the Living Baseheads' came on and he had a look of disgust and dismay, like he caught me watching porn," the artist born Ahmir Thompson tells GRAMMY.com. "He literally was like, 'Dude, when you were three, I was playing you Charlie Parker records, and I was playing you real singers and real arrangers, and this is what you call music? All those years I wasted on private school and jazz classes. This is what you like?'

"I couldn't explain to him: 'Dad, you don't understand. Your entire boring-ass record collection downstairs is now being redefined in this very album. Everything you've ever played is in this record,'" he says. "If my dad — who was relatively cool and hip, but just getting older — couldn't understand it, then I know there's a world of people out there that are really just like, whatever."

That nagging reality has powered him ever since — whether he's co-leading three-time GRAMMY winners the Roots, authoring books and liner notes, or directing Oscar-winning films.

And that path led straight to Questlove's role as a executive producer for "A GRAMMY Salute To 50 Years Of Hip-Hop," which will air Sunday, Dec. 10, from 8:30 to 10:30 p.m. ET and 8:00 to 10:00 p.m. PT on the CBS Television Network, and stream live and on demand on Paramount+.

Questlove makes no bones about it: working on that 12-minute Hip-Hop 50 revue at the 2023 GRAMMYs was taxing. So taxing, in fact, that he lost two teeth due to the psychological pressure. But he soldiered on, and the result is an inspiring rush of a two-hour special.

"The thing that really motivated me — Look, man, roll up your sleeves and run through this mud — was like, if there ever was going to be a hip-hop time capsule, a lot of the participants in this show are somewhere between the ages of 20 and 60, and everybody's still kind of in their prime," he says.

"So that way,” Questlove continues, “in 2030, 2040, 2050, when our great, great, great, great grandkids are born and they want to look up someone, this'll probably be one of the top five things they look up. And I wanted to be a part of that."

Read on for a rangey interview with Questlove about his role in "A GRAMMY Salute To 50 Years of Hip-Hop," in all its dimensions.

This interview has been edited for clarity.

What can you tell me about your involvement in "A GRAMMY Salute To 50 Years Of Hip-Hop"?

I could be the guy that complains and complains and complains and complains: Man, I wish somebody would dah, dah, dah. Man, somebody needs to dah, dah, dah. And then the universe the whole time is poking you in the stomach like a dog. You think you're going to be drumming for life — like, that's your job.

So I went through this period where I just hated the lay of the land. And now people are like, "Well, the door is open if you want to come and see if you could change it." And for me, it was just important to.

And at first, I was really skeptical about this because even when I was an artist, my peers all the time would — I say in air quotes jokingly, but it's like, man, I know they're serious — they would just call me a suit. Whenever someone's called a suit in a sitcom or it is like, that's always the bad guy. Or especially for me that's known for all this artistry.

But for me, it's like, I can either just sit on the sidelines and watch this thing slowly kind of go in a direction that I don't want it to go. And often with the history of Black music in America, we're innovating this stuff, but we're really not behind the scenes in power positions to control it or to decide what direction it is. And it's a lot of heartbreaking and hard work.

After the success of the thing that we did in March — that 12-minute revue thing — I'll be honest with you. For 12 minutes that was like going through damn near, and I'm not even using hyperbolic statements by saying, coming out within an inch of my life.

When that moment was literally over and I was on the airplane landing back in New York, two of my teeth fell out. That's the level of stress I was [under]. Imagine landing in JFK and I got to rush to "The Tonight Show," but then it's like, Oh, wait, what's happening? Oh God, no! My teeth are falling out! And going to emergency surgery. My whole takeaway was like: Never again.

So of course when they hit me in July, "Hey, remember that 12 minute thing you did? You want to do the two-hour version of it?" I was like, "Hell no." And of course I hell noed for three weeks and it's like, "All right, I'll do it, but I'll just be a name on it. I ain't doing nothing." And then it went from that to like, "All right, what do you need me to do?"

What I will say is it's a two-hour show in which you got to figure out how to tell [the story of] hip-hop's 50-year totality — its origins, its peak period, its first moments of breaking new ground, the moment it went global around the world. You got to figure out a way to tell this story in two-hour interstitials and be all-inclusive. 

It was just as stressful, even up until four hours ago. I'll just basically say that my teeth didn't fall out, thank God. And it was worth everything, because it's really a beautiful moment.

Sorry for that 12-hour answer, but that's just how my life rolls.

It was a great answer. What was your specific role behind the scenes?

Oh, I'm a producer. Jesse Collins called a group of us in to help facilitate: me, LL [Cool J], Fatima Robinson, Dionne Harmon, Brittany Brazil. There's a group of nine of us who were producers.

So, [part of] my actual division of labor thing was finding people to help facilitate music. This is a genre in which maybe the first six years of the art form, there was no such thing as an instrumental. "Or, "Hey, J.Period, can you recreate 'Check Out My Melody' by Eric B. & Rakim with no vocals in it?"

Finding the right people to do the music, sometimes I'd have to do it myself. And a lot of people in hip-hop have been super burnt. Super burnt. And I mean, that's putting it lightly.

And so you're giving these impassioned, Jerry Maguire, help-me-help-you speeches. The amount of times I was like, "Look, I really want you to reconsider your answer. This is our legacy we're talking about."

I'm using terms that a lot of these people, frankly, are hearing for the first time, Because like I've said in past interviews, hip-hop started as outlaw music. No one thought it was going to be a thing. So there's a whole generation that had to lay out the red carpet, just so that the next generation could benefit from it while we disposed of them.

But then that next generation gets disposed of, and then here comes my generation. And then the next thing, you wake up and it's like, "Oh, we're not relevant anymore," and dah, dah, dah.

And I'm trying to convince people, "Wait, you don't understand. Now we have a seat at the table. Now we get to control. All that we talked about, we need to control our destiny, and this is our culture." And there was a lot of that. And some people [were like], "All right, I'll do it for you." [To which I said,] "No, no, don't do it for me. Do it for the culture."

But then there were also people like, "Man, never again. F— all that." And there was also, "Hey, why wasn't I asked?" and all that stuff.  So in these two hours, you're going to see eight to nine segments in which we try to wisely cover every base.

This is the "Lyricist" section, and this is the "Down South" section. And ["Ladies First"] is all about the ladies. And this is for those that passed away. And this is for the club bangers. And this is for music outside of America. And this is for the left-of-center alternative hip-hop.

Yes, we wanted to include everybody, but this is network television. And at that, you only get eight to 12 minutes at a time. So that's even hard. "Hey, why can't I do my chorus and my verse?" "Look, man, you got 32 seconds." If you've ever seen those "Tom and Jerry" cartoons where they're juggling plates in a kitchen — like 30 at a time — I don't recommend that to anybody.

But we got through it. I want everyone to feel proud of where hip-hop has come, because to be nine years old and to get on punishment for hip-hop — you know what I mean? I come from that generation. You've got to pay a price to live this culture.

And now it's established. So that's why I got involved. So there was a lot I had to do. A lot of calls, a lot of begging, a lot of arrangements, a lot of talking to people about clearing their samples, to call up publishing companies: "Look, it's just a four-second segment. It's just one drum roll. Can you please overlook it just for the sake of it?"

The amount of times I had to give those speeches. So yeah, that's what I had to do.

Jesus.

And that's just me. It's nine of us. So there's lighting directions, and choreography, and wardrobe, and dealing with clearance — like FCC, and, "They can't say that." And, "All right, which one of us is going to try to call Snoop to ask him that sort of thing?"

And the amount of Zooms that we were on at five in the morning in the Maldives or halfway around the world.

There must be some component of this process where you recognize that there could never be a perfect two-hour special. There could never be a perfect 200-hour special. There must be something freeing about realizing that nothing can be comprehensive when you're dealing with a cultural ocean like this.

