The incomparable Cher had already achieved iconic status long before she dropped the title track from her 22nd studio effort, Believe, at the tail end of 1998. After all, this was an artist who'd forged one of the most successful pop duos of the '60s, scored a record-breaking trio of number ones in the '70s, and reinvented herself as an MTV goddess in the '80s. Not to mention her contributions outside of music: the hit variety shows, Broadway runs, and Hollywood moonlighting — the latter of which saw her win an Oscar.

But the success of "Believe" was still unlike anything else Cher had achieved during her illustrious 35 years in the business. It reached No. 1 in 21 different countries across the globe (including a four-week stint at the top of the Billboard Hot 100 in the U.S.), sold 11 million copies, and cleaned up at everything from the International Dance Music Awards to the Ivor Novellos. For a good 12 months, it was practically impossible to avoid hearing its dance-pop beats, lovelorn lyrics and, of course, that famous robotic vocal effect.

But "Believe" didn't just significantly impact Cher's already glittering career — it also changed the face of pop music as we know it. From inspiring other divas to get their groove on to pioneering a piece of now-ubiquitous studio technique, take a look at 10 ways "Believe" impacted pop.

It Smashed Multiple Chart Records 

It would almost be quicker to list which chart records "Believe" didn't completely obliterate. The song spent 21 weeks atop Billboard's Hot Dance Singles Sales, and was still in the Top 10 a full year later. It was also crowned the year-end No. 1 on both the Dance Club Songs and Hot 100 charts. And it produced the longest-ever gap between chart-toppers on the latter — 33 years and seven months, to be exact — as Cher's first No. 1 on the chart came in 1965 with her Sonny Bono duet "I Got You Babe."

"Believe" was just as successful across the pond, beating George Michael, U2, Culture Club, and Alanis Morisette in a famous five-way battle for No. 1. And with 1.8 million copies sold, it's still the U.K.'s highest-selling single by a female performer.

It Inspired Several Divas To Dance 

Cher had initially resisted Warner UK label boss Rob Dickins' idea to pursue a dance direction, reportedly arguing that the genre wasn't conducive to "real songs." It's unlikely many of her peers took much persuading, however, after witnessing the monumental success of "Believe."

In fact, pretty much every pop diva on the other side of 50 seemed to take to the dance floor over the following 12 months: see Diana Ross' "Not Over You Yet," Tina Turner's "When the Heartache Is Over," and Donna Summer's "I Will Go With You (Con Te Partiro)." Madonna (Confessions on a Dancefloor), Kylie Minogue (Tension), and Cyndi Lauper (Bring Ya to the Brink) have all since proved middle age and dance music needn't be mutually exclusive terms with entire albums tailor-made for the clubs.

It Finally Gave Cher A Grammy 

It seems hard to believe that Cher had to wait until the turn of the millennium to pick up her first GRAMMY. The pop veteran had previously been nominated alongside then-husband Sonny Bono in the Best New Artist category in 1966. The pair also received a nod in the Best Pop Performance by a Duo or Group in 1972 for "All I Ever Need Is You," the same year Cher was recognized as a solo artist with a Best Female Pop Vocal Performance nomination for "Gypsys, Tramps and Thieves." But on all three occasions, Cher went home empty-handed.

The star finally emerged victorious in 2000, however, when "Believe" won Best Dance Recording. (The song and same-named parent LP had picked up nods for Record of the Year and Best Pop Vocal Album, respectively, too). Peter Rauhofer was also crowned Best Remixer of the Year for his work on the track under the guise of Club 69.

It Paved The Way For An Exciting '00s Hit Factory 

Nine different people, including Cher herself, are given songwriting/production credits on "Believe." But the most interesting behind-the-scenes name is Brian Higgins, the man who penned an early version of the track a full eight years before it was released. A virtual unknown when the finished product finally arrived, Higgins would go on to shape the following decade of British pop music thanks to his pioneering work as part of the production powerhouse known as Xenomania.

Best-known for guiding the career of their ultimate muses, Girls Aloud, the team also carved out weird and wonderful singles for Sugababes, The Saturdays, and Alesha Dixon.Pet Shop Boys, Kylie Minogue, and Saint Etienne were just a few of the more established names who turned to Xenomania for hit-making assistance, too.

It Made Cher Relevant Again 

Cher looked to have been consigned to heritage act status before "Believe" came to the rescue. She'd only scored one U.S. Top 10 hit in the 1990s ("Just Like Jesse James") and that was at the very start of the decade; her last studio effort, covers album It's A Man's World, had peaked at a lowly No. 64 on the Billboard 200. But Cher isn't known as a comeback queen for nothing. The Believe campaign not only saved her from the musical wilderness, but it also kickstarted the most consistent, if undoubtedly sporadic, chapter of her career.

Indeed, although "Strong Enough" and "Song for the Lonely" are her only Hot 100 entries since (No. 57 and 85, respectively), 2001's Living Proof, 2013's Closer to the Truth, and 2018's ABBA tribute Dancing Queen have all reached the top 10 of the Billboard 200. And while Cher was always a powerful live draw, the Believe era took things to new heights: 2002's long-running (and misleadingly-named) The Farewell Tour, grossed $200 million across a whopping 325 dates to become the highest-grossing concert series by a female artist at the time.

It Proved Age Ain't Nothin' But A Number 

Bette Midler, Aretha Franklin, and Tina Turner had all previously reached the top of the Hot 100 in their forties. But no female artist had ever achieved such a feat until "Believe" came along. Cher was aged 52 years and nine months when the dance-pop anthem took her number one tally to four in March 1999. And while the annual return of "All I Want for Christmas Is You" saw a 53-year-old Mariah Carey surpass this milestone in 2022, Cher can still lay claim to being the oldest chart-topping woman with a newly released song.

The star will have to score a fifth, however, if she's to break the all-time record: Louis Armstrong was three months shy of his 63rd birthday when he knocked The Beatles off pole position with 1963's "Hello Dolly."

It Introduced The World To Auto-Tune 

According to Pitchfork, a remarkable 99 percent of all contemporary pop music utilizes the pitch-altering recording technique known as Auto-Tune. And that's pretty much all down to The Cher Effect. Although designed to subtly correct a wayward vocal, the producers of "Believe" decided to make it blatantly obvious that studio trickery had been at play, transforming one of pop's most easily identifiable voices into that of a wobbly android.

Cher had to fight to keep the song's unique selling point, telling unconvinced label bosses they'd have to remove it "over my dead body." And her instinct proved to be right. The pioneering use of Auto-Tune was undoubtedly the catalyst for the song's phenomenal success, ultimately paving the way for everyone fromLil Wayne andT-Pain toDaft Punk andBlack Eyed Peas.

It Became A Pop Culture Fixture

You know a song has entered the nation's consciousness when it's been parodied by Matt Stone and Trey Parker. But South Park's incomprehensible version of "Believe," which appeared in season 3 episode "Two Guys Naked in a Hot Tub," isn't the only way in which the chart-topper has permeated pop culture over the past 25 years.

It was also given the spoof treatment by MADtv, has become a lip-sync battle regular, and featured in the star-studded medley in Eurovision: The Story of Fire Saga. More recently, it was mashed up with "The Muffin Man" by Adam Lambert for a That's My Jam performance that went viral.

It Brought Back Crying At The Disco 

Cher had asked many questions through the medium of pop during her illustrious career: "Am I Blue?" "Does Anybody Really Fall in Love Anymore?" "How Can You Mend a Broken Heart?" But it was undoubtedly "Believe" on which she posed her most pressing. "Do you believe in life after love?," she sings in the famously Auto-Tuned chorus, a clever turn of phrase which set the song up as the '90s answer to "I Will Survive"; follow-up single "Strong Enough" would go even further by essentially borrowing its string section.

The "crying at the disco" anthem had largely fallen out of favor since Gloria Gaynor's heyday. But "Believe" proved once again it was possible to pour your heart out and throw some shapes at the same time. Robyn ("Dancing On My Own"), Pussycat Dolls ("Hush, Hush"), and Madonna ("Sorry") are just a few of the artists who appeared to be taking note.

It's Become A Part Of The Modern American Songbook 

What do tween collective Kidz Bop, punk rock supergroup Me First and the Gimme Gimmes, and Swedish synth-pop songstress Anna of the North all have in common? They've all put their own spin on the dance-pop masterpiece that is Cher's "Believe." And they're not the only ones, either.

In 2023, DMA's rendition wascrowned the all-time best cover to emerge from Aussie radio station Triple J's feature Like a Version.Manchester Orchestra,Lucy Dacus, and Jessie Ware have all interpreted the smash hit in their own distinctive ways over the past 18 months, too. And it's become a talent show staple thanks to ballad versions by the likes ofAdam Lambert,Jeffery Austin, andSheldon Riley. Should the Great American Songbook ever get modernized, then "Believe" is a shoo-in.

Songbook: How Madonna Became The Queen Of Pop & Reinvention, From Her 'Boy Toy' Era To The Celebration Tour

When Greg Gonzalez sat down to start writing the next Cigarettes After Sex album, the dream pop frontman relied equally on memories of heartbreak and the ballads of the Material Girl. "‘90s Madonna was a big influence on this record," he tells GRAMMY.com with a soft smile. 

Though the end result won’t be mistaken for anything off of Ray of Light, that timeless, almost mystic cloud of emotionally resonant pop carries a distinct familiarity on Cigarettes After Sex's new album, X’s.

Cigarettes After Sex has championed that sweet and sour dreaminess since their 2017 debut. Two years after that self-titled record earned rave reviews and was certified gold, the El Paso, Texas-based outfit reached even deeper for Cry. And while those records cataloged Gonzalez's heartbreaks and intimacies in sensual detail, Gonzalez knew he could reach deeper on the band’s third LP: "These songs are just exactly as memory happened." 

Arriving July 12, X’s fuses Cigarettes After Sex's dream pop strengths with ‘90s pop warmth and ‘70s dance floor glow. Always one to bring listeners into the moment, Gonzalez imbues the record with a lyrical specificity that gives the taste of pink lemonade and the tension of a deteriorating relationship equal weight. On X’s, the listener can feel the immediate joy and lingering pain in equal measure.

"This is specific to me and what I'm going through, but then I go out and talk to people on tour, and they’re like, 'Oh, yeah, I went through the exact same thing,'" Gonzalez says.

Leading up to the release of X’s, Gonzalez spoke with GRAMMY.com about the appeal of ‘90s Madonna, finding a way to dance through tears, and his potential future in film scoring.

Tell me about the production process for this record. You've always been able to build nostalgic landscapes, but this record feels smoother than before. Were there any new touchpoints you were working with?

That was the thing: trying to make the grooves tighter. It was coming from more of a ‘70s Marvin Gaye kind of place, trying to make it groove like a ‘70s dance floor.

Which is an especially interesting place to be writing from when dealing with that line between love and lust.

Yeah. The stuff we've done before was really based on the late ‘50s, early ‘60s slow dance music. But it was always supposed to be dance music; I always wanted Cigarettes to be music you could dance to, even if it was a slow dance. 

When I think of pop music and I think of songs that really feel powerful, they usually make you want to groove in some way. I love a lot of music that doesn't do that: ambient music or classical or some jazz. But there's so much power to music that makes you want to move. And I found throughout the years that I could just never get enough of the music that makes you want to dance. So I thought, Okay, the music that I make should be really emotional. It should feel like music you could actually cry to, but in the end it should make you want to also move in that way.

It’s the physical necessity of the music, some forward motion to match the emotional journey. I’d imagine that is related in some sense to the fact that you’re writing in a somewhat autobiographical way. Is that a way of not getting stuck in the stories, in the feelings?

I'm writing it for myself. Of course, I can't help but picture the audience in some way. But it's never like I'm writing it for them.

There is an audience that I can visualize that would like the music. [Laughs]. There have been times where we’re recording and I close my eyes to visualize an arena or a stadium to picture the music in that setting. It’s a nice feeling. And that's just based on the music that I love that I thought had similarities. 

Is there any particular music that you love that fills that feeling?

There's so much music that I was obsessed with, but with Cigarettes I narrowed it down. Since I was a kid, I did every kind of style I could do. I was in power pop bands, new wave, electro, metal, really experimental bands. 

But when I finally sat down and said, "Let me make an identity for Cigarettes and make it special," I had to think about what my favorite music was and what music affected me the deepest. And it was stuff like "Blue Light" by Mazzy Star or "Harvest Moon" by Neil Young or "I Love How You Love Me" by the Paris Sisters. And I kind of put all that together and that became the sound of Cigarettes. And now I do that every time I make a record: I'll make a playlist of what I want it to feel like. I mentioned Marvin Gaye. I feel like ‘90s Madonna was a big influence on this record.

Madonna in the ‘90s? No one could touch that era. I don't know when the last time you listened to that music was, but… 

No, I grew up with Madonna and I used to watch the "Like A Prayer" video on repeat. It blew me away. But then I came back and I got into the ‘90s stuff, like "Take A Bow" and that record Something To Remember. It's all of the slower tunes. And that was a big influence, especially songs like "Rain."

You clearly have a diverse musical appetite, but you’ve also highlighted people with such identifiable voices — something that I think is true for Cigarettes as well. Your vocals are so front and center in the identity of the project.

That's great. The singer pretty much makes the song for me, whatever I’m listening to. The entire spirit comes down to the vocals. I'll hear a song like "Take A Bow" and be like, This feels so special. What if I made something that felt like this? If I told someone this [record] was based on Marvin Gaye and ‘90s Madonna, I don’t know if they would think it really sounded like that. It's more just trying to capture the spirit of what those records feel like.

That's what's cool about it too: You can remember those songs that were filling the air back in the ‘90s and what those feelings were, what you were up to, and draw a line between that and whatever's happening now that I wrote about. 

You don’t seem like the type of person to avoid negative feelings when you come up against them in that process either. The songs feel like you just embrace it, even if it's really painful.

I've always felt that's the best way for me to go through things, to face it head on. It's supposed to be painful. You have all these really great moments with somebody and all these great memories, and then when it ends, honestly, that's the way it goes, right? That's the trade off. 

Yeah, but not everybody goes through a breakup and then makes an album about it. Isn’t that like returning to the scene of the crime? How does it feel to deal with it in that way?

That's funny. The thing was, I was writing a lot of this stuff while I was still in a relationship. It took so long to finish it. 

Finish the album or finish the relationship? [Laughs.]

Actually both. But yeah, the record is mostly about that one relationship, but there are little diversions with some of the songs. A lot of the key images and songs are based on that romance and little memories that I took from it.

I like that I have all those moments kind of set in stone. It’s hard to listen to this record too because I'll just really see these moments, all these memories, and it can be a bit much to flash back to all that stuff and see it so vividly. But I love that I have it. Those memories meant so much and I’m glad that they're collected and displayed in this way.

And you were able to collect them when it was happening as opposed to having some time between, which could warp those memories. Writing and recording when you’re as raw as possible makes sense, so what you capture is really honest.

That's why I like to write these songs that are as honest as possible or as autobiographical as possible, with a lot of details. If I'm writing a song and someone heard it, they would know it was about them just based on all the imagery that's in that song. It's like a little letter to them. It could be like a secret little letter to someone. 

That makes me think of "Holding You, Holding Me," which is so lovely and feels as immediate as anything you’ve done. 

It was the pandemic, and then the other girlfriend I had at that time, we were living in downtown L.A. and just wanted to get out of the house and stay somewhere nicer for a while. And we went to this AirBnb that was in Beverly Hills with this beautiful backyard. The song was meant to be kind of Fleetwood Mac-ish, like "Gypsy" or "Sara", that nice ‘70s country pop feel.

Over the years I’ve noticed you frequently use taste as a sensory link in your songs, which really creates an evocative moment — I’m thinking about references to candy bars and lemonade on this album. What is it about that sense that sticks out to you?

If I'm going back to memory, then that's just what really happened. We went to the store to go buy wine and candy because that was the vibe that night. "Let’s watch movies and get red wine and some candy bars." And it was just a big memory that we walked outside and it started raining. I think too, what's nice about using objects is that it gives you so much mood in a song. You can tell what the feeling is of that moment when you put those things together.

And it can have an almost universal understanding. People will understand what it means to have a "candy bar night."

That's the craziest thing. It's almost like you're trained to write universally, meaning generically. Like, "Oh, this is a song that everyone can like and the lyrics can be really simple." But I’ve found that the songs that are really detailed and were more personal stories, a song like "K." from Cigarettes After Sex, those are the songs that everyone really loves, the ones that take up being really specific.

I suppose that's pop's way of being a doorway. When you're talking about your personal experiences, somebody is going to enter into it and feel like you're singing about theirs. 

You realize that we're all in the same boat. This is specific to me and what I'm going through, but then I go out and talk to people on tour, and they’re like, "Oh, yeah, I went through the exact same thing." I feel very lucky that most people I talk to that love [our] music are always saying that. It’s so special.

It makes me trust my instincts. That's the hard thing when you're writing. You're wondering, Is this too much to disclose? Is this too much information? [Laughs.] That instinct is really important to know, to trust it. That's the tough one. That's what's also therapeutic about it too. You want to share things that feel really personal because then you can process them. You can really start to unpack what those moments meant and what they can mean going forward. It gives me more confidence when I hear that kind of stuff from people.

What then is it like when you sing it for a crowd? You’re performing, but you can’t fully separate the emotion that inspired that song. 

That's tough because, ideally, if I did my job well enough writing the song, then it should be hard to sing live — especially if I really see those moments when I'm singing it. It could bring me to tears, honestly, because it should feel that intense. And it's even worse if I look in the crowd and someone's crying. I can't even look at them. And that happens very often. If I started crying, my voice will stop.

That brings a real cinematic feeling to your music too, which makes me think you’d be good at scoring a film. Is that something you’d tackle?

I'm definitely obsessed with film and have been since I was a kid. The idea that I keep saying — and I almost feel like I'm going to jinx it because I keep saying it too much — is that I really want to direct and write something. And I've written some ideas down for screenplays and things. It seems like it's hard to transition from musician to filmmaker and really make it stick. But that would be something I want to do in the next 10 years. I'm giving myself 10 years. [Laughs.]

“How it all came about was a miracle,” says Terry Britten, the co-writer and producer of Tina Turner’s “What’s Love Got To Do With It.” 

The enduring single on Turner's 1984 album Private Dancer, released 40 years ago this month, was the songstress' ultimate emancipating act. It liberated her from the strictures of a music career bound to former husband Ike Turner, and debuted a new, self-possessed persona that highlighted her own rich talents as a solo artist. Decades on, the album remains a searing testament to resilience and the power of raw, honest expression.   

Private Dancer, her fifth solo outing, was the beginning of Turner's renaissance and next era. Still, some of its most powerful songs — including “What’s Love” — almost didn’t make the cut. In fact, the song’s woeful quality and halted vocals proved an obstacle for Turner. 

“After all this time, I’ve realized what the problem was and why she didn’t like it: because she was so damn vulnerable in it,” Britten tells GRAMMY.com. “She’d never been that vulnerable before in a song.” 

Turner had long wrestled with her public image and allowing listeners into her inner world. Despite her success in the '70s and the subsequent 1976 breakdown of her abusive marriage to Ike (which left her penniless), followed by less successful Las Vegas revue shows, Turner was wary of conceding defeat. 

Her career revival was largely born after Turner had made a cameo appearance in 1982 on the synth-inspired remake of The Temptations' “Ball of Confusion.” Masterminded by pop band Heaven 17’s Martyn Ware, the song netted Turner a singles deal with Capitol Records. Her next pairing with Ware, a remake of Al Green’s “Let’s Stay Together,” was a runaway success, charting at number six in the UK and No. 26 on the Billboard Hot 100, in late 1983 and early 1984 respectively.

Chart success had eluded Turner for years, so by February 1984 Capitol quickly demanded a full album — with two weeks to deliver it. With Turner already on tour in the UK then, her manager, Roger Davies, raced around London seeking potential tracks. Davies had been old friends with Britten back in Australia, and reached out about available songs. 

Co-written with Graham Lyle, Britten's "What’s Love” had been skipped over by British rock singer Cliff Richard. Its rumination on sexual over romantic desire awaited a new voice. 

Turner's powerhouse vocals gave the track the justice it so called for. Just as her vocal prowess was put on display, "What's Love" also underscored Turner's ability to bring both fragility and sultriness to a song. The combination would soon propel Turner to worldwide domination. 

In the studio, Britten leaned on Turner’s dancing background to make the meditative ballad work. Turner struggled with the song’s languid rhythm, so Britten suggested she jog on the spot. “We jogged at the mic,” he says. “Soon enough, she got it!” 

Britten believes “What’s Love” showed Turner, for the first time, how empowering vulnerability could be. “She realized she could act out these songs,” he reflects. “The whole direction of her career changed in that moment.” 

Released in May 1984, “What’s Love” slowly scaled the charts, competing for prime position with the likes of Prince’s “When Doves Cry” and Lionel Ritchie’s “Stuck on You.” “What’s Love” ultimately landed at No. 1 in August 1984 — staying there for three weeks — and fast-tracked Turner’s forceful musical renaissance. 

The arrival of Private Dancer only galvanized the transformation. 

The album was a mixture of old and new, figuratively stitching together a reinvigorated yet still rock ’n’ roll Turner. There were completely new tracks and sounds, like the synth-infused “What’s Love” and spunky, pulsating “Show Some Respect” (another Britten number). Covers of the Beatles’ “Help!” and David Bowie’s “1984,” meanwhile, were reimagined with searching gospel energy and symphonic orchestral strings.

There was an emphasis on storytelling across Private Dancer, with lyrical explorations of respect, love, and desire, paired with Turner’s frayed timbre. “I Might Have Been Queen” was penned by Jeannette Obstoj and Rupert Hine in response to hearing Turner’s life story. From a youth picking cotton in Tennessee to her years as a double act with Ike, Obstoj took Turner’s trying life (and lifelong interest in Ancient Egypt) to craft an earthy narrative textured by stories of grief and self-understanding. The stomping funk result was an anthemic tribute, celebrating Turner as she sang proudly of being a “sole survivor.” 

Allowed into Turner’s inner sanctum, listeners could better understand and relate to the singer’s past life — whether these were real stories or imagined tales. Songs like “Private Dancer,” seemingly about a dancer who keeps a firm psychological distance from her job as a means of self-protection, couldn’t help but be tied back to Turner’s former life as the mistreated singing partner to Ike. Turner’s coarse vocals — retelling regret with the ballad “Better Be Good to Me,” or celebrating self-confidence on “Show Some Respect” — underscored her toughness as she sang about respect and recognition. 

Tina Turner’s emotional depth and lyrical confessions resonated with critics and listeners, affirming Turner as sensitive, soulful and, above all, an iconic solo artist. The success of the record at the 1985 GRAMMYs only affirmed Turner's status. 

Britten, who won two gramophones for his work and joined Turner on stage to collect the GRAMMY for Record Of The Year, said that the audience — there and even at home watching — manifested her three wins that night. “In between introductions, you could hear the whole crowd going, ‘Tina! Tina! Tina!’” he says. “It was like the whole auditorium wanted her to win. In fact, they willed her to win.” 

The entire musical project was a frenzied worldwide phenomenon: the confident comeback story of a 45-year-old liberated woman. Private Dancer represents a rare redemption for a female artist over 40 — a script contemporaries have taken cues from.   

Madonna enjoyed a return serve with her revealing 1998 spiritual album Ray of Light, a record that saw her achieve renewed commercial success — and perhaps most important to her, critical acclaim. After the abject failure of 2001’s Glitter, Mariah Carey stormed the charts (and GRAMMYs) in 2005 with her confessional but defiant album, The Emancipation of Mimi. Janet Jackson, no longer suffering public shame after the infamous Superbowl incident and finally free to release music under her own label, returned revealing a more mature, reflective artist with 2015’s Unbreakable. Each album privileged some aspect of self-exposure and sonic difference to mount a comeback where audiences were invited in.    

Publicly sharing some vulnerability while also celebrating fortitude, continues to enliven the story of Private Dancer — and the listening experience decades on. After Tina Turner's death in 2023, critics reappraised the record and the seismic impact of “What’s Love.” Some said the song was an enduring “call to action” on finding independence, while others concluded that Private Dancer alone “lifted [Turner] into the pop stratosphere.” 

The record represents one of history’s greatest musical comebacks. Its emotional depth, paired with a tough if sometimes frayed sound, gave listeners a deeply resonant tale about overcoming. 

“She gave me such trust,” Britten says of recording with Turner. “I can’t tell you what a moving experience it was.” With Private Dancer, Turner entrusted listeners with her own vulnerable admissions, many of which continue to resonate and inspire today. 

Remembering The Artistry Of Tina Turner, "The Epitome Of Power And Passion"

During her remarkable 83 years of life, the late Tina Turner received eight GRAMMY awards, a GRAMMY Lifetime Achievement Award, and three introductions into the GRAMMY Hall of Fame.

In this episode of GRAMMY Rewind, we travel to 1985, when Turner won a golden gramophone for one of her many iconic hits, "What's Love Got to Do with It?," in the Best Pop Vocal Performance, Female, category.

"I've been waiting for this opportunity for such a long time," she said in her acceptance speech. "I have to thank many people. And all of you that I don't get to thank, you must know that it's in my mind."

Among those "many people," Turner praised Graham Lyle and Terry Britten, who wrote the track; John Carter, her A&R "who played a wonderful part" in relaunching her career with Capitol Records in the '80s; and Roger Davies, her manager, "a great man who has done a great job with her career."

Later that night, "What's Love Got To Do With It?" helped Turner win Record Of The Year; she also took home Best Rock Vocal Performance, Female, for "Better Be Good to Me." Though the 1985 ceremony marked Turner's first solo awards, she first won a GRAMMY in 1972 alongside her ex-husband, Ike Turner, for their recording of "Proud Mary."

Press play on the video above to watch Tina Turner's full acceptance speech for Best Pop Vocal Performance, Female, and remember to check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

10 Essential Tina Turner Songs From the '70s: How Her Forgotten Era Set The Stage For A Dramatic Debut As A Solo Performer

Below is a tribute to the luminaries and esteemed professionals from the music community we lost between Dec. 5, 2022, through Jan. 26, 2024.

During the 2024 GRAMMYs broadcast, the Recording Academy's In Memoriam segment featured performances by several masterful musicians. Annie Lennox  was joined by Wendy Melvoin and Lisa Coleman to honor Sinéad O’Connor. Stevie Wonder took the stage to pay homage to the legendary Tony Bennett, Jon Batiste honored the "Godfather of Black Music" Clarence Avant and Fantasia Barrino paid tribute to the Queen of Rock 'n' Roll, Tina Turner. The performances were set against a video homage of several of the distinguished figures on this list. Every individual who passed away before the publication date has also been respectfully commemorated in the official 2024 GRAMMYs program book.

The Recording Academy offers its profound respect and appreciation for the unique gifts and enduring contributions these individuals have bestowed upon our culture and collective spirit.

Aaron Spears

Abe Stoklasa

Adam Johnstone

Aérea Negrot

Ahmad Jamal

Akbar Golpayegani

Alan Arkin

Alan Copeland

Alan Niederland

Alan Rankine

Alan Warner

Alan Moore Stowell

Alba 'Albita' Eagan

Algy Ward

Alice Parker

Allen Becker

Alton Wade Kelley

Amos Ettinger

Amp Fiddler

Amparo Rubín

Ana Clara Benevides Machado

Anatol Ugorski

André Watts

Andrew Penhallow

Andrew Speight

Andy Rourke

Angela Zilia

Angelo Badalamenti

Angelo Bruschini

Anita Kerr

Anita Pointer

Anne Hart

Annie Nightingale

Anthony Topham

Anthony John Heyes

Anup Ghoshal

April Stevens

Arie Levanon

Arif Cooper

Arthur Ward Eller

Astrud Gilberto

Audie Blaylock

August 08

Axali Doëseb

B. Sasikumar

Barbara Bryne

Barrett Strong

Baxter Black

Beeyar Prasad

Ben Lipitz

Benito Castro

Benjamin Zephaniah

Berit Lindholm

Bernie Marsden

Betta St. John

Betty Price

Beytocan

Bhavani Shankar

Bhavatharini Raja

Big Pokey

Big Scarr

John Nelson "Big John" Trimble Jr.

William "Bill" Castle

Bill Humble

Bill Lee

Bill Mayne

Bill Rice

Bill Saluga

Bill Zehme

Bill Hayes

Billy Smith

Billy White Jr.

Billy "The Kid" Emerson

Bilqees Khanum

Bishop Carlton Pearson

Blair Tindall

Blas Durán

Blayne Tucker

Bob Burwell

Bob Feldman

Bob Jones

Bob Mummert

Bob Nalbandian

Bob Rice

Bob Siggins

Bob "Norton" Thompson

Bobbi Staff

Bobby Caldwell

Bobby Casey

Bobby Eli

Bobby Osborne

Bobby Schiffman

Bonny Beverley

Brad Houser

Brad Thomson

Bram Inscore

Brandon Marcel Williams

Brett Radin

Brian McBride

Brian "Brizz" Gillis

Bridgette Wimberly

Broderick Smith

Bruce Gowers

Bruce Guthro

Brucene Harrison

Bruno Ducol

Buck Trent

Buddy McNeill

Burt Bacharach

C-Knight

C.J. Harris

Calton Coffie

Calton Coffie

Calvin Newton

Canelita Medina

Canisso Canisso

Care Failure

Carl Davis

Carl Pagter

Carl Tovey

Carla Bley

Carlee Ann Vaughn

Carlin Glynn

Carline Smith Wilhite

Carlos Fonseca

Carlos Lyra

Carmen Jara

Carmen Xtravaganza

Carole Cook

Catherine Christer Hennix

Cayle Sain

Cecilia Pantoja Levi

Chabelita Fuentes

Chad Allan

Chaim Topol

Charline Whillhite

Charles Gayle

Charlie Dominici

Charlie Gracie

Charlie Monk

Charlie Robison

Chas Newby

Chick Rains

Chico Novarro

Choi Sung-Bong

Chris Ford

Chris Ledesma

Chris Lee

Chris Peluso

Chris Strachwitz

Christy Dignam

Chuck Flood

Chuck Jackson

Chuck Morris

Charley Morris

Clarence Avant

Clarence Barlow

Claude Kahn

Clay Hart

Cliff Fish

Clifton Oliver

Clint Yeager

Cobi Narita

Coco Lee

Colette Maze

Colin Burgess

Conny Van Dyke

Costa Titch

Craig Burbidge

Craig Hayes

Curtis Fowlkes

Cynthia Haring

Cynthia Weil

Dan Lardner

Daniel Bourgue

Daniel Jones

Daniel Lee Stephen Jones

Danny Kaleikini

Danny Schur

Danny Milhon

Dave Cohen

Dave Dickerson

Dave Roe

Dave Freeman

David Crosby

David Darling

David Del Tredici

David Drozen

David LaFlamme

David Lindley

David McCallum

David Leland

David Soul

David Lumsdaine

David Beckwith

David Jude Jolicoeur

Dedi Graucher

Del Palmer

Denis Badault

Denny Laine

Denyse Plummer

Dev Kohli

Dick Biondi

Dickie Harrell

Dima Nova

Dino Danelli

DJ Casper

DJ Deeon

DJ Dino Calvao

Djalma Corrêa

Don Graham

Don Kissil

Don Mulkey

Don Sebesky

Don Williams

Donnie McKethan

Dorian Kweller

Dr Latozi Madosini Mpahleni

Duane Tabinski

Dusty Street

Dwight Twilley

Ed Ames

Ed Stone

Ed "Beanpole" Efaw

Edino Krieger

Edward Sexton

Edward Walters

Edward "Kidd" Jordan

Elayne Jones

Eliud Treviño

Ellen Fitzhugh

Elliot Goldman

Eloise Wyatt Russo

Emahoy Tsegué-Maryam Guèbrou

Enrique "Zurdo" Roizner

Eric Boehlert

Eric Shoutin' Sheridan

Eric Moyo

Eric Alan Livingston

Essra Mohawk

Fallece Marilú

Faye Fantarrow

Fito Olivares

Florence Malgoire

Fran La Maina

Francesa Cappucci

Francis Monkman

François Glorieux

Frank Harlow

Frank Kozik

Frank Solivan Sr.

Frank Woodard

Frank Ford

Frank Farian

Fred White

Freddie Ross Hancock

Fuzzy Haskins

Gabriele Schnaut

Gangsta Boo

Garry Mapanzure

Garry Lee Rentfro

Gary Hobish

Gary Rossington

Gary Smith

Gary Wright

Gary Young

Gary Noble

Gennady Gladkov

George Brown

George Logan

George Maharis

George Moffett

George Newall

George Portz

George Tickner

George Winston

George Yanok

Georgia Holt

Gerald Fried

Gérard Drouot

Germano Mathias

Glen "Spot" Lockett

Gloria Belle

Gloria Coates

Glynis Johns

Goa Gil

Gordon Lightfoot

Gordy Harmon

Gordy Nichol

Grace Bumbry

Grady Hockett

Graeme Malcolm

Graham Clark

Grand Daddy I.U.

Gregory Brian Wright

Hans Poulsen

Harley Worthington

Harold Childs

Harold Killian

Harold Black

Harry Belafonte

Harry Sheppard

Haydn Gwynne

Heather Dunbar

Heike Matthiesen

Heklina Heklina

Helen Thorington

Henri Duaman

Henry Grossman

Herb Deutsch

Hiroshi "Heath" Morie

Hoppy Hopkins

Horacio Malvicino

Howie Kane

Huey "Piano" Smith

Ian Bairnson

Ian Emes

Ian Tyson

Iasos

Ilanga

Inga Swenson

Ingrid Haebler

Ira Selsky

Irish Grinstead

Irma Capece Minutolo

Irv Lichtman

Isaac "Redd" Holt

Ismaïlia Touré

Ivan "Mamão" Conti

Ivan M. Tribe

J.J. Barnes

Jack Lee

Jack Pruett Jr.

Jack Sonni

Jacqueline Dark

Jaquelyne Ledent-Vilain

Jah Shaka

Jaimie Branch

Jake Marlowe

James Bowman

James Casey

James Harvey IV

James Jorden

James Lewis

James Kottak

James C. "Jimmy" LaRocca

Jamie Reid

Jamie Tiller

Jan Woods

Jane Birkin

Jannis Noya Makrigiannis

Jasmin Stavros

Javier Álvarez Fuentes

Jay Goldberg

Jay Weston

Jay Clayton

Jean Knight

Jeff Beck

Jeff Cook

Jeff Davis

Jeff Heiman

Jeffrey Foskett

Jeno Jandó

Jeremiah Green

Jerry Bradley

Jerry Dodgion

Jerry Fretwell

Jerry Kearns

Jerry Moss

Jerry Samuels

Jerry Springer

Jerry Whitehurst

Jerry Kramer

Jerry Paul Arnold

Jerry Lee Lewis

Jesse McReynolds

Jesus Garber

Jet Black

Jim Boyer

Jim Gordon

Jim Parker

Jim Sharpley

Jim Vienneau

Jim Ladd

Jim Rae

Jimmy Buffett

Jo Mersa Marley

Jo-El Sonnier

Joanna Merlin

João Donato

Joaquin Romaguera

Joaquin "Jocko" Fajardo

Joe Fagin

Joe McGuire

Joey Bogan

John Albert

John Beckingham

John Cirillo

John Deyle

John Giblin

John Gosling

John Kezdy

John Lomax IV

John Marshall

John Miller

John Morris

John Regan

John Waddington

John Cutler

John Alexander

John Andrew Tartaglia

John Watson Algee

Johnny Allon

Johnny Fean

Johnny Ruffo

Jon Fausty

Jon Kennedy

Jordan Blake

José Evangelista

Joseph Koo

Joshua Culbreath

Joshua Madsen

Joss Ackland

Jovit Baldivino

Joy McKean

Joyce Bryant

Juan Carlos Formell

Judy Massey

Julián Figueroa

Julian Sebothane Bahula

Justin Bartlett

Justin Fontaine

K. Neville Garrick

K.J. Joy

Kaija Saariaho

Karaikudi Mani

Karl Berger

Karl Tremblay

Karl F. Dieterichs

Katherine Anderson Schaffner

Kathy Chow

Keiko Okuya Jones

Keith Gattis

Keith Reid

Keith Holzman

Kelly Joe Phelps

Ken Brigham

Ken Fish

Ken Roberts

Ken Calvert

Kendall A. Minter

Kenneth Anger

Kenneth Force

Kenneth Montgomery

Kenneth Riegel

Kent Stax

Kevin Fleming

Kevin Lemons

Kevin "Geordie" Walker

Kihnu Virve

Kim Simmonds

Kirk Arrington

Kirstie Alley

Klee Benally

Kwame Brathwaite

Kyle Jacobs

Ladislav Jásek

Lalo Rodriguez

Lance Reddick

Larry Chance

Larry Morris

Larry Collins

Lasse Wellander

Laura Lynch

Lawrence "Larry" Cohn

Lázaro Valdés

Lee Berk

Lee Purkis

Lee Rauch

Leela Omchery

Lefty SM

Leiji Matsumoto

Len Chandler

Lena McLin

Lenka Hlávková

Leny Andrade

Leo D. Sullivan

Leonard Abrams

Leonard Zinn

Leroy "Black Stalin" Calliste

Les Brown Jr.

Les Leverett

Les McCann

Leslie Jordan

Lester Sterling

Lewis Largent

Lewis Spartlan

Lewis Pragasam

Lily Afshar

Linda de Suza

Linda Lewis

Lisa Roy

Lisa Marie Presley

Lisandro Meza

Lisl Steiner

Liz Thiels

Lizeta Nikolaou

Lois Curtis Shepherd

Lola Mitchell "Gangta Boo"

Lola Dee

Lord Creator

Lou Deprijck

Loyal Jones

Luis Vasquez

Luke Bell

Lyn McLain

M Daud Kilau

Malini Rajurkar

Mam' Sylvia Mdunyelwa

Manana Doijashvili

Mandla 'Mampintsha' Maphumulo

Manny Martinez

Manuel Göttsching

Manuel Castillo Girón

Marc Roy

Marcel Amont

Marcel Zanini

Marek Kopelent

Margaret Josephine Nisbett

Margie Hunt

Margie Sullivan

María Jímenez

Mariana Sîrbu

Marianne Mantell

Marilyn Johnston Blankenship

Mark Adams

Mark Capps

Mark Howard

Mark James

Mark Kuykendall

Mark Russell

Mark Sheehan

Mark Stewart

Mark Thomas

Mark Nelson

Marlena Shaw

Mars Williams

Marsha Gray Basore

Martha Owen

Martin Duffy

Martin Petzold

Martin Stevens

Mary Weiss

Mary G. Dawson

Mary Jane Thomas

Mary Turner Pattiz

Mason Ruble

Massimo Savić

Matt Alese

Matt Stewart

Maurice Bourgue

Maurice Hines

Max Morath

Maxi Jazz

Mbongeni Ngema

Mbuya Stella Chiweshe

MC Fats

Megan Terry

Melanie Safka

Melvin "Magoo" Barcliff

Menahem Pressler

Merv Shiner

Michael Blackwood

Michael Keith

Michael Kupper

Michael Leon

Michael McGrath

Michael Parkinson

Michael Rhodes

Michael Snow

Michael "Ibo" Cooper

Michael John McGann

Mick Slattery

Mikael Maglieri

Mike Henderson

Mike Reeves

Mike Brown

Mike Taylor

Mike J Rojas

Miki Liukkonen

Mildred Miller

Milo Hrnić

Minneapolis Backyard Punk Show Shooting

Misha K. Hunke

Mo Foster

Mohbad

MoneySign Suede

Monte Cazazza

Moonbin

Myles Goodwyn

Mylon LeFevre

Najah Salam

Nancy Van de Vate

Nashawn (Lotto) Breedlove

Neal Langford

Neela Rampogal

Neil Kulkarni

Neville Garrick

Nicholas Lloyd Webber

Niel Immelman

Nihal Nelson

Niko Everette

Nina Matviienko

Nobuyuki Idei

Nora Forster

Norby Walters

Norm Pattiz

Notis Mavroudis

O.S. Thyagarajan

Oladips

Olga Chorens

Ordy Garrison

Orlando Marin

Óscar Agudelo

Otis Barthoulameu

Otis Redding III

Özkan Ugur

Pacho El Antifeka

Pamela Blair

Pamela Chopra

Pansequito

Pat Bunch

Patricia Burda Janečková

Patrick Emery

Paul Beasley

Paul Cattermole

Paul Desenne

Paul Justman

Paul Prestopino

Paul Woseen

Paxton Whitehead

Pedro Lavirgen

Pedro Messone

Pedro Henrique

Pedro Suárez-Vértiz

Pepe Domingo Castaño

Petch Osathanugrah

Pