On May 23 and May 26 Amazon offered digital downloads of Lady Gaga's new album Born This Way for 99 cents, presumably in an effort to draw attention to its new Cloud Drive music service, which offers customers who purchase an album 20 gigabytes of free storage space. That spurred what seemed like a digital music bonanza when two weeks later the online retailer sold digital copies of the original Broadway cast recording of the hit musical "The Book Of Mormon" for $1.99 from June 9–12.

Amazon ate the cost of the price cuts while boosting album sales, maintaining artist and label revenues and also drawing bargain-hunting customers to its site. But a controversy lurked underneath: Was such a radical price point encouraging people to buy more music, or simply devaluing it further in an era of rampant illegal downloading?

There is little doubt that Amazon's digital promotion of Born This Way helped Lady Gaga achieve first-week sales of 1.1 million units, marking the largest sales week since 50 Cent's The Massacre rung up sales of 1.14 million units in 2005, according to Nielsen SoundScan. And on the digital sales front, Born This Way earned the highest sales week for a digital album and became the eighth best-selling U.S. digital album of all time with 440,000 units sold.

But Lady Gaga told The Wall Street Journal in June that, as far as digital music was concerned, her album was not worth more than the 99 cents Amazon charged. "It's invisible," she said. "It's in space. If anything, I applaud a company like Amazon for equating the value of digital versus the physical copy, and giving the opportunity to everyone to buy music." Lady Gaga also noted that Amazon graciously covered the price difference on the sale, ensuring that she would not lose money on the deal.

Thanks to Amazon's $1.99 promotion, The Book Of Mormon — which garnered GRAMMY-nominated composer/lyricist Robert Lopez, Trey Parker and Matt Stone an award for Best Original Score (Music and/or Lyrics) Written for the Theatre at the 2011 Tony Awards in June — reentered the Billboard 200 at No. 3 during the promotion, becoming the highest-charting Broadway cast album, and the first Top 10, since 1969. With 61,000 units sold during the week ending June 12, the album also notched the largest sales week for a cast album since Nielsen SoundScan began tracking data in 1991. That more than doubled the high estimates of 25,000 units that Amazon representatives offered to musical producers Anne Garefino and Scott Rudin. For the duo, however, the promotion was not about getting ahead in sales or profits.

"We're a live experience, not an album," says Rudin, "So for most people who don't live in New York, and for the many people who want to see it right away and are going to have to wait a while, the cast album is meant to be kind of an ambassador of the show. We basically broke even on it, and it was a way for people to sample the show."

It was also a way to give back to those who already supported the show.

Amazon selling digital albums at low cost is not a new trend. In April 2009 Apple moved from selling all songs in its iTunes Store at 99 cents each to a tiered pricing model that includes songs priced as low as 69 cents. That same month Walmart's online music store began selling songs for as low as 64 cents. And earlier this year Amazon lowered its song prices to 69 cents each. Amazon's monthly discounted $5 albums, some of them massive classical compilations or catalog rock and pop releases such as Prince's 1999, Radiohead's Hail To The Thief and Joni Mitchell's For The Roses, are also commonplace.

Other online retailers such as eMusic offer subscription-based services that offer the customer an allotment of downloads for a monthly fee. EMusic subscriptions start at $11.99 per month with individual song prices starting at 50 cents each.

In an effort to offer customers a wide variety of choices and help introduce them to new music or artists, Amazon is also offering deals on indie music, with more than 400 digital albums on sale through July. There is even an occasional deal on new releases such as the Airborne Toxic Event's All At Once, which was on sale for $4.99 for a limited time in June, and Them Crooked Vultures' self-titled debut album, which received a daylong $2.99 promotion in 2010.

Silvio Pietroluongo, Billboard's director of charts, notes that the Lady Gaga promotion was obviously larger in terms of the artist and the scope, but says its positive effects are dubious.

"It's certainly not sending a great message as to what the true value of an album is, and when I say album [I mean] physical," says Pietroluongo. "It doesn't help. I think everybody has a good idea of what they are willing to spend, if anything, on music, but if there are some that are still casual consumers, they may dive in at 99 cents but not pay $3.99, $5.99 or $9.99. It would be worse if we saw this consistently. It would send more mixed signals if the price started to vary day by day. If we start seeing albums priced a certain way on Tuesday [for instance], [and] then lowering the price on Friday or Saturday, that's really going to start to set things in a negative way in terms of music consumption."

Amazon seems optimistic at this point.

"We strive to offer the very best price, selection and convenience," Amazon said in a statement. "We are pleased to offer customers music at a very low price, and ultimately, by offering the product at such a compelling price point, we believe it will actually generate more sales for artists in the long run."