[At one point], I had to take a hip-hop break. And the first thing that I did a week later, after recuperating, was I went on YouTube and I just watched every award show I remember watching — like prime Soul Train Awards back in '87, '88, '89, the years that Michael Jackson was killing the GRAMMYs.

Award shows were so magical to me, when I was a kid. There was a period just between five to maybe 15 or 16 in which I religiously watched that stuff, and you just take it for granted.

When Herbie Hancock did Rockit back in 1983 with all those mechanical break dancers, I wonder the work and the headaches that it took to make that happen. The drummer from Guns N' Roses [was] missing while they had to do "Patience" at the American Music Awards — and Don Henley, of all people, was just on the sidelines like, "Does anyone know how to drum?"

I was in the audience during the whole Chris Brown-Rihanna controversy of [2009]. I was literally at the GRAMMYs. There were like 40 minutes left, and I watched the producer run up the aisles.

Because the thing was, that was the year they decided, "You know what? This is going to be the first year in which we're going to ask artists to double down on stuff. So we're going to have Rihanna sing three songs, and we're going to have Chris do two songs. We're going to have Justin Timberlake. And then, suddenly, their absence now means that there's five major gaps open.

And they had 40 minutes left before they went to go live and I'm watching the producer make an announcement: "Ladies and gentlemen, something just happened. We can't get into it."

The level of viralness now on Instagram or Twitter is expected, but back then it was like, Oh, I wonder what happened? And they're just running up the aisles to Stevie Wonder, "Yo, can you [mimics rapid-fire, inaudible chatter]?"

And I'm looking at him, pondering: What the hell are they asking him? And then Stevie's getting up and doing it, and then, "Jonas Brothers, can you duh, duh, duh? Boyz II Men. Where's Al Green? Is Al Green here?" So literally, I'm watching them solve a headache in real time. And with 20 minutes left, backstage rehearsing, and we were really none the wiser.

I've seen that a few times. My very first GRAMMYs was when Luciano Pavarotti got sick and someone just randomly asked, "Hey, does anyone out there know the lyrics to 'Ave Maria'?" Aretha Franklin raised her hand, and we were all like, 'Wait, we mean the Italian version, like that 'Ave Maria.'" And she's like, "I do know the version."

We underestimated if Aretha Franklin from Detroit, Michigan knew how to sing something in Italian. And within a half hour she was on that stage and she killed that s—.

So it made me literally recapitulate every award show I ever watched.Now I'm watching with the analytical eye: I wonder what headaches it took to put that together? So, it changed me as a spectator and a participant.

I have a friend who's been a dedicated hip-hop fan his entire life. We were talking about the 50th anniversary of hip-hop. He questioned the entire enterprise, arguing that it's an arbitrary number that doesn't mean much to true rap fans. What does the 50th anniversary of hip-hop mean to you, personally?

Well, to me, it's important. There's an interlude that I put on the Things Fall Apart record. The album starts with an argument from [the 1990 film] Mo' Better Blues in which Denzel Washington and Wesley Snipes' jazz musician characters are arguing about just the disposability of the art form.

And it ends with a quote from Harry Allen saying that the thing about hip-hop is that most people think that it's disposable: Let me get what I can out this thing, and I'll throw them out the window. And on top of that, people don't even see it as art. And that really hit me in the gut, because I see the beauty of it.

This is kind of why I got into the game of: first it was with liner notes, and then with social media doing these mammoth history posts. And then it's like, Alright, well, let me write some books, because I'm afraid that no one's doing this level of critical thinking about this particular thing.

I know that the disdain and the dismissiveness that I got from some of hip-hop's participants does sort of stem from a place of ego being bruised. And it's righteous. It's righteous anger. But I also knew that if I sat on the sidelines, then it's like when I have grandkids and they Google this, and if it was a half-assed job, then that's my fault. And I definitely don't want to be the guy that talks, talks, complains, complains, without being a part of it.

So yeah, for the amount of people that prematurely died before the age of 30, and for the startling volume of people that have recently passed away in the last three years because of health issues, cardiac arrest, strokes, a lot of us are dying… You and I are talking right now, right when Norman Lear has passed away at the age of 101.

