For Women's History Month 2021, GRAMMY.com is celebrating some of the women artists nominated at the 2021 GRAMMY Awards show. Today, we honor Taylor Swift, who's currently nominated for six GRAMMYs.

When we met Taylor Swift in 2006, it was immediately apparent that her songwriting approach was like ripping a page out of her diary.

"Just a boy in a Chevy truck/ That had a tendency of gettin' stuck/ On backroads at night/ And I was right there beside him all summer long/ And then the time we woke up to find that summer gone," she lamented in the first verse of her debut single, "Tim McGraw." The way the then-16-year-old Swift could turn personal anecdotes into instantly memorable hooks mirrored the prowess of an industry veteran, appealing to more than just the teenage girls that could relate to a short-lived high school romance.

Now, nearly 15 years later, Swift has introduced another layer of intrigue with a foray into indie folk, unveiling a pair of albums, folklore and evermore, last year. Recorded entirely in isolation after the COVID-19 pandemic hit in March 2020, folklore has been widely acclaimed as Swift's best album, touted for its intimate songwriting and cinematic dynamics; evermore has received similarly glowing reviews.

folklore was 2020's best-selling album and earned Swift five GRAMMY nominations at the 2021 GRAMMY Awards show, including her fourth Album Of The Year nod. (evermore will be eligible for the 64th GRAMMY Awards in 2022.) As her 10 previous GRAMMY wins suggest, though, this new chapter isn't an abrupt departure for the star—it's a masterful continuation of her evolution as a singer/songwriter.

If there's one thing that Swift has proven throughout her career, it's that she refuses to be put in a box. Her ever-evolving sound took her from country darling to pop phenom to folk's newest raconteur—a transition that, on paper, seems arduous. But for Swift, it was seamless and resulted in perhaps her most defining work yet. And folklore’s radiance relies on three of Swift’s songwriting tools: heartfelt balladeering, autobiographical writing, and character-driven storytelling.

While there was always a crossover element to Swift's pop-leaning country tunes, her transition from country starlet to pop queen began with Red. The album’s lead single, the feisty breakup anthem "We Are Never Ever Getting Back Together," was Swift's first release to reach No. 1 on the Billboard Hot 100 (and, ironically, scoffed "indie records much cooler than mine"). She declared a full pop makeover with 2014's 1989, but the response proved that her bold move was the right one: Along with spawning three more No. 1 hits, the project won Swift her second GRAMMY for Album of the Year.

From there, 2017’s Reputation, a response to media scrutiny, and 2019’s Lover, an often bubbly exploration of all facets of affection, followed. Although they shared similarly grandiose production, Lover featured a handful of poetic ballads, including "The Archer," a self-reflective love song that teased Swift's folk sensibilities through storybook lyrics and ambient textures. 

Swift’s ballads are key in understanding the full essence of folklore. They’ve regularly marked standout moments on each of her albums, both thanks to her poignant vulnerability and rich tone. Fearless standout "White Horse" earned Swift two GRAMMYs in 2009; Red's painstaking "All Too Well" was an instant fan favorite; 1989's "This Love" and Reputation's "New Years Day" provided tenderness amid otherwise synth-heavy sounds.

The raw emotion she puts into her downtempo songs comes alive on folklore, introducing a new wave of neo-classical sonics that elevate her fanciful penmanship to an ethereal level. Whether or not Swifties saw a full indie-pop record coming—at least not yet—the shift isn't all that surprising. Folklore’s romanticized lyrics and relatively lo-fi production are arguably what many fans have been patiently waiting on.

Lyrically, the super-personal nature of Swift’s music has always captivated fans and naysayers alike; diehards and critics dissected each of her albums for its real-life subjects and hidden meanings. While she played into those conspiracies at the time—whether she was revealing names in titles like "Hey Stephen" and "Dear John" or scathing the other girl on "Better Than Revenge"—even Swift herself admits that her teenage method had an expiration date. 

"There was a point that I got to as a writer who only wrote very diaristic songs that [it] felt unsustainable for my future moving forward," she told Apple Music's Zane Lowe in December of 2020. "It felt like too hot of a microscope ... On my bad days, I would feel like I was loading a cannon of clickbait when that's not what I want for my life."

That realization is what helped make folklore so memorable: Swift stripped away the drama to let her artful storytelling shine. Sure, there are occasional callbacks to personal happenings ("invisible string" references sending her exes baby gifts and "mad woman" alludes to her legal battle with Scott Borchetta and Scooter Braun). Still, she largely shies away from her autobiographical narratives to make way for her imagination.

"I found myself not only writing my own stories, but also writing about or from the perspective of people I've never met, people I've known, or those I wish I hadn't," Swift wrote in a letter to fans on social media the day folklore arrived. "The lines between fantasy and reality blur and the boundaries between truth and fiction become almost indiscernible."

folklore might be her first full project dedicated to creating characters and projecting storylines, but Swift has shown a knack for fantasy from the start. Tracks like "Mary's Song (Oh My My)" on her self-titled debut and "Starlight" on Red saw Swift craft stories for real-life muses ("Mary's Song" was inspired by an old couple who lived next door to Swift in her childhood; "Starlight" was sparked from seeing a picture of Ethel and Bobby Kennedy as teens). Even when songs did pertain to her real life, Swift often had a way of flipping memories into whimsical metaphors, like the clever clap-back to a critic on Speak Now's "Mean" or the rebound relationship in Reputation's "Getaway Car."