For the digital retailer, the benefits of ultra-low pricing seem clear, at least for the moment: more customers drawn to the site for potentially additional purchases. For the music industry however, low-priced promotions may be a mixed bag of greater exposure on one hand, but a detrimental effect on music's perceived value on the other.

Will such promotions ultimately prove to be a boon for music, or a risky proposition for its bottom line?

(Bryan Reesman is a New York-based freelance writer.)

After nearly a decade in the commercial wilderness, Prince seemed determined to bring his music back to the masses with his 28th studio effort. While announcing its release, the Paisley Park legend had one thing to declare: "School's in session."

Eschewing the jazz fusion sound of his previous releases in favor of a more mainstream blend of pop, R&B, funk, and soul, Musicology proved to be a valuable lesson. It returned the megastar to the upper reaches of the Billboard 200, earned five GRAMMY nominations (and two wins), and reasserted Prince's place on the touring ladder. Even the previously dismissive critics came back on board, with Rolling Stone declaring it "as appealing, focused, and straight-up satisfying an album as Prince has made since who can remember when."

And while Prince was always a prolific artist, it seems Musicology was highly inspirational for the Purple One himself, too. Just two days after the album's release, Prince dropped both his 29th studio effort, The Chocolate Invasion, and his 30th, The Slaughterhouse, exclusively online.

Of course, it's the major label release that has become the more notable part of his remarkable oeuvre. Musicology paved the way for a string of further late-career classics and revived the legacy that's still going strong nearly ten years after his untimely death.

In honor of Musicology's 20th anniversary, here's a look at how Prince's masterclass reaffirmed his status as an artistic genius.

It Saw Prince Return To His Best Form… 

After three albums of jazz fusion (The Rainbow Children, Xpectation, N-E-W-S) and the piano-heavy One Nite Alone..., it appeared as though Prince was no longer interested in the melting pot of sounds that defined his imperial phase. But Musicology showed his polymathic tendencies were still intact.

Channeling the acts he explicitly namechecks (James Brown, Earth Wind and Fire, Sly and the Family Stone), the opening title track was the slickest, funkiest thing he'd put his mononym to in years. Accompanied by one of his most provocative videos, "Cinnamon Girl" harks back to the classic roots rock of the Rolling Stones, while the epic ballad "A Million Days," Marvin Gaye-esque soul of "Call My Name," and jam session "If Eye Was the Man in Ur Life" all further helped the record to live up to its "no boundaries" pre-release claims.

…And Also Saw Him Return To Lyrical Form 

It wasn't just on a musical level that Prince flourished. Whereas its predecessor was largely focused on his conversion to the Jehovah's Witnesses, Musicology's lyrics embraced more universal themes — from the domestic bliss of "Reflection" ("Did we remember to water the plants today") to infidelity drama "What Do U Want Me 2B."

Prince's sublime storytelling abilities are perhaps best showcased on "Illusion, Coma, Pimp & Circumstance," a money versus love debate involving a gigolo and a much older socialite. He also proved he could still tackle serious issues with "Cinnamon Girl," the story of a mixed-race youngster impacted by post-9/11 paranoia. Gossip hounds, however, will be most intrigued by "Life O The Party," which appears to take a blatant pot shot at one of his fellow '80s superstars ("My voice is getting higher/ And I ain't never had my nose done/ That's the other guy").

It Brought Him Back To The Charts

Prince had been one of the dominant Billboard 200 artists of the 1980s with Purple Rain, Around the World in a Day, and the Batman OST all reaching No. 1. But thanks to the record company dispute that inspired his name change to an unpronounceable squiggle, uncommercial release strategies (several albums were only available via his NPG fan club) and the general law of diminishing returns, his chart appeal started to wane from the mid-1990s onward. In fact, 2001's The Rainbow Children peaked no higher than 109!

However, issued through Columbia (his first major label release since Rave Un2 the Joy Fantastic on Arista five years earlier), Musicology completely reversed his fortunes. Reaching No. 3, it became the star's first top 10 album since 1995's The Gold Experience and his highest charting since 1991's Diamonds and Pearls.

It Pioneered A New Sales Strategy 

In 2017, more than a third of the year's Billboard 200 chart-toppers benefited from ticket bundles, a release strategy in which a chart-eligible free copy of a new album is given away — when manually redeemed — with each concert sale. This included The Killers' Wonderful, Wonderful, Shania Twain's Now, and Kenny Chesney's Live in No Shoes Nation, the latter becoming the first live album to reach the spot in seven years.

