In so many ways, the 2023 GRAMMYs will represent music's past, present, and future.

Not only will the MusiCares Persons Of The Year event honor two giants of Motown — Berry Gordy and Smokey Robinson — but the Premiere Ceremony and show proper will be a clear reflection of who's shifting music right now.

(And as far as emerging acts who are nominated for golden gramophones? That's the future right there.)

All three have been captured in the 2023 GRAMMYs Program Book, a lavish text distributed to attendees at the ceremony in just under a week.

Read the 2023 GRAMMYs program book in full.

But don't forget, the book just contains the lead-up to the ceremony — nobody knows what will happen! To be the first to know, watch the 2023 GRAMMYs on CBS and Paramount+ on Sunday, Feb. 5, at 8 p.m. ET/5 p.m. PT. Make sure to head to live.GRAMMY.com on GRAMMY night for an all-access pass to experience the 2023 GRAMMYs in full via exclusive interviews and never-before-seen content.

Enjoy the 2023 GRAMMYs Program Book, and we'll see you at Music's Biggest Night!

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"Honestly, I feel like a zaddy," Omar Apollo says with a roguish grin, "because I'm 6'5" so, like, you can run up in my arms and stay there, you know what I mean?"

As a bonafide R&B sensation and one of the internet’s favorite boyfriends, Apollo is likely used to the labels, attention and online swooning that come with modern fame. But in this instance, there’s a valid reason for asking about his particular brand of "zaddyhood": he’s been turned into a Bratz doll.

In the middle of June, the popular toy company blasted  a video to its nearly 5 million social media followers showing off the singer as a real-life Bratz Boy — the plastic version draped in a long fur coat (shirtless, naturally), with a blinged-out cross necklace and matching silver earrings as he belts out his 2023 single "3 Boys" from a smoke-covered stage.

The video, which was captioned "Zaddy coded," promptly went viral, helped along by an amused Apollo reposting the clip to his own Instagram Story. "It was so funny," he adds. "And it's so accurate; that's literally how my shows go. It made me look so glamorous, I loved it."

The unexpected viral moment came with rather auspicious timing, considering Apollo is prepping for the release of his hotly anticipated sophomore album. God Said No arrives June 28 via Warner Records.

In fact, the star is so busy with the roll-out that, on the afternoon of our interview, he’s FaceTiming from the back of a car. The day prior, he’d filmed the music video for "Done With You," the album’s next single. Now he’s headed to the airport to jet off to Paris, where he’ll be photographed front row at the LOEWE SS25 men’s runway show in between Sabrina Carpenter and Mustafa — the latter of whom is one of the few collaborators featured on God Said No. 

Apollo’s trusted co-writer and producer, Teo Halm, is also joining the conversation from his home studio in L.A. In between amassing credits for Beyoncé (The Lion King: The Gift), Rosalía and J Balvin (the Latin GRAMMY-winning "Con Altura"), SZA ("Notice Me" and "Open Arms" featuring Travis Scott) and others, the 25-year-old virtuoso behind the boards had teamed up with Apollo on multiple occasions. Notably, the two collabed on "Evergreen (You Didn’t Deserve Me At All)," which helped Apollo score his nomination for Best New Artist at the 2023 GRAMMYs. 

In the wake of that triumph, Apollo doubled down on their creative chemistry by asking Halm to executive produce God Said No. (The producer is also quick to second his pal’s magnetic mystique: "Don't get it twisted, he's zaddy, for sure.") 

Apollo bares his soul like never before across the album’s 14 tracks,  as he processes the bitter end of a two-year relationship with an unnamed paramour. The resulting portrait of heartbreak is a new level of emotional exposure for a singer already known for his unguarded vulnerability and naked candor. (He commissioned artist Doron Langberg to paint a revealing portrait of him for the cover of his 2023 EP Live For Me, and unapologetically included a painting of his erect penis as the back cover of the vinyl release.) 

On lead single "Spite," he’s pulled between longing and resentment in the wake of the break-up over a bouncing guitar riff. Second single "Dispose of Me" finds Apollo heartsick and feeling abandoned as he laments, "It don’t matter if it’s 25 years, 25 months/ It don’t matter if it’s 25 days, it was real love/ We got too much history/ So don’t just dispose of me." 

Elsewhere, the singer offers the stunning admission that "I would’ve married you" on album cut "Life’s Unfair." Then, on the very next song — the bumping, braggadocious "Against Me" — Apollo grapples with the reality that he’s been permanently altered by the love affair while on the prowl for a rebound. "I cannot act like I’m average/ You know that I am the baddest bitch," he proclaims on the opening verse, only to later admit, "I’ve changed so much, but have you heard?/ I can’t move how I used to."

Given the personal subject matter filling God Said No — not to mention the amount of acclaim he earned with Ivory — it would be understandable if Apollo felt a degree of pressure or anxiety when it came to crafting his sophomore studio set. But according to the singer, that was entirely not the case.

"I feel like I wouldn’t be able to make art if I felt pressure," he says. "Why would I be nervous about going back and making more music? If anything, I'm more excited and my mind is opened up in a whole other way and I've learned so much."

In order to throw his entire focus into the album’s creation, Apollo invited Halm to join him in London. The duo set up shop in the famous Abbey Road Studios, where the singer often spent 12- to 13-hour days attempting to exorcize his heartbreak fueled by a steady stream of Aperol spritzes and cigarettes.

The change of scenery infused the music with new sonic possibilities, like the kinetic synths and pulsating bass line that set flight to "Less of You." Apollo and Halm agree that the single was directly inspired by London’s unique energy.

"It's so funny because we were out there in London, but we weren't poppin' out at all," the Halm says. "Our London scene was really just, like, studio, food. Omar was a frickin' beast. He was hitting the gym every day…. But it was more like feeding off the culture on a day-to-day basis. Like, literally just on the walk to the studio or something as simple as getting a little coffee. I don't think that song would've happened in L.A."

Poetry played a surprisingly vital role in the album’s creation as well, with Apollo littering the studio with collections by "all of the greats," including the likes of Ocean Vuong, Victoria Chang, Philip Larkin, Alan Ginsberg, Mary Oliver and more.

"Could you imagine making films, but never watching a film?" the singer posits, turning his appreciation for the written art form into a metaphor about cinema. "Imagine if I never saw [films by] the greats, the beauty of words and language, and how it's manipulated and how it flows. So I was so inspired." 

Perhaps a natural result of consuming so much poetic prose, Apollo was also led to experiment with his own writing style. While on a day trip with his parents to the Palace of Versailles, he wrote a poem that ultimately became the soaring album highlight "Plane Trees," which sends the singer’s voice to new, shiver-inducing heights. 

"I'd been telling Teo that I wanted to challenge myself vocally and do a power ballad," he says. "But it wasn't coming and we had attempted those songs before. And I was exhausted with writing about love; I was so sick of it. I was like, Argh, I don't want to write anymore songs with this person in my mind." 

Instead, the GRAMMY nominee sat on the palace grounds with his parents, listening to his mom tell stories about her childhood spent in Mexico. He challenged himself to write about the majestic plane tree they were sitting under in order to capture the special moment. 

Back at the studio, Apollo’s dad asked Halm to simply "make a beat" and, soon enough, the singer was setting his poem to music. (Later, Mustafa’s hushed coda perfected the song’s denouement as the final piece of the puzzle.) And if Apollo’s dad is at least partially responsible for how "Plane Trees" turned out, his mom can take some credit for a different song on the album — that’s her voice, recorded beneath the same plane tree, on the outro of delicate closer "Glow." 

Both the artist and the producer ward off any lingering expectations that a happy ending will arrive by the time "Glow" fades to black, however. "The music that we make walks a tightrope of balancing beauty and tragedy," Halm says. "It's always got this optimism in it, but it's never just, like, one-stop shop happy. It's always got this inevitable pain that just life has. 

"You know, even if maybe there wasn't peace in the end for Omar, or if that wasn't his full journey with getting through that pain, I think a lot of people are dealing with broken hearts who it really is going to help," the producer continues. "I can only just hope that the music imparts leaving people with hope."

 Apollo agrees that God Said No contains a "hopeful thread," even if his perspective on the project remains achingly visceral. Did making the album help heal his broken heart? "No," he says with a sad smile on his face. "But it is proof of pain. And it’s a beautiful thing that is immortalized now, forever. 

"One day, I can look back at it and be like, Wow, what a beautiful thing I experienced. But yeah, no, it didn't help me," he says with a laugh. 

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. 

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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