I just read that in The New York Times.

Dude, can you imagine "Tupac Shakur Dead at 103"? Can you imagine that for hip-hop?

It's a survival tool, because for a lot of us, that was the way out of poverty. It was vital for me. I couldn't just sit back and not watch one person behind the wheel. I have to be the designated driver. So, that's why it's important to celebrate that number.

And a big part of my convincing them was like when they were going to pass, like, "Nah, dog, I'm cool. I got a gig that night," I was like, "Dude, we're not going to do this for the 51st or the 52nd. And frankly, will we be here?" I will be 92 years old if it makes it to the 75th. You know what I mean?

The only person that got in my face was Latifah like, "Excuse me, I will be here for the 75th and I will be for the 100th. You don't know when I'm leaving." So I was like, "More power to you, Dana. All right, good. Queen Latifah will be here for the 100th."

What I'm gathering from what you're saying is that no matter what, it's important to have an organization of this prestige canonize this cultural force.

Oh, absolutely. And I know that oftentimes we play the game of public appearances for the gaze of the establishment. I don't want to get into that thing either: making performative celebrations just so that the mainstream can celebrate us.

I have to say that when you watch it, it really doesn't come off as compromised. This thing really looks good. That was the one thing that we laughed at in the group chat, like, "Man, we just went through Apocalypse Now, and are we all saying it was worth it?"

There are at least three people in my production thread that were sort of like, "Uh-huh, never again. I will never again subject myself." And one of them is dead serious. One of them started doing something the opposite, like, "Nah, I'm just doing classical music from now on. There's no stress there." But it was worth it. It was worth it to me.

*Questlove in 2023. Photo: Jamie McCarthy/Getty Images*

It looks to be a classy, expansive special. I'm excited for it to air.

The best part about it? So if you remember, to me, the star of the 12-minute version that we did at the GRAMMYs in March, was Jay-Z.

It was one of the things where it's like, "Hey, do we even ask Jay-Z?" And that's the one guy we decided ourselves, "Well, let's pass on him because number one, he's already performing with DJ Khaled, so we'll pass on him."

Jay-Z actually wound up being the star of that because he was a fan mouthing it in the audience, which to me was almost like better than us just doing a song with Jay-Z on stage. But the audience is the absolute star.

To see Chuck D smile — I've never seen Chuck D smile. As all these acts are coming out and Chuck D's like, singing [Sly and the Family Stone's] "Everyday People," like Boston fans sing "Sweet Caroline" at Red Sox games. Who knew that Chuck D was so jovial about things? But that's with everyone in the audience watching, supporting each other.

So that to me is also an important thing because as audience members on stage, they're ripping it, but as audience members, they're supporting each other. And that, I think is the most important part, because a lot of my take was like, "Wow, I didn't know that dah, dah, dah was so supportive." Or, "Man, Nelly actually knows every Public Enemy lyric. Who knew?" There are a lot of "Who knew?" moments that will shock people for this show.

I'm so glad you brought that up. That was one of my favorite moments during the Hip-Hop 50 performance at the 2022 GRAMMYs. Jay-Z is a billionaire twice over and a global cultural figure, but we see him in the audience, grinning ear-to-ear like a little boy, doing finger guns in the air.

He's getting his life back. And it's important. Especially now, I'm all about joy. And it's not even just like this particular hip-hop figure celebrating his music.

When Chance the Rapper comes out, again, I'm like, "Wow, [Cee] Knowledge from Digable Planets knows Chance?" And then I was like, "Well, they got kids, so of course I'm sure their kids play around the house." I'm doing all this analytical things like, "Wait, how do they know this song? And this is past their age range."

And that to me is the most telling part of this whole thing, to watch generational people get out of their actual zone and to find out that they're fans of — when GloRilla comes out, to watch [Digable Planets' Ladybug] Mecca mouth the lyrics. I was just like, "Oh, wow, OK."

That kind of puts to bed that stereotype that we only listen to the music in our realm. So, yeah, man — to me, that was the magic part of it all.