To think that we wouldn't have folklore without a pandemic is almost surreal; it's already become such a fundamental piece of Swift’s artistic puzzle. There was no telling what may have come after the glittering "love letter to love itself” that was Lover, but it seems isolation made the singer rethink any plans she may have had. 

"I just thought there are no rules anymore because I used to put all these parameters on myself, like, 'How will this song sound in a stadium? How will this song sound on radio?' If you take away all the parameters, what do you make?" she told Paul McCartney in a November Rolling Stone interview. "And I guess the answer is folklore."

Even if she hasn’t been making indie music herself, Swift has shown an affinity for the genre over the years through curated digital playlists. Those included four songs by The National including "Dark Side of the Gym," which she references on folklore single "betty," and "8 (Circle)" by Bon Iver, Swift's collaborator on folklore's gut-wrenching "exile" as well as evermore’s title track. (“Exile” is one of folklore’s GRAMMY-nominated cuts, up for Best Pop Duo/Group Performance.)

The National’s guitarist Aaron Dessner co-wrote nine and produced 11 of folklore's 16 tracks, soundtracking Swift's imaginative tales with sweeping orchestration and delicate piano. Their partnership started with "cardigan," a melancholy take on teenage love that's up for Best Pop Solo Performance and the coveted Song of the Year. The team-up was a dream come true for Swift, a self-proclaimed National superfan and a career highlight for Dessner, who shared in an Instagram post about folklore that he's "rarely been so inspired by someone." He sees the album as a pivotal moment for both Swift's career and pop music.

"Taylor has opened the door for artists to not feel pressure to have 'the bop,'" Dessner shared with Billboard in September. "To make the record that she made, while running against what is programmed in radio at the highest levels of pop music—she has kind of made an anti-pop record. And to have it be one of the most, if not the most, successful commercial releases of the year that throws the playbook out.

"I hope it gives other artists, especially lesser-known or more independent artists, a chance at the mainstream," he continued. "Maybe radio will realize that music doesn't have to sound as pushed as it has. Nobody was trying to design anything to be a hit. Obviously, Taylor has the privilege of already having a very large and dedicated audience, but I do feel like it's having a resonance beyond that."

Swift's other primary folklore collaborator was Jack Antonoff. He has been her right-hand man since they first paired up on 2013's promotional single "Sweeter Than Fiction" (Swift referred to him as "musical family" in her folklore announcement). Even after years of creating stadium-ready pop smashes, Antonoff said in his own folklore Instagram post, "I've never heard Taylor sing better in my life / write better."

As Swift recognizes herself, folklore ushered in a new way of thinking for the superstar that not only brings out her best, but sets a promising precedent for what's to come. "What I felt after we put out folklore was, 'Oh wow, people are into this too, this thing that feels really good for my life and my creativity,'" Swift added in her interview with Lowe. "I saw a lane for my future that was a real breakthrough moment of excitement and happiness."

Her enthusiasm is tangible on both folklore and evermore. Dubbed folklore’s sister record, evermore further expands Swift’s newfound mystical atmosphere. Much to the delight of many Swifties, the follow-up also calls back to her country beginnings on tracks like the HAIM-assisted “no body, no crime,” as well as her pop expertise on more uptempo cuts like “long story short.”

Together, the albums are a momentous reminder that Swift is a singer/songwriter first. Her wordcraft is some of the most alluring of her generation, and that’s never been lost on her music, regardless of the genre she’s exploring. But now that Swift also feels she's at her best, it’s evident folklore was just the beginning of Taylor Swift in her finest form.

Explore This Year's Album Of The Year Nominees | 2021 GRAMMYs

It's not every day that a city renames itself after you, but Taylor Swift added this unique honor to her ever-growing list of accolades on March 17, 2023.

The date marks the first leg of Swift's monumental Eras Tour, which kicked off in Glendale, Arizona — or, rather, "Swift City," temporarily renamed in tribute to the 12-time GRAMMY winner's highly-anticipated tour.

The versatile singer/songwriter kicked off her tour playing to more than 69,000 people at State Farm Stadium, breaking the 36-year-old record for the most-attended U.S. concert by a female performer. The record was previously held by Madonna's 1987 performance at Los Angeles' Anaheim Stadium on her MDNA tour.

The tour is the latest example of how Swift continues to one-up herself. After her tenth studio album Midnights smashed records, the Eras Tour emerged as one of the buzziest tours of 2023 (and even sparked a Senate hearing about Ticketmaster). Spanning 52 legs and 22 cities, the tour takes viewers on an odyssey through Swift's vast discography, divided into 10 sections for her 10 studio albums.

Now that the Eras Tour has launched, Swifties who have seen the epic show — and even those who haven't yet — are losing their minds over every detail. Sharing their creative outfits, takes on the setlist, and live reactions to the show's astonishing spectacles, the online Swiftie community is storming social media once again.

“You guys. This is a whole, entire experience,” one fan wrote on Twitter. “This isn't just a concert. This is a FULL experience. I'm not even there and I can tell already. She did this, for ALL her fans. This is incredible.

In honor of Swift's monumental tour launching last week, here are how some Swifties reacted to a few of the biggest moments from the Eras Tour's opening night.

