Yet another historic GRAMMY moment has come and gone — the nominations for the 2023 GRAMMYs are officially here.

Across pop, rap, rock, jazz, classical, and all 91 GRAMMY categories, it was made abundantly clear how vital and game-changing the music community's offerings continue to be.

But what if you missed the 2023 GRAMMY nomination reveal, featuring leading lights in the industry from Smokey Robinson to Dan + Shay to Machine Gun Kelly?

Never fear: You can watch the 2023 GRAMMY nominations ceremony in full below.

Watch Olivia Rodrigo, John Legend and more reveal the nominees for the 2023 GRAMMY Awards. And watch as Dan + Shay and Cyndi Lauper deliver memorable, heartfelt performances to celebrate and reminisce about their own GRAMMY memories.

Be sure to soak up the 2023 GRAMMY nominations for Album Of The Year, Record Of The Year, Song Of The Year, and Best New Artist as well.

We'll see you at the 2023 GRAMMYs on Sun. Feb. 5 — live on the CBS Television Network and streaming live and on demand on Paramount+!

2023 GRAMMY Nominations: See The Complete Nominees List

 The 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 5, 2023, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

The eligibility period for the 65th GRAMMY Awards is Friday, Oct. 1, 2021 – Friday, Sept. 30, 2022. All eligible awards entries must be released within this timeframe.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.

Motown legend Martha Reeves had quite a day.

On March 27, the 82-year-old singer finally got a star on the Hollywood Walk of Fame. Flanked by Stevie Wonder, Smokey Robinson, and Berry Gordy, Reeves donned a pearl and gold strapless gown with a show-stopping hat for the celebration. That evening, Reeves was the star of a conversation at the GRAMMY Museum in downtown Los Angeles.

Reeves was definitely riding high that night. "I’m gonna try to calm down. I’ve been excited all day," Reeves told moderator Gail Mitchell, longtime Billboard Executive Director of R&B and Hip-Hop. 

Born in Alabama but raised in the Motor City, Martha Reeves was the lead singer of Martha Reeves and the Vandellas. The Motown girl group is responsible for 1960s and 1970s classics such as "Dancing in the Street," "My Baby Loves Me," "Jimmy Mack," "Nowhere to Run," "(Love is Like a ) Heatwave," and "Bless You." Following her time at Motown, Reeves went on to have a solo career and was even an elected councilwoman in Detroit. The GRAMMY-nominated artist was inducted into the Rock and Roll Hall of Fame in 1995. 

Throughout the evening, the Motown diva — now in a lavish purple and silver top — had the audience at the Museum's Clive Davis Theater singing along to her classics, laughing as she strolled down Motown memory lane, and even tearing up as she got personal.  She even teased that she might have a new album in store.

Read on for five things we learned from Martha Reeves' free-flowing, laugh-filled conversation at the GRAMMY Museum. 

She Had To Fight To Get Her Hollywood Star 

Reeves crossed paths with many legendary names over the course of her career. But one of the first people she shouted out wasn’t a star, but her manager Chris Roe. "He’s brought me a long way in just a couple of years." Reeves said of the industry veteran. During the Q&A segment of her conversation, Reeves even brought Roe on stage. 

Her gratitude makes sense for a number of reasons. Reeves was first nominated for a star on the Hollywood Walk of Fame in 2021 but the process stagnated, Roe said, because of representation that wasn’t truly in Motown singer’s corner. Reeves' management at the time, Roe noted, was treating the soul icon like a shiny trophy rather than an active musician.

The two first met when Roe was in Detroit on business; a year later Roe went all in to raise money and make her Walk of Fame star dream a reality. Onstage at the Museum, Reeves recalled walking down Hollywood Boulevard with her son in the 1970s (Reeves moved to L.A. for a time when Motown relocated to Southern California), reading the names of the stars. Her young son said Reeves should have her own marker, and his poignant memory was finally brought to fruition.

Martha Reeves Credits Berry Gordy And Motown For Having "A Vision"

"How did Berry Gordy manage to get all of those people in one place? It was like corralling in a Western," Reeves said of Motown's incredible roster of talent in the '60s. 

She added that, never in her wildest dreams, did she think she would soar so high alongside musical geniuses like Smokey Robinson and songwriting/production team Holland-Dozier-Holland (who arranged songs for the likes of the Four Tops and the Supremes during a piping-hot run during the mid-1960s). 

Occasionally, instead of answering questions, Reeves would burst into song. "I can’t describe it," Reeves said at one point while describing Motown's musical resonance. "But I can make you feel it." 

Reeves noted that it was tough to think of one particular moment that wasn’t exciting or that paved the way for future success. She calls everything an "adventure or a challenge." 

She did say that her first tour was grueling, consisting of 94 one-nighters and only one motel chain who would allow Black guests.

She Learned A Lot While On Tour With Motown

Reeves went from playfully talking about how "fine" Marvin Gaye was and being around different kinds of artists on cross-country Motortown Revue bus trips, to more serious topics like the integration of Black music during the turbulent 1960s. 

She recalled a particularly harrowing moment when the Revue arrived in Montgomery, Alabama in 1963 when the Vandellas, the Marvelettes, the Miracles, the Temptations, and others were performing for a segregated audience in a horse-training arena with American and Confederate flags. While Smokey Robinson and the Miracles performed "Mickey’s Monkey," men with baseball bats separated the audience — Black on one side, white on the other. 

But Robinson stepped to the microphone and challenged convention. He just wanted to make sure that everyone just had a good time and could dance. "We’ve come a long way. Music is the reason," Reeves told the audience. 

She Remembers Her Solo Work Fondly, Too

After Reeves and the Vandellas disbanded and Reeves left Motown, she released her eponymous debut solo album in 1974 on MCA Records. Producer Richard Perry came in to work on the album with her, resulting in many hits. 

Reeves spoke a lot about one track, "Many Rivers to Cross," which involved 110 takes and a 40-piece choir. "He was that diligent in getting the sound he wanted. [A] very profound producer," Reeves said of Perry. Reeves said she's very proud of "Dixie Highway," an ode to Reeves’s Alabama root. 

Reeves said that her mother and father — who had 11 children — taught her "everything" and that she was a very loved child. In fact, her parents fostered her musical talents from an early age, her mother helping with her singing and her father putting her on his lap as he played guitar. 

Reeves Gave Her Hometown Love, And They Gave It Back

Reeves served as an elected councilwoman in Detroit from 2005 to 2009. "You have to be careful what you ask for," Reeves said with a laugh about her time in politics. She calls the whole experience "an education." 

Because of Reeves’s efforts in local politics, Detroit is home to Berry Gordy Jr. Boulevard, the street on which, fittingly, the Motown Museum is located. 

Some of her fans and friends from Detroit made it all the way to the GRAMMY Museum for the event, donning Martha Reeves shirts and carrying Vandellas records. Several times, Reeves shouted out a friend who is a dance teacher. "I love you so for being here." 

Some of the most moving moments of Martha Reeves' conversation came during the audience Q&A session. One member of the audience recalled meeting Reeves in New York shortly after his mother — a longtime fan of Reeves' — passed away; he shared the comfort his conversation with the singer brought him while grieving. Another attendee said he was a Detroit radio DJ and once received a ride home with Reeves; and yet another member of the audience spoke passionately about seeing the Motown Revue as a young man, and how the event was one of his first experiences in a desegregated scenario. 

Living Legends: Smokey Robinson On New Album 'Gasms,' Meeting The Beatles & Staying Competitive

When Beyoncé announced her upcoming album, Cowboy Carter, with the drop of two distinctly country tracks, she broke both genre and barriers. Not only did Queen Bey continue to prove she can do just about anything, but she joined a long tradition of country music crossover albums.

Country music is, like all genres, a construct, designed by marketing companies around the advent of widely-disseminated recorded music, to sell albums. But in the roughly 100 intervening years, genre has dictated much about the who and how of music making.

In the racially segregated America of the 1920s, music was no exception. Marketing companies began to distinguish between "race records" (blues, R&B, and gospel) intended for Black audiences and hillbilly music (country and Western), sold to white listeners. The decision still echoes through music genre stereotypes today.

But Black people have always been a part of country music, a message that's gained recognition in recent years — in part because of advocacy work by those like Rhiannon Giddens, who plays banjo and viola on "Texas Hold 'Em," one of two singles Beyoncé released in advance of Cowboy Carter.

And since rigid genre rules' inception, many artists from Lil Nas X to Bruce Springsteen have periodically dabbled in or even crossed over to country music.

In honor of Beyoncé's foray, here are eight times musicians from other genres tried out country music.

Ray Charles — Modern Sounds in Country and Western Music (1962)

In 1962, the soul music pioneer crossed the genre divide to cut a swingin' two-volume, 14-track revue of country and western music.

Part history lesson and part demonstration of Charles' unparalleled musicianship, Modern Sounds in Country and Western Music covers country songs by major country artists of the era, including Hank Williams, Don Gibson, and Eddy Arnold. An instant success, the record topped album sales charts and was Charles' first atop the Billboard Hot 200 charts.

Ringo Starr — Beaucoups of Blues (1970)

The Beatles' drummer loves country music. Ringo Starr cut this album, which sounds like something you'd two-step the night away to at a honky tonk, as his second solo project. He was inspired by pedal steel guitar player and producer Pete Drake, who worked on George Harrison's All Things Must Pass.

With Drake's help, Starr draws out a classic honky tonk sound — pedal steel, country fiddle, and bar room piano — to round out the album.

Beaucoups includes a textbook country heartbreak song, "Fastest Growing Heartache in the West," a bluesy ramblin' man ballad, "$15 Draw," and a surprisingly sweet love song to a sex worker, "Woman Of The Night."

The Pointer Sisters — Fairytale (1974)

Remembered for their R&B hits like "I'm So Excited" and "Jump (For My Love)", the Pointer Sisters dropped "Fairytale," a classic country heartbreak song into the middle of their second studio album, That's A Plenty.

Full of honky tonk pedal steel and fiddle, the track earned the band a GRAMMY award for Country and Western Vocal Performance Group or Duo in 1975, beating out Willie Nelson, Kris Kristofferson, Bobby Bare, and the Statler Brothers; they were the first, and to date, only Black women to receive the award.

The same year the song came out, the Pointer Sisters also became the first Black group to play the Grand Ole Opry, arriving to find a group of protesters holding signs with messages like 'Keep country, country!'

Tina Turner — Tina Turns the Country On! (1974)

Also in 1974, Tina Turner cut her first solo album, Tina Turns the Country On!, while she was still performing with then-husband Ike Turner as the Ike & Tina Turner Revue.

Containing the seeds of the powerful, riveting voice she'd fully let loose in her long solo career after separating from her abusive husband, the album presents a stripped down, mellow Turner.

She covers songs like Kris Kristofferson's "Help Me Make It Through The Night" and Bob Dylan's "Tonight I'll Be Staying Here With You," and delivers a soaring rendition of Dolly Parton's "There Will Always Be Music."

Turner was nominated for a GRAMMY award for the album, but in Best R&B Vocal Performance, Female, category.

The Beastie Boys — Country Mike's Greatest Hits (1999)

This Beastie Boys cut only a few hundred copies (most reports say 300) of this spoof country album — reputedly conceived of as a Christmas present for friends and family, and never officially released.

Presenting the supposed greatest hits of a slightly dodgy, enigmatic character – Country Mike, who shares a name with band member "Mike D" Diamond — the album sounds like vintage steel guitar country. Think Hank Williams and Jimmy Rodgers with a dash of musical oddballs Louden Wainwright III and David Allen Coe's humor and funk.

Country Mike appears just briefly in the liner notes of the band's anthology album, The Sounds of Silence, (which also includes two of the album's tracks: "Railroad Blues" and "Country Mike's Theme"), as part of an alternate universe wherein Mike temporarily lost his memory when he was hit on the head.

"The psychologists told us that if we didn't play along with Mike's fantasy, he could be in grave danger," the notes read. "This song ('Railroad Blues') is one of the many that we made during that tragic period of time."

Cyndi Lauper — Detour (2016)

The "Girls Just Want To Have Fun" singer enjoyed herself thoroughly by deviating from her typical style with 2016's Detour.

Road tripping into country music land, Lauper covered country songs of the 1950s and 1960s, including Marty Robbins' "Begging You," Patsy Montana's "I Want to be a Cowboy's Sweetheart" and Dolly Parton's "Hard Candy Christmas" with guest appearances by Willie Nelson, Alison Krauss, Emmylou Harris, and Vince Gill.

Jaret Ray Reddick — Just Woke Up (2022)

It might be hard to imagine the Bowling for Soup frontman, known for teenage pop-punk angst hits like "Girl all the Bad Guys Want" and "Punk Rock 101" crooning country ballads.

But in 2022, under the name Jaret Ray Reddick, he cut his solo debut, Just Woke Up. Drawing inspiration from Reddick's native Texas, the steel guitar and twang driven album features duets with Uncle Cracker, Cody Canada, Frank Turner, and Stephen Egerton.

Self-effacing and personable as ever, Reddick heads off questions about the viability of his country music with the album's first track, "Way More Country," acknowledging the questions listeners might have:

"I sing in a punk rock band/ And I know every word to that Eminem song "Stan"/ And I've got about a hundred and ten tattoos / But I'm way more country than you."

Bing Crosby — "Pistol Packin' Mama" (Single, 1943)

Legendary crooner of classic Christmas Carols and American standards, Bing Crosby decided to try his hand at country music with his cover of Al Dexter's "Pistol Packin' Mama," the first country song to appear on Billboard's charts.

The song, which tells the story of a man begging his woman not to shoot him when she discovers him out on the town fooling around, has since also been covered by Willie Nelson, Hoyt Axton, and John Prine.

How Beyoncé Is Honoring Black Music History With "Texas Hold Em," 'Renaissance' & More

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

10 Must-See Moments From The 2023 GRAMMYs