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This article was updated Sunday, Dec. 10, to add the full performer lineup.

The anticipation for tonight's "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert special is buzzing as the lineup welcomes even more rap icons and emerging hip-hop artists to its existing group of star-studded performers. Public Enemy, Rick Ross, Tyga, D-Nice, Doug E. Fresh, Blaqbonez, Boosie Badazz, DJ Diamond Kuts, DJ Greg Street, DJ Trauma, and Kool DJ Red Alert have all been added to tonight's concert. See the full performer lineup.

They join previously announced performers 2 Chainz, T.I., Gunna, Too $hort, Latto, E-40, Big Daddy Kane, GloRilla, Three 6 Mafia, Cypress Hill, Jeezy, DJ Quik, MC Lyte, Roxanne Shanté, Warren G, YG, Digable Planets, Arrested Development, Spinderella, Black Sheep, Luniz, and many others who will perform at the live concert special celebrating hip-hop's legendary 50th anniversary. One of the biggest nights in hip-hop history, the concert and special will feature performances and reunions from GRAMMY-winning artists, hip-hop legends and much more, including a highly anticipated reunion from hip-hop icons DJ Jazzy Jeff and the Fresh Prince — aka Will Smith.

Read More: How To Watch "A GRAMMY Salute To 50 Years Of Hip-Hop": Air Date, Performers Lineup, Streaming Channel & More

The "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert will take place tonight (Wednesday, Nov. 8) at YouTube Theater at Hollywood Park in Inglewood, California. Tickets for the concert are open to the public and available now.

The "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert special will then air on Sunday, Dec. 10, at 8:30 p.m. ET/8 p.m. PT on the CBS Television Network and stream live and on demand on Paramount+. This lively two-hour celebration will pay tribute to hip-hop's profound history, while showcasing its vibrant future and monumental impact around the world.

Tickets for tonight's "A GRAMMY Salute To 50 Years Of Hip-Hop" live concert are available for purchase now.

Full concert details are below:

Concert:
Wednesday, Nov. 8, 2023 (tonight)
Doors: 6 p.m. PT
Concert: 7 p.m. PT          

Venue:
YouTube Theater
1011 Stadium Dr.
Inglewood, CA 90305

Full List Of Confirmed Performers For "A GRAMMY Salute To 50 Years Of Hip-Hop": 

2 Chainz

Akon

Arrested Development

Battlecat

Big Daddy Kane

Black Sheep

Black Thought

Blaqbonez

Boosie Badazz

Bun B

Chance The Rapper

Coi LeRay

Common

Cypress Hill

D-Nice

De La Soul

Digable Planets

DJ Diamond Kuts

DJ Greg Street

DJ Jazzy Jeff and the Fresh Prince

DJ Quik

DJ Trauma

Doug E. Fresh

E-40

GloRilla

Gunna

J.J. Fad

Jeezy

Jermaine Dupri

Kool DJ Red Alert

The Lady of Rage

Latto

LL Cool J

Luniz

MC Lyte

MC Sha-Rock

Monie Love

Mustard

Nelly

The Pharcyde

Public Enemy

Queen Latifah

Questlove

Rakim

Remy Ma

Rick Ross

Roddy Ricch

Roxanne Shanté

Spinderella

Styles P

T.I.

Talib Kweli

Three 6 Mafia

Too $hort

Tyga

Uncle Luke

Warren G

YG

Yo-Yo

^Names in bold indicate newly added artists.

Purchase tickets here.

Stay tuned to GRAMMY.com for more news and updates about "A GRAMMY Salute to 50 Years of Hip-Hop."

A GRAMMY Salute to 50 Years of Hip-Hop is produced by Jesse Collins Entertainment. Jesse Collins, Shawn Gee, Dionne Harmon, Claudine Joseph, LL COOL J, Fatima Robinson, Jeannae Rouzan-Clay, and Ahmir "Questlove" Thompson for Two One Five Entertainment serve as executive producers and Marcelo Gama as director of the special.

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