Yes, The Setlist Is Longer Than 'Avengers: Endgame'

Think watching Lord of the Rings or taking the SAT… that's approximately the length of the Eras Tour. Considering Swift's discography, it's no surprise that the setlist is extensive, but fans were still impressed (and shocked) by the whopping three-hour show.

Her massive stadium tour for reputation was just over two hours, and four albums later (or six, if you include Taylor's Version re-releases), Swift needed an extra hour to pack in just a few more of her hits.

nothing but admiration for taylor because Wow this set list is unbelievably LONG

— marina ✿ (@bubblewrapboys) March 18, 2023

honestly taylor is insane for such a long and perfect setlist

— olka⁷ 🪞 (@komhvmin) March 18, 2023

someone explain how Taylor’s set list is 44 songs long, like how????

— neve (@neve41379523) March 18, 2023

"Cruel Summer" Gets Justice As The (Almost) Tour Opener

All Swifties know that "Cruel Summer" should have been a single from Lover, and the popular deep cut is finally getting its deserved attention as the second song in Swift's setlist, after fellow Lover track "Miss Americana & the Heartbreak Prince." Here are some fans reacting to the fever dream high in the quiet of night.

TAYLOR SWIFT PERFORMING CRUEL SUMMER OH MY GOD #GlendaleTSTheErasTour https://t.co/OZ2mLWLrNX

— squid || fan account 💙 (@greedymotivez) March 18, 2023

me being airlifted out of the stadium after experiencing cruel summer at the eras tour
pic.twitter.com/Qd41rZRcyR

— Daniel (@Daniel_Tigerr) March 13, 2023

CRUEL SUMMER BRIDGE OH MY GOD TAYLOR.. HER VOCALS #GlendaleTSTheErasTour pic.twitter.com/bXqQE9AqfX

— squid || fan account 💙 (@greedymotivez) March 18, 2023

shout out to my bf for filming me ascend to heaven during the cruel summer bridge without me even asking pic.twitter.com/V8bXRSDt4g

— Jemima Skelley (@jemimaskelley) March 18, 2023

I JUST REALIZED THAT IT WAS THE FIRST TIME SHE PERFORMED CRUEL SUMMER LIVE IM SHAKING https://t.co/DYIHDC1fnc

— c 💌 (@celestialswiftt) March 18, 2023

Even Kelsea Ballerini, who was 2,000 miles away on a stage of her own, paused her own performance to ask her audience if "Cruel Summer" had made the setlist.

💬 | Kelsea Ballerini stops her set at a concert in Detroit to ask about #TSTheErasTour:

“I just have one question. I’m gonna stop after this but I just have one question," she said. "Has she ... is 'Cruel Summer' on the setlist?” pic.twitter.com/ku2EjR5jjR

— Taylor Swift Museum (@theswiftmuseum) March 18, 2023

Swift Assures Fans She Does Indeed Love evermore

Since evermore's late 2020 release, fans have long advocated for Swift to show some extra love to her ninth album. While Swift celebrated the anniversary of its sister album folklore and released the live Folklore: Long Pond Studio Sessions, evermore was alternatively posted on the singer's socials the least, prompting fans to jokingly theorize that she doesn't know evermore exists.

Yet, at the Eras Tour, Swift reassured crowd goers that evermore does in fact hold a special place in her heart.  To fans' delight, Swift performed "'tis the damn season," "willow," "marjorie," "champagne problems" and "'tolerate it," amping up the album's soft whimsy into a stadium-level spectacle.

“I’m here to dispel the rumors and prove wrong the allegations that I hate evermore… I don’t even wish people on social media a happy birthday.” SHE’S SO HAPPY AND NATURAL SPEAKING TO US AND MAKING JOKES ABOUT THIS 😭🥹 #TSTheErasTour pic.twitter.com/GW749ZFkYR

— Taylor Swift Updates (@SwiftNYC) March 19, 2023

EVERMORE?????? TAYLOR KNOW THAT EVERMORE EXISTS GUYS OMG WTF pic.twitter.com/acNZCOBGVA

— Taylor Throwbacks | fan page (@ThrowbackTaylor) March 18, 2023

taylor swift performing tis the damn season is the pinnacle of evermore rights

pic.twitter.com/lz00aHJFjs

— miguel I arlington 4/1 (@cowboyinwoods13) March 18, 2023

taylor put tolerate it on the setlist pic.twitter.com/VfRqFvGLCw

— caro 🧸 (@stylesgala) March 18, 2023

SHE DIDN'T FORGET ABOUT EVERMORE #TSTheErasTour pic.twitter.com/XOt5cOu1Iy

— ًm (@jchnnyshan) March 18, 2023

But… Where's The Love For Speak Now And Self-Titled Debut?