While this was the technique's commercial pinnacle, the idea was actually first instigated by Prince. Indeed, proving that he could still be ahead of the curve in his fourth decade as an artist, Musicology was automatically made available to anyone attending Musicology Live 2004ever for no extra charge. This accounted for 125,000 copies (roughly 25 percent) of the 632,000 sold in its first five weeks. In fact, the experiment proved to be so successful that Billboard decided to change its rules to avoid the potential for chart manipulation.

It Gave Him Further GRAMMY Glory 

Keen to remind everyone of his inimitable talents in time for Musicology's release, Prince graced the GRAMMYs stage just two months beforehand and, with a little help from Beyoncé, brought the house down. The two generational icons kicked off the ceremony with a spellbinding medley which included the former's "Purple Rain," "Let's Go Crazy" and "Baby I'm a Star" and the latter's "Crazy in Love."

The following year, Prince was back as a five-time nominee. Not only were they his first R&B nominations in nearly a decade, but his two wins — for Best Male R&B Vocal Performance for "Call My Name" and Best Traditional R&B Performance for "Musicology" — marked the Purple One's first GRAMMY wins since 1987.

It Set The Stage For A Trio Of Now-Classic Releases 

Prince certainly didn't waste the goodwill earned from his surprising commercial renaissance. In 2006, the Purple One achieved another major milestone when 3121 became his first album ever to debut atop the Billboard 200, knocking off the soundtrack from Disney phenomenon High School Musical in the process. Named after the address of the house he was renting during its recording, Prince's fourth U.S. chart-topper also spawned his first Hot 100 entry in seven years with the funky "Black Sweat."

Prince followed it up with 2007's No.3-peaking Planet Earth, a record controversially released for free as a Sunday newspapercovermount in the UK, but in the more traditional way this side of the Atlantic. And this particular golden period was wrapped up in 2009 with Lotusflow3r, a Target exclusive triple album also designed to showcase the talents of his latest protege Bria Valente, which reached No. 2. Without Musicology paving the way, this trio might not have attained late-classic status.

It Restored His Reputation As A Must-See Live Act 

While Prince had always remained a popular live draw no matter his commercial success, his touring presence since the start of the century had been a little unpredictable. His supposed 'world tour' of 2003 was largely confined to Australia; his One Nite Alone... run the year previously was more jazz club than regular gig, and 2001's A Celebration was reportedly cut short over a record company dispute.

Musicology fully restored him to must-see status. Its accompanying trek, which plotted 77 dates across 55 U.S. cities, sold over 1.4 million tickets, grossing a whopping $87.4 million along the way to become the most lucrative of 2004 — and the highest-grossing tour of Prince's career. Its success allowed Prince to launch a record-breaking 21-date residency at London's O2 Arena and the lengthier, guest-heavy Welcome 2 tour, during which he was joined on stage by everyone from Whitney Houston to Whoopi Goldberg.

It Fearlessly Embraced His Past 

Contrary to his previous array of jazz fusion albums, Musicology suggested Prince was now content to reconnect with his chart-topping megastar past. Its title track even concludes with some radio station surfing featuring snippets of "Kiss," "Little Red Corvette," and "If I Was Your Girlfriend."

It was a similar story with its accompanying tour. Giving exactly what his fans wanted, the set lists were largely comprised of his greatest hits, with his new album only getting a nod on a handful of occasions.

The Musicology era was Prince's way of showing that he hadn't forgotten why everyone fell in love with him in the first place, while simultaneously extending his creative legacy. Whether looking back at all of its accolades or checking out all of the celebrations on Prince's official Instagram page, it's clear that Musicology remains a vital part of the Purple One's catalog 20 years on. 

Behind 'Diamonds and Pearls' Super Deluxe Edition: A Fresh Look At Prince & The New Power Generation’s Creative Process

GRAMMY-nominated singer/songwriter, producer and percussionist Sheila E. has certainly had a glamorous life — and has done a lot with it. 

The child of percussionist Pete Escovedo and goddaughter of legendary timbalero Tito Puente, Sheila Escovedo has been energizing stages for most of her life. First performing as a child, Sheila was one of few female percussionists in the 1970s and '80s, and rose to the upper echelons of the music industry — performing alongside Marvin Gaye, Michael Jackson, Lionel Richie, Herbie Hancock and Diana Ross. Whether in session or onstage, her dynamism and inventiveness continually made Sheila the star of the show. 

"I think outside the box," Sheila E. tells GRAMMY.com. "You just come up with ideas and it doesn't have to be traditional. It just has to be from your heart, a feeling that makes sense, that compliments whatever song it may be." 