It's impossible to please every Swiftie, but some fans spoke up about the Speak Now and Taylor Swift erasure on Swift's 44-song setlist. "Enchanted" was the only song from either album that made it to the setlist, though it's likely Swift will perform more Speak Now songs as her interchangeable "surprise" songs of each show.

it all makes sense now pic.twitter.com/jBsu4lzXTz

— snowglobe allie leading the midnights rug campaign (@reckedmaserati) March 19, 2023

@clairenotdanes listen, im SO HAPPY about the setlist but also why speak now erasure 😭 #taylorswift #speaknow #erastour #setlist #swiftie #swifttok #longlive #haunted #taylorsversion #SeeHerGreatness ♬ You're On Your Own, Kid - Taylor Swift

She sang one speak now song …….. pic.twitter.com/ZmrVsxmMKe

— shan (@wildIyenchanted) March 18, 2023

the biggest eras tour easter egg we all missed pic.twitter.com/rXctAQ2iVW

— lina🧚‍♀️ (5/21 eras tour!!) (@tswizzlecat) March 18, 2023

6 songs from lover and 5 songs from evermore but only 1 song from speak now pic.twitter.com/LYob2Azk2V

— 𝒍𝒊𝒂𝒎🌙 (@NotFancy_) March 18, 2023

From "Gorgeous" To Comical: Eras Tour Fashion Stuns

Whether it's a dazzling iridescent custom Versace for Lover or a golden flapper fringe dress for Fearless, Swift's tour fashion never fails to disappoint — and neither does fans'.

While Swift pulled off more than a dozen costume changes on stage, her fans dressed up in outfits inspired by her eras, iconic lyrics, fanbase inside jokes, and more. See some of the top dressing-for-revenge looks below.

taylor went from “not a lot going on at the moment” to “a lot going on at the moment” in 10 years #GlendaleTSTheErasTour pic.twitter.com/xCP9HjKSx1

— Ron || ERAS TOUR (@midnightstrack2) March 18, 2023

the midnight rain costume change is so good stfuuu 😭#GlendaleTSTheErasTour pic.twitter.com/oLaSmEZ8DZ

— 𝙠𝙖𝙩𝙧𝙞𝙣𝙖 (taylor’s version) 🦋‎🪩 (@swiftiestanwbu) March 18, 2023

taylor’s reputation costume was the best part of the show last night like i am obsessed pic.twitter.com/Pj1xnxWVBx

— becky 🥐 (@benditlikebecky) March 19, 2023

SOMEONE DID IT YOU GUYS pic.twitter.com/JVDiMMevOQ

— lea | eras spoilers🍓SEEING GRACIE (@cowboylikehale) March 19, 2023

they’re having a camp off pic.twitter.com/OxWsZ4nYE6

— 𝗮𝗻𝗱𝘆 💫 eras tour TX 4/1 & 4/22 (@xThisIsAndyG) March 20, 2023

We’re dressed up as TVs, a play on Taylor’s Version. 😂
It was a hit and people took pics with us and all. 😊 @taylornation13 #erastouroutfit #erastour #erastourglendale pic.twitter.com/gwhsOdXEys

— KelseyLioness (@kelseyLioness) March 20, 2023

I went with a guy and we dressed up as Taylor in her getaway car outfit backstage hugging Joe. A couple girls picked up on it at our show & it was fun. pic.twitter.com/9sxqM2qPJb

— Melissa - Eras Tour Vegas 3/24 3/25 (@MelissaEnchant) March 20, 2023

@briannaxrenee SEE U AT NIGHT 2 🫶🏻💕✨ first time at a Taylor concert so excited! #taylorswift #erastour #erastouroutfits #swiftcity #taylornation #glendaletstheerastour #swifttok ♬ ERAS TOUR OUTFIT TRANSITION - paige!

Lucky Fans Caught The Jaw-Dropping, Fearless Dive On Camera

One of the most surprising moments of Eras Tour was most definitely Swift's shocking dive off stage. Stirring a collective gasp from the crowd, the moment served as a transition from her debut era to Midnights.

Between a three-hour show and a flawless swan dive, the Eras Tour begs one question: Is there anything Taylor Swift can't do?

Idk how I caught this @taylorswift13 #GlendaleTSTheErasTour pic.twitter.com/y8FqEwMcWH

— Daniel McGreevy (@DanielJMcGreevy) March 18, 2023

📲 UPDATE | Taylor has won the gold medal in the high dive!

— kaitlyn🪩 69 (@fearlesskait) March 18, 2023

The dive was the craziest thing ive ever seen I was so caught off guard LMAO

— 𝒓𝒚𝒍𝒆𝒆 is seeing taylor!!!! (@ucanbemyjailer) March 18, 2023

The Taylor Swift Essentials: 13 Songs That Display Her Storytelling Prowess And Genre-Bouncing Genius

There’s never been a better time to be a music-loving college student. 

Beginning in the mid to late aughts, an increasing number of academic institutions have begun offering courses dedicated to major music acts. In the late aughts, rap maverick Jay-Z made headlines after becoming the subject of a Georgetown University course taught by Michael Eric Dyson, a sociologist and best-selling author of Jay-Z: Made in America. In the Sociology of Hip Hop: Jay-Z, students analyzed Hova's life, socio-cultural significance and body of work. 

It's easy to see why students would be attracted to these courses — which fill up quickly and are often one-time-only offerings.  The intertwining of celebrity and sociology present such fertile grounds to explore, and often make for buzzy social media posts that can be a boon to enrollment numbers. For instance, Beyhivers attending the University of Texas at San Antonio were offered the opportunity to study the Black feminism foundations of Beyoncé's Lemonade in 2016. Meanwhile, Rutgers offered a course dedicated to dissecting the spiritual themes and imagery in Bruce Springsteen's catalog. 

Luckily for students clamoring to get a seat in these highly sought-after courses, institutions across the country are constantly launching new seminars and classes about famous pop stars and beloved musical genres. From Bad Bunny to Harry Styles, the following list of popular music courses features a little something for every college-going music fan. 

Bad Bunny's Impact On Media

From his chart-topping hits to his advocacy work, Bad Bunny has made waves on and off stage since rising to fame in 2016. Now graduate students at San Diego State University can explore the global superstar's cultural impact in an upcoming 2023 course.    

"He speaks out about Puerto Rico; he speaks out about the Uvalde shooting victims and uses his platform to raise money and help them," said Dr. Nate Rodriguez, SDSU Associate Professor of Digital Media Studies. "How does he speak out against transphobia? Support the LGBTQ community? How does all of that happen? So yes, it’s very much relevant to journalism and media studies and cultural studies. It’s all of that mixed into one." 

A Deep Dive Into Taylor Swift's Lyrics 

Analyzing Taylor Swift's lyrics is a favorite pastime among Swifties, so it's fitting that her work and its feminist themes have been the focus of a string of university courses over the years. 

In spring 2022, the Clive Davis Institute of Recorded Music at New York University launched an offering focused on the "Anti-Hero" singer's evolution as an entrepreneur, race and female adolescence. The waitlisted course — the first-ever for the institution — drew loads of media attention and Swift received an honorary degree from NYU in 2022. 

In spring 2023, honors students at Sam Houston State University in Huntsville, Texas can analyze the 12-time GRAMMY winner's music and career in a seminar titled Culture and Society- Taylor Swift.

Kendrick Lamar's Storytelling & The Power Of Hip-Hop

Since dropping good kid, m.A.A.d. City in 2012, Kendrick Lamar has inspired a slew of academics to develop classes and seminars around his lyrical content and storytelling, including an English class that juxtaposed his work with that of James Baldwin and James Joyce. 

More recently, Concordia University announced that the 16-time GRAMMY winner will be the focus of The Power of Hip Hop, It’s Bigger Than Us, a course examining the lyrical themes of Lamar’s works, such as loyalty, fatherhood, class and racial injustice.

"No artist speaks to this ethos louder and more intricately than King Kunta, the prince of Compton, Kendrick Lamar, 10 years after good kid, m.A.A.d. City dropped," said Yassin "Narcy" Alsalman, the Montreal hip-hop artist and Concordia Professor who developed the class which launches in winter 2023. “He showed us it was okay to work on yourself in front of the world and find yourself internally, that family always comes first, that community and collective missions are central to growth and that sometimes, you have to break free."

EDM Production, Techniques, and Applications

If you dream of hearing your own EDM tracks played at a massive music festival à la Marshmello, Steve Aoki and Skrillex, this all-in-one course at Boston's Berklee College of Music has you covered. Learn about the cultural origins of the various EDM styles — like techno, trance, drum and bass and more — and the techniques that artists use to achieve these sounds. 

In between thought-provoking cultural seminars, students will receive lessons on how to operate the technologies necessary to create their own EDM masterpieces, including synths, digital audio workstations (DAW) and samplers.  

Harry Styles And The Cult Of Celebrity  

While many celebrity-focused courses center around sociology, the Harry’s House singer/songwriter has inspired his own digital history course at Texas State University in San Marcos: Harry Styles and the Cult of Celebrity: Identity, the Internet and European Pop Culture. 

Developed by Dr. Louie Dean Valencia during lockdown, the class will cover Styles’ music along with topics like gender, sexual identity and class — but the singer-songwriter’s personal life is off limits. Stylers who are lucky enough to grab a spot in this first-ever university course dedicated to their fave can expect to revisit One Direction’s catalog for homework. 

"I’ve always wanted to teach a history class that is both fun, but also covers a period that students have lived through and relate to," Dr. Valencia wrote in a Twitter post. "By studying the art, activism, consumerism and fandom around Harry Styles, I think we’ll be able to get to some very relevant contemporary issues. I think it’s so important for young people to see what is important to them reflected in their curriculum." 

Global Hip Hop Culture(s): Hip Hop, Race, and Social Justice from South Central to South Africa

Since its inception, hip-hop has left a lasting mark on the world, influencing language, fashion, storytelling and beyond. At the University of California Los Angeles, students can learn about how the art form has shaped young minds as they analyze the various hip-hop scenes worldwide. 

As part of a mission to establish the university as a leading center for hip-hop studies, UCLA’s Ralph J. Bunche Center for African American Studies launched a hip-hop initiative featuring an artist-in-residence program, digital archives, and a series of postdoctoral fellowships. Chuck D, the founder of the barrier-breaking hip-hop group Public Enemy, was selected as the first artist-in-residence. 

"As we celebrate 50 years of hip-hop music and cultural history, the rigorous study of the culture offers us a wealth of intellectual insight into the massive social and political impact of Black music, Black history and Black people on global culture — from language, dance, visual art and fashion to electoral politics, political activism and more," said associate director H. Samy Alim, who is leading the initiative.

The Music Of The Beatles

With their catchy two-minute pop hits, artsy record covers, headline-making fashions and groundbreaking use of studio tech, the Fab Five are among the most influential acts in music history. It’s no surprise, then, that they are the subjects of courses in a number of colleges and universities. 

Boston’s Berklee College of Music offers The Music of Beatles, which digs into the group’s body of work as well as the music they penned for other acts. Alternatively, if you’re more interested in their post-breakup works, The Solo Careers of the Beatles dives into those efforts. Meanwhile, the University of Southern California takes a look at their music, careers and impact in The Beatles: Their Music and Their Times.

Symbolic Sisters: Amy Winehouse and Erykah Badu

Whether you want to learn about craft, management, building a career, or marketing your work, the Clive Davis Institute at NYU offers an impressive curriculum for musicians and artists. With seminars focusing on the works of Prince, Joni Mitchell, Stevie Wonder, Paul McCartney, and J. Dilla, a unique duo stands out: Erykah Badu and Amy Winehouse. 

Framing the pair as "symbolic sisters," this two-credit seminar explores and compares how each songstress fused different genres and styles to forge a magnetic sound of their own. Winehouse rose to prominence for her retro spin on the sounds of Motown and Phil Spector and rebellious styling. A decade before "Back to Black" singer hit the mainstream, Badu — who is recognized as one of Winehouse's influences — rose to stardom thanks to her seamless blend of jazz, R&B, and hip-hop and captivating urban-bohemian style, creating a template for singers like SZA and Ari Lennox.

Selena: Music, Media and the Mexican American Experience

From ascending to the top of the male-dominated Tejano genre to helping introduce Latin music to the mainstream, Selena Quintanilla's impact continues to be felt decades after her untimely death. Artists including Selena Gomez, Demi Lovato, Victoria "La Mala" Ortiz, Becky G and Beyoncé cite the GRAMMY-winning "Queen of Tejano" as an influence. 

Throughout the years, her legacy and cultural impact have been the focus of dozens of college courses. In 2023, Duke University continues this tradition with Selena: Music, Media and the Mexican American Experience. The course will explore the life, career and cultural impact of the beloved Tejano singer.

The Art of Punk: Sound, Aesthetics and Performance

Since emerging in the 1970s, punk rock has been viewed as a divisive, politically charged music genre. Its unique visual style — which can include leather jackets, tattoos, chunky boots and colorful hair — was absorbed into the mainstream in the '90s, where it continues to thrive (to the chagrin of hardcore punks everywhere). Over the decades, dozens of subgenres have cropped up and taken the spotlight  — including riot grrrl and pop-punk — but very few have left the impact of the classic punk sound from the '70s and its anti-establishment themes.

If you're interested in learning more about the genre that inspired bands like Nirvana, check out Stanford University's The Art of Punk seminar, which explores the genre's visual and sonic origins, as well as its evolution and connections to race, class, and gender. 

Meet Me @ The Altar Reveal The 4 "Badass" Female Artists Who Inspired Their Debut Album, 'Past // Present // Future'

There's a mesmerizing delicacy to Gracie Abrams' music. Her breathy, graceful vocals hang over sharply insightful songwriting, compelling you to listen just a little more closely. And once Abrams has your attention, she holds it close to her chest.

On her debut album Good Riddance, out Feb. 24, Abrams knits an ornate helix of homesickness and heartbreak. You can feel the lightning of a love that came out of the blue, and almost hear Abrams' mom on the phone through childhood bedroom walls. Throughout the record, Abrams draws listeners in as she sifts through what ifs and why nots in search of relief.

While her last two EPs — minor (2020) and This Is What It Feels Like (2021) spun bittersweet depictions of half-drunk happy past lovers, Good Riddance confronts her resentment and recklessness. Though the alt-pop album leads with a blurry black-and-white aesthetic, Good Riddance bleeds into the gray areas of right and wrong, of closeness and distance.

"It's funny when albums come out a year after you've written them," Abrams tells GRAMMY.com. "I feel like so much life has happened since then in a really great way. So it's almost like talking about it in hindsight now, but I'm desperately excited for it to belong to everyone else."

It's not easy coming to terms with a rollercoaster of feelings, especially at age 23, and it's even less easy to share them. But after crafting Good Riddance at Long Pond Studios in New York, Abrams credits her close friend and collaborator the National's Aaron Dessner with helping her settle into her vulnerability more comfortably. Her third headlining tour kicks off early this March, and she'll support Taylor Swift's Eras Tour in April alongside Phoebe Bridgers, beabadoobee, HAIM, MUNA, and others.

Before life grew too busy, Abrams logged onto Zoom to chat with GRAMMY.com. Wearing a soft smile and gray sweatshirt, she enjoyed a "super, super caffeinated cappuccino." ("I always get glares when I order it. People are like, 'Is she okay?'" Abrams says. "No.")

As she sipped on four shots of espresso, Gracie Abrams shared intimate details on her album's creative process, why touring is the "best kind of exhaustion" she's ever known, and leaning on her fans' rare "superpower" of being able to make her feel better.

This interview has been edited for length and clarity.

What surprised you most about the creative process for Good Riddance? Or did you feel like the process was similar to other albums'?

No, definitely not remotely similar. I think working with Aaron allowed for so much to come up that I don't think would have for me otherwise. So much of that is because of the trust that he and I share. We have very similar personalities in many ways, and often joke that we share a piece of our brain because certain instincts are so aligned. So to have a space that was so comforting and safe, I was surprised by the ease at which I was able to write about such heavy s—.

I think there was a joy to all of it, even when it hurt really bad to admit feelings through the lyrics. I think I was surprised by how excited I was to go to bed every night so that I could wake up the next morning and do it all over again. All of it felt very different than anything I've done before.

It sounds like it was a cathartic experience for you. I'm really glad he was able to create such a safe space. What's the best piece of advice he's given you?

I think that the biggest takeaway that has been universally applied is to trust myself more. He's made me feel really good at what I bring to the table. And I think that is while also challenging me and pushing me to be the best version.

There's something about that kind of someone — who I admire so much, who is a mentor to me — having confidence in me not just as an artist and a writer, but as a person. He's encouraged me to listen to these internal fire alarms that I think for a while I'd been pushing aside a bit. It's definitely helped enormously.

He's one of my best friends now too. That relationship has been really, really, really massively life-altering. Just because I feel like not only can I call him up and ask him when I'm spiraling about something, how to handle it, he's always like, "well, you already know what you're going to do and trust that, do the thing."

One of my favorite tracks is "Best," which features the titular lyric. Can you tell me more about that song and why you decided to name your debut Good Riddance?

Well, this is the first time that I've made an album where I've been thoughtful about every element, including the tracklist. I think as a songwriter and a storyteller, I'm very invested in the arc of the narrative. So the bookends on the album were very important to me. "Best," which is track one, was one of the more painful songs to write because I think there was a lot that I said in this song that I never even said to the person that it's about. And it feels like a version of an apology in many ways.

And yes, the title comes from a line in that song, and I felt very drawn to what Good Riddance means and feels like when you hear it. I think there's this harsh connotation, that I think is definitely one side of it for sure. But then I also think, in a more kind of conversational offhand way, there's a surrender to change. I feel like there's many elements of the album that consist of me surrendering to change, in having a curiosity about growing up in different ways and what it means to leave certain things behind.

Surrendering to change is such a perfect phrase to describe what the album encapsulates. How do you find yourself coping with change, especially at such a fast-paced time in your life?

I think I'm trying to hold everything a bit more lightly and remind myself that nothing is permanent at all, the good or the bad. Honestly, my experience with touring has allowed me to understand that being a controlling person only makes everything harder.

There's so many unpredictable elements, and you have to be really down to go with the flow and be open to last minute adjustments across the board in order to have the best time. That's something that my tour manager, Mackenzie Dunster, the sickest person of all time, she's like a big sister to me [taught me]. She is very much the person that… [gave me the] understanding that the only thing that you can control is yourself.

When talking about change in general, I try to consciously have more of a softness now than I have in the past towards myself, but also what other people may be going through at any given time, spoken and unspoken. Trying to just be more understanding and less rigid has allowed for more ease when going through these greater transitions. But I definitely am no expert. Especially at 23, I also try to constantly remind myself of how little I know about everything. So I hope I continue to get better at going with the flow.

Navigating your twenties can be so tricky, but it sounds like you have a wonderful support system. What would you go back and tell the Gracie that made minor?

I would say so many things. I think mostly get off your phone a lot. I think I would urge myself from back then to remember what is real and what is not real. That was the year before my worst anxiety ever, so I think I would also whisper little tools into my ear about how to deal a bit better in healthier ways and things.

But that being said, I also do feel very grateful for having gone through the things that I did at that time. And I wouldn't change them, but I do think it's awful. When I think back on the amount of time I spent on my phone, or looking for validation, or posting about feelings, [I want to tell myself] just shut your mouth and go to sleep. You know what I mean?

You've been in the music release, tour, music release, tour pattern for a while. Do you feel like you're going with the flow now, and you're more used to it?

I feel really thrilled to get back on the road, especially for [my] headline [tour] being the first tour this year. It feels comforting. I feel so excited to be back in rooms with people that are nice enough to show up and be vulnerable with their feelings, and reciprocate in that way.

It also is such a significant reminder of what I feel we all were lacking over the past few years in having that sense of community in a room and being okay, being emotional with strangers. It's so specific, and… I haven't found it can be replicated elsewhere.

So I've missed it dearly. And I think knowing that I am capable of doing it is very helpful going into this year. Especially with the Taylor tour too, the scale is so extreme and so wildly different from anything I even had the imagination for. I truly can't wait. But definitely, I feel a greater sense of calm than I did before.

What's been one of your favorite tour experiences or fan attractions? I'm sure you have a lot to pick from.

It's just so lucky and it's so fun to remember all of it. All I can speak to is my relationship with my listeners, but I feel like we have such a close relationship. It literally feels like friendship first to me. Every time I meet someone and have even a quick conversation, we're like, oh, "this is my username and X, Y, Z." Immediately, I'm like, "oh, we've talked before a billion times, or you sent me this meme on this day, and I really needed it" because I felt sad. Or reading letters from my audience when I'm really far away from home and feeling immediately cured of all homesickness.

There's this weird superpower that I feel they have, that again, is just such a rare thing. It makes me so grateful and just is a constant reminder of how giving they are with their time and energy and experiences. To share with me anything at all also makes me feel way more down to share about my life.

But I think it's funny too, with these songs on this album, a lot of them are very explicit and it's also very raw still. And I think I'm still navigating how to have a job that is so intertwined with my personal life and how to protect my energy and my privacy, while also wanting to be open and vulnerable.

I've been spending a lot less time on social media recently because it has been better for my head. Especially with tour coming up, what feels real to me is the in-person interactions [rather than what comes] up online that feels destructive or distracting. When I think about this as an album that I don't want to be giving much added context to, I think I'm really more interested in hearing from everybody else [about] how it makes them feel. I think I also want to just keep some parts of it for me.

How do you remind yourself to stay present?

Well, every time I've felt like I've been on stage and I'm thinking about something else by accident, the show is worse in my mind. I remind myself to stay present because I have the best time when I'm exactly where I am. And I think the easiest way to do that is to make real, direct eye contact with someone in the audience and just lock in for a minute.

I think there is a softness and a sensitivity to the audience that [enables me to] feel more okay to show up as I am on any given day. And I've definitely had certain shows where I'm like, "can we all just take a group breath for a second?" And sometimes I do that when I am having some weird wave of a feeling, or an anxiety or something creeps into my head, I do try to recalibrate in real time. Just having little practices along the way to try to be as present as possible is really helpful.

But I'm also aware that there's so many of these places, for example, I've never been to, and there's so much to explore and to really be excited about — especially on days that you're extra tired, or really homesick, or feel super far away from everyone, or haven't seen your dog in months or whatever it is. The luckiest thing in the world is to be able to write these songs and then perform them, and then meet people through that and connect. That's real and so lucky. So lots of gratitude all the time.

Since you're touring with Taylor Swift in the next few months, what was it like the first time you met her?

It's like meeting an immediate best friend and also a superhero. You know what I mean? She's like the coolest person of all time. She is the warmest. She makes you feel like family instantly. And to have admired her and her work for my entire life, to also then be able to feel that way on a personal level is such a lucky, cool thing. And she's everything that you would ever hope she would be.

The Psychology Of "Sad Girl" Pop: Why Music By Billie Eilish, Gracie Abrams, Olivia Rodrigo & More Is Resonating So Widely

When the 2023 GRAMMYs wrapped, viewers weren't just talking about the history-making wins or the dynamo performances.

The internet being the internet, some of the spontaneous, in-between moments — the ones that can only happen during Music's Biggest Night — got a comparable amount of ink, from Adele's surreal meeting with the Rock to Taylor Swift and Bad Bunny's much-memed photo op.

Below, revisit 12 classic, memeable moments from the 2023 GRAMMYs — the ones that the internet is built to receive with laughs, applause and memes galore.

Lizzo Was… A Bouquet?

Lizzo — who won big for Record Of The Year for "About Damn Time" — stepped out in an impressively floral and voluminous getup courtesy of Dolce & Gabbana. Perhaps looking ahead to the vernal equinox, Ms. Bad Bitch O'Clock captioned her Instagram post, "Spring awakening."

Adele Met The Rock For The First Time…

It was her lifelong dream. Shouldn't it be everyone's? And the Rock made it even sweeter with his request to join him onstage, when she won Best Pop Solo Performance: “Get up here, best friend!”

…And Posed With Two Fellow Pop Queens

Everyone seemed to lose their minds over this one — Lizzo included!

Taylor Swift Danced Merengue To Bad Bunny

Swifties might need months of recovery from this moment. As one Twitter user put it, "Taylor Swift dancing to Bad Bunny altered my brain chemistry forever."

Chris Martin's Astronomical Look

Mirroring Coldplay's Music of the Spheres' celestial vibe with his threads, Martin showed up to Music's Biggest Night looking dashingly wizardly.

Lil Uzi Vert's Goku-Like Appearance

During the Hip Hop 50 segment, the celebrated rapper looked ready to go Kamehameha on Crypto.com Arena.

Bonnie Raitt's Astonished Reaction

The Americana legend's Song Of The Year win for "Just Like That," the only nominated song to feature one songwriter, was a massive win for purveyors of songwriting's basics — an instrument, a voice and a pen. Judging by Raitt's expression, she felt the magnitude of the moment completely.

Bad Bunny & Taylor Swift's Photo Op

Trust us: this was memed to the nth degree.

The Crowd Grooved To Hip-Hop 50

A litany of familiar faces — from Bad Bunny to Jay-Z to Taylor Swift — jammed along with the historic salute to hip-hop, which featured countless of the genre's stars from several generations, including Chuck D, Flavor Flav, Scarface, Missy Elliott, Lil Uzi Vert and many more.

Trevor Noah: Special GRAMMY Delivery!

GRAMMY record-setter Queen Bey was famously late to the 2023 GRAMMYs due to traffic — so host Trevor Noah played delivery boy the first golden gramophone she won on the telecast, Best R&B Song for "CUFF IT.".

Harry Styles Celebrated With A Superfan

Last but certainly not least, Album Of The Year winner Harry Styles got to share the big moment with one of his biggest fans — a woman named Reina, one of 10 superfans highlighted throughout the ceremony — as she awarded him his golden gramophone.

Not only did he give her a huge hug upon talking the stage, but he made sure to give her a fist bump after delivering his acceptance speech.

Music's Biggest Night always seems to spawn countless memorable happenings — and we're anxious to see what memeable moments will transpire at the 2024 GRAMMYs!

2023 GRAMMY Nominations: See The Complete Winners & Nominees List