Sheila's energy and unique approach to playing drums, timbale, and percussion caught the attention of Prince, a unique artist in his own right. The two spent decades as creative partners – Sheila acting as the Purple One's drummer, producer, musical director and, for a time, romantic partner; Prince shepherded her 1984 solo debut, A Glamorous Life, into being — and worked together until his death. Among her lasting contributions to their musical legacy, Sheila performed on the Purple Rain sessions and toured the album, and her vocals appear on "Erotic City." The two duetted on Sheila's 1986 single "A Love Bizarre" and, fittingly, got engaged in the middle of a performance.

In addition to her list of impressive accomplishments (which include co-founding the educational nonprofit Elevate Oakland), Sheila E has released eight albums as a solo artist. Her ninth, Bailar, finds the one avenue Sheila had yet to pursue: salsa. 

Recorded in Miami with a cast of local musicians, the 10-track record features originals and covers in both Spanish and English, and its lead single — an energetic cover of Celia Cruz's "Bemba Colorá featuring Gloria Estefan & Mimy Succar — fittingly has Sheila playing percussion, timbale and singing. 

"This is the best record I've ever done. I feel that good about it," she says. Ahead of Bailar's April 5 release, Sheila E. spoke with GRAMMY.com about creating music in a new idiom, the importance of collaboration, and finding space in music. 

This interview has been edited for clarity.

You've been working in the funk, R&B and pop space for years. What brought you to salsa now?

I've wanted to do a salsa record for a long time. My bucket list is extensive, and then I met [GRAMMY-winning producer and timbale player] Tony Succar in 2015… he did a project and took Michael Jackson songs and flipped them into salsa. I said, "Man, if I ever do my salsa record, we have to do it together because you understand."

I'm bringing that Oakland vibe to salsa. My dad was a Latin jazz artist — that's the foundation of who I am —  however, he also played salsa music in the house. I grew up listening to Tito Puente, Mongo Santamaria, Ray Barretto, Eddie Palmieri, Celia Cruz and Tito Rodriguez, and the Fania All-Stars.  Our whole family loves salsa dancing.

There was music that I had written for an R&B album that I didn't release, and I said we can take some of this and flip it into salsa. This is another side of me that I'm excited about sharing with the people. 

Bailar sounds like something you would hear in New York or Miami, but there's something slightly different about it. What are you bringing to this record that might be different from another salsa band?

Salsa is very demanding. It's specific and traditional; there are things that are supposed to be played in specific sections of a song — whether it's a conga rhythm, a timbal rhythm, a cowbell rhythm. The element of the Bay Area and the Latin jazz with a little bit of funk, that was me [adding something new]. 

I always wanted to do "Bemba Colorá." I did a rumba in front of it and took a conga solo, and when I got to the half-time of that song, I said, "I want to take a drum solo." I don't think anyone has taken a drum solo or have even played drums on this song…especially a woman. Just adding different elements like that, as well as the way that I mix: where I place the horns and where I place the percussion and where the bells are and where the drums are. 

Tony Succar and I produced this record together. I did a couple of arrangements [and] co-wrote seven of the 10 songs. The songs that I had already written were arranged, but then we wanted to flip them into salsa. 

Are there any other songs on this record that you're particularly proud of?

All of them. Every one is a different story. The only woman that I could think of to call [for "Bemba Colorá"] was Gloria Estefan; she's like my sister. Mimi Succar is a new and upcoming artist, so we had her to sing as well, and the three of us just had a blast. 

[Also] playing "Anacaona," which is a song I used to hear [by] Fania All-Stars and Cheo Feliciano. My dream was to have Rubén Blades sing on my record; he sang that song and I started crying. I was just overwhelmed. 

["El Rey del Timbal"] was one song that I had played with Tito [Puente] and my dad many times. When Tony sent me the demo, I listened to it and was like, "We got to go way faster than that. If Tito was playing it, he would've played it this way, and I know because I've played it with him."  So I started taking a solo, banging my legs while I was listening to it through the phone, and I just kept going faster, and then Tony's like, "Are you serious? This is 200-something BPMs." 

It was perfect for me taking the timbale solo, but when I had to then overdub and play all the parts on the bells and everything, it was so fast, I was like, What was I thinking? The horn section had it worse. A trumpet player yelled on the track  — "Ahh!" —  and I boosted him yelling [on the final mix], because that's real stuff.  It took everything for them. 

I'd love to hear a little bit about your relationship with Tito Puente and any important musical lessons he taught you, especially now that you're coming out with an album that's very much influenced by his work.

He was such an influence. He was amazing. He did so much for us as a family, musically, as well as being our friend and growing up listening to him. He and my dad met when they were 18, and having him around the house when I was growing up, I didn't even know he was.  

The biggest thing was we would go to New York, my dad and I, and we would sit in with Tito at the Palladium and the Corso. And back then, you'd have four bands playing in one night until 6 in the morning. And they would jump from one club to the other. It was the most stressful time because, as jazz artists, we didn't hardly sit in with salsa bands. I was like, "But papa, I don't know the clave, I don't understand what bell pattern or what conga pattern to play." He goes, "Don't worry about it. You don't listen to those guys. You just go play you."

So he kept encouraging [me]: it doesn't matter, you have the heart to go ahead. And my pops would say the same thing: We might not understand it technically, but we play it from our heart. [Tito] always encouraged me, and I got to play with Celia, Tito and [bassist] Cachao [Lopez] at the same time.

What a dream come true. Tito introduced me to all of these musicians as well, but really just telling everybody, "You be quiet and just let Sheila play."

Read more: Celebrating Tito Puente's Centennial: 10 Essential Songs By The Mambo King

Bailar is a bit more celebratory than your last album, 2017's Iconic: Message 4 America, which was heavily political. Obviously we continue to live in increasingly fraught times; why was it important for you to put more positive messages out into the world? One of your tracks is even called "Possibilities."

We are living in hard times, and it's challenging. Things are changing every single day. And everyone is going through something every single day.  One of the things that has been such a blessing to me is the gift of music. I don't take it for granted. To be able to share music and at least make people happy for the five minutes that you listen to this song or the entire record…is healing.

Many times in my shows, people end up crying. It's emotional, and music brings joy. It lifts you up. It brings you to a place of happiness and love, and we just want you to have a good time. But the joy that I get to be able to do this, it heals me too. And I just thought it was important.

Your work and relationship with Prince is so extensive and deep. What would you consider the peak of your creative partnership?

I don't think there ever was. We continued to grow and just kept experimenting on different sounds, and recording and jamming. We first jammed together in 1977 when he came to my house. We either recorded or played together [on] so many songs. There's still tons of stuff in the vault…I counted at least 200 songs I played on that I haven't even heard yet.

We were always jamming, coming up with something, or recording. A lot of times I would engineer for him as well; it's just he and I [in the room] most of the time. I taught myself some engineering when I was growing up; I saved all my money and started buying recording gear so I could learn how to write and produce myself when I was in my teens. 

So when I started to record with [Prince], I had already recorded songs on tape before. Being in the studio with him, we would see who could stay up the longest, who's going to fall asleep first. We would catch each other [falling asleep] almost at the same time. 

*You also worked with Prince on your debut album, 1984's The Glamorous Life. You'd been working so much as a musician up to that point already that it's interesting to think of it as your debut. How did you work on that project together?*

We had already been jamming and playing together before we did all that. And I had been out on tour with so many artists beforehand; when we first met, I was already touring with George Duke in the mid-'70s. [Prince was] like, "I've been watching you and I'm following your career, and maybe one day we could do something together." 

He started doing all these albums, and then he becomes the Prince that we all know. He changed every record, which was amazing musically. At the time [we recorded Glamorous Life], he was at Sunset Sound [recording studio and] he had all the rooms going at the same time. We just went in and started recording.

Prince was very involved in getting me the deal with Warner Brothers. He just one day said, "You want to do the record now?" And I was like, "Yeah, I think I'm ready. Let's do it." It was that simple. We went into the studio and we were pretty much done with my record, from top to bottom, in a week.

We just stayed in there, literally no sleep. We were so excited. We had so much fun.

Back then, I wasn't really playing drums a lot. I wanted to make sure that my percussion was in the forefront, and he knew that too. That's how Glamorous Life came about, to showcase me in a light that I wasn't really a singer. I was a percussion player leading my band, playing timbales, which no one really understood because, in pop culture, no one had done that. 

So it took even a minute for [Warner Brothers] to understand releasing the record. They wanted to release "Belle of St. Mark" first as the single and not "Glamorous Life"; I had to fight them on it because I said, "'Glamorous Life' is a song that is important to me, and it showcases me as a percussionist and a singer. If I do 'Belle of St. Mark,' it's only me singing. I'm not even playing percussion."

I would love to hear about other musical collaborators who are a big part of your story.

I've been able to play with so many people: George Duke and my dad, and [drummer] Billy Cobham, [bassist] Alfonso Johnson, and it went on. Then [jazz guitarist] Lee Ritenour and [jazz pianist] Patrice Rushen and all of these other artists; Herbie Hancock…. Then you go switch over to Marvin Gaye, and then you go to Brooks & Dunn. I just hopped all over the place with Con Funk Shun and sitting in with so many people and recording. When we do these events, you get to sit and play with Phil Collins and Elton John; I'll just play percussion, I'll be the backup. I don't need to be in the front. Part of what I love is I get to be on both sides.

I can be a team player and play with a group, which is so exciting. Or if you want to feature me, that's fine. That's kind of what had happened throughout my life; anyone that I performed with would just say, "Sheila, you just go out in the front." They would push me out there. Marvin Gaye is like, "Sheila, you take over. I'm going to go back and change." He made it a part of his show. And then same thing with Lionel Richie. Everyone would just feature me, it became that thing. Everyone has influenced me in some sort of way.

You're out there being featured and just putting so much into your performances. You have this incredible amount of energy. What powers you?

God's given me the gift and point-blank. I am forever grateful to be able to do what I get to do because of that gift. I don't take it for granted. 

You have musical directed the Obama's Festival Latina, the Recording Academy's Tribute to Prince, and of course, you were his musical director for many years. Does that work require a special set of musical muscles?

When it comes to music and just being an artist, whatever you put into it is what you get out. I would always do the homework that was needed to play with an artist — learn all the music — so when I walked into a situation, I would walk in with confidence. I wasn't a great reader at all; it was really all by ear. That preparation is everything. 

Putting together my first ever band during that time in the early '80s, I knew what I wanted. [Today] I'm able to put together projects and put the right people together. For some people, it's just a gig and for me, it's more than that. It's a lifestyle and it's family and it's trust and it's respect. 

How did you choose the music for "Let's Go Crazy: The GRAMMY Tribute To Prince"?

Some of the songs they already had, some of the other songs I suggested. Almost everything that they were going to play, I knew and I had a lot of the original music. I had a lot of the samples; I had Prince's vocals. There were things that I had that could help in some of the arrangements, and a lot of the arrangements I used from my show. 

You try to adjust to make sure that [the artists] shine and that they feel comfortable, because everyone was really nervous. I had many conversations with people making sure, "Is this a good key for you?" Making sure that "You don't have to sing it like Prince. This is your representation of who you are and you happen to be doing a Prince song and no one's going to judge you for it." 

Speaking of collaborative efforts, The Greatest Night in Pop music doc came out recently. What do you remember from recording "We Are the World"? 

I kind of didn't want to do it because, initially, we were on the Purple Rain tour [and] we were exhausted. At some point I thought,  Do I even belong in that caliber of people? 

[At the "We Are The World" session,] everyone was hanging out, everybody was really cool. No one had a huge entourage. I was excited to meet people I hadn't met before. One of the people I was excited about meeting was Cyndi Lauper. I loved her. I wanted to meet Bruce Springsteen, the boss. 

In that moment of being in that room with everyone, and it was just amazing to [think], Wow, we're going to do something incredible to be able to raise money for people who are starving.  Then you just take a breath and you do what you do, and then things happen.

Do you think that you have changed or contributed to the sound of percussion in R&B and pop music?

My style is my style. Different artists from the Bay — Sly and the Family Stone, Carlos Santana, my dad's band [Azteca], Grateful Dead, Tower Of Power, of course, Pointer Sisters — listening to all those bands and being able to watch their rehearsals when I was a teenager influenced me. 

The key was being adaptable to what needed to be for that specific song. You have to make up your own beats, because being a percussion player is like [working on] a beautiful painting that's already painted and they're asking you to put one color in there or you see a space — what would you put in that space? 

It's not about playing all over the place and playing something that doesn't belong. You have to figure out those spaces and, to me, the most important part of music is space. That space is what allows a song to breathe.

I would use different things even in the studios; I didn't use all of the right mics all the time. I would bite on an apple and sample it and put that sound on top of the snare. I just experimented. I started on pots and pans, and I used keys, and I used a spray bottle can that blows out air to clean your computer as a high hat. Everything can be musical. 

One of the biggest things is Michael Jackson's "Don't Stop 'Till You Get Enough." Quincy [Jones] had called me and said, "Michael wants this kind of sound, I don't know what it is, bring all your toys." I brought everything. I ended up getting two bottles and I poured water in it, and I used the holder to play the triangle on the sides of the bottle. So "Don't Stop 'Till You Get Enough" has those bottles.  

You just come up with ideas and it doesn't have to be traditional. It just has to be from your heart, a feeling that makes sense, that compliments whatever song it may be.

Are there any other female percussionists out there right now that you see carrying the torch that you lit?

Oh my God. There are so many drummers right now. I go on social media frequently throughout the week, and I try to find at least someone new and DM them and say, "You're amazing. God bless you. Thank you for your gift. Keep doing what you're doing," and people freak out. 

That's part of my job, to continue to encourage the young people to keep playing. 

You've mentioned in previous interviews that you've dealt with a lot of harassment throughout your career as a woman playing an instrument that women don't traditionally play. I'd like to know how you continued to move forward and own your vision in an industry, and in an era, where women are often belittled or posited as like sex objects.

When I first started, I didn't know it was a big deal that I was one of few — or one of one — that was doing what I was doing. In the Bay Area, you see a lot of women playing percussion. In Berkeley, we all go and hang out at the park and everyone plays and it's like 20 or 30 of us and whoever brings their instrument, they just jam with us.

Coming to L.A. and recording with other artists, when I walked into a room, the drummer would say, "Can you get me a cup of coffee?" And I'm like, "I'll get it for you but I'm not the receptionist or anything. I'm the percussion player." They would freak out. 

When that first started happening and things were being said that were really rude and bad, I would go back to my parents. They would just say, "You just keep doing what you're doing. They're jealous or they're mad because you're there, or they've never seen anyone like you. You have a gift and you just go ahead. You learn the music, know what you have to do, so when you walk in with confidence, it's not an issue." A lot of the time, those musicians were not prepared, and I was, and they hated me even more because I knew everything. 

I got so much joy out of performing. And even with all the nos and the nastiness and the stuff that was being said [like], "Hey, if you sleep with me," all of these other things. It just made me stronger. You keep pushing through; you just keep playing. 

When you find your passion and that's your purpose, no one can stop you.  I stand on that word.

Living Legends: Cuban Pianist & Composer Chucho Valdés On Developing "The Creation," Growing Up On The Island & Loving Dizzy Gillespie

After Dua Lipa kicked off the 2024 GRAMMYs with an awe-inspiring medley of her two new songs, country star Luke Combs followed with a performance that spawned one of the most memorable moments of the night — and one that exemplified the magic of the 66th GRAMMY Awards.

Combs was joined by Tracy Chapman, whose return to the stage marked her first public performance in 15 years. The two teamed up for her GRAMMY-winning hit "Fast Car," which earned another GRAMMY nomination this year thanks to Combs' true-to-form cover that was up for Best Country Solo Performance. The audience went wild upon seeing a resplendent, smiling Chapman strum her guitar, and it was evident that Combs felt the same excitement singing along beside her.

Chapman and Combs' duet was a powerful display of what the 2024 GRAMMYs offered: veteran musicians being honored and new stars being born.

Another celebrated musician who made a triumphant return was Joni Mitchell. Though the folk icon had won 10 GRAMMYs to date — including one for Best Folk Album at this year's Premiere Ceremony — she had never performed on the GRAMMYs stage until the 2024 GRAMMYs. Backed by a band that included Brandi Carlile, Allison Russell, Blake Mills, Jacob Collier, and other accomplished musicians, the 80-year-old singer/songwriter delivered a stirring (and tear-inducing) rendition of her classic song "Both Sides Now," singing from an ornate chair that added an element of regality.

Later in the show, Billy Joel, the legendary rock star who began his GRAMMY career in 1979 when "Just the Way You Are" won Record and Song Of The Year, used the evening to publicly debut his first single in 17 years, "Turn the Lights Back On." (He also closed out the show with his 1980 classic, "You May Be Right.") It was the latest event in Joel's long history at the show; past performances range from a 1994 rendition of "River of Dreams" to a 2022 duet of "New York State of Mind" with Tony Bennett. The crooner, who died in 2023, was featured in the telecast's In Memoriam section, where Stevie Wonder dueted with archival footage of Bennett. And Annie Lennox, currently in semi-retirement, paid tribute to Sinéad O'Connor, singing "Nothing Compares 2 You" and calling for peace.

Career-peak stars also furthered their own legends, none more so than Taylor Swift. The pop star made history at the 2024 GRAMMYs, claiming the record for most Album Of The Year wins by a single artist. The historic moment also marked another icon's return, as Celine Dion made an ovation-prompting surprise appearance to present the award. (Earlier in the night, Swift also won Best Pop Vocal Album for Midnights, announcing a new album in her acceptance speech. To date, Swift has 14 GRAMMYs and 52 nominations.)

24-time GRAMMY winner Jay-Z expanded his dominance by taking home the Dr. Dre Global Impact Award, which he accepted alongside daughter Blue Ivy. And just before Miley Cyrus took the stage to perform "Flowers," the smash single helped the pop star earn her first-ever GRAMMY, which also later nabbed Record Of The Year.

Alongside the longtime and current legends, brand-new talents emerged as well. Victoria Monét took home two GRAMMYs before triumphing in the Best New Artist category, delivering a tearful speech in which she looked back on 15 years working her way up through the industry. Last year's Best New Artist winner, Samara Joy, continued to show her promise in the jazz world, as she won Best Jazz Performance for "Tight"; she's now 3 for 3, after also taking home Best Jazz Vocal Album for Linger Awhile last year.

First-time nominee Tyla became a first-time winner — and surprised everyone, including herself — when the South African starlet won the first-ever Best African Music Performance GRAMMY for her hit "Water." boygenius, Karol G and Lainey Wilson were among the many other first-time GRAMMY winners that capped off major years with a golden gramophone (or three, in boygenius' case).

All throughout GRAMMY Week 2024, rising and emerging artists were even more of a theme in the lead-up to the show. GRAMMY House 2024 hosted performances from future stars, including Teezo Touchdown and Tiana Major9 at the Beats and Blooms Emerging Artist Showcase and Blaqbonez and Romy at the #GRAMMYsNextGen Party.

Gatherings such as A Celebration of Women in the Mix, Academy Proud: Celebrating LGBTQIA+ Voices, and the Growing Wild Independent Music Community Panel showcased traditionally marginalized voices and communities, while Halle Bailey delivered a GRAMMY U Masterclass for aspiring artists. And Clive Davis hosted his Pre-2024 GRAMMYs Gala, where stars new and old mingled ahead of the main event. 

From established, veteran artists to aspiring up-and-comers, the 2024 GRAMMYs were a night of gold and glory that honored the breadth of talent and creativity throughout the music industry, perfectly exemplifying the Recording Academy's goal to "honor music's past while investing in its future." If this year's proceedings were any indication, the future of the music industry is bright indeed. 

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

From lighting technicians to audio engineers to writers, hundreds of people make the GRAMMYs possible. Whether these professionals are on stage or working behind the curtain, all of these vital roles help produce Music’s Biggest Night.

Another vital role on GRAMMY night is that of trophy holder, where one is tasked with bringing out the physical golden gramphones and winner envelopes to presenters. Trophy holders then usher the award recipient off the stage after their speech. Representatives from GRAMMY U’s Atlanta (Jasmine Gordon), Texas (Pierson Livingston), Pacific Northwest (Chloe Sarmiento), and Chicago (Rachel Owen) Chapters were selected to be trophy holders at the 2024 GRAMMYs Premiere Ceremony, and went behind the scenes.

The real preparation actually commences before the show lands on screens back home. Prior to GRAMMY Sunday, the four representatives visited the Peacock Theater to get the rundown on stage positions, proper handling of the GRAMMY Award, proper attire for the event, and various other subtle details that would normally go unnoticed.

On the day of the show, trophy holders arrived for their 10 a.m. call time, receiving a final rehearsal of the show with the backing music and stage lights. Post-rehearsal, they headed into hair and makeup for final touch-ups to become camera-ready. From then, focus shifts to getting into place and calming restless nerves before the show kicks off at noon.

"At first there were so many nerves taking over my body," said Jasmine Gordon, Atlanta Chapter Rep. "But, as soon as I walked on stage there was a rush of excitement and happiness that took over."

This year, following an opening performance from Pentatonix, Jordin Sparks, Larkin Poe, J. Ivy, and Sheila E., host Justin Tranter introduced the GRAMMY U Representatives as they lined up on the stage. From there, the show commenced and winners were announced.

Before trophy holders take the stage, the envelopes are meticulously triple-checked to make sure they are representing the right category and a GRAMMY is placed in their hands. The envelope is given to the presenter to announce the winner. 

As the audience applauds and the winner makes their way to the stage from their seat, the presenter trades the envelope for the golden gramophone which they give to the winner. While the trophy holder typically stands in the shadows to the side of a presenter like Jimmy Jam or Natalia Lafourcade, they occupy a very important and visible place on the GRAMMY stage.

After an approximately 45-second acceptance speech, trophy holders escort the winner backstage for photos and media.  The trophy holders rinsed and repeated that routine dozens of times,handing off golden gramophones and escorting artists such as Billie Eilish, boygenius, and Tyla. 

Chicago GRAMMY U Rep Rachel Owen shared that one of her favorite moments included being on the side stage, standing right next to music icon Joni Mitchell when she won the GRAMMY for Best Folk Album.

"I’ll never ever forget the moment Joni Mitchell won for Best Folk Album. Everyone was cheering her on and she just got so happy, I feel so lucky to have witnessed that moment," Owen says. "I hadn’t realized before how close I would be to the winners; it was a great surprise."

Reflecting on the ceremony, the GRAMMY U Representatives shared how surreal the entire experience was for them and their professional development.

"Being right with artists as they win or right after they won was such a surreal experience," says Owen. "The overwhelming joy I got to witness from so many artists was contagious, I simply had an amazing time."

Rewatch The 2024 GRAMMYs Premiere Ceremony In Full: Featuring Performances From Pentatonix, Jordin Sparks, Robert Glasper, Brandy Clark, Laufey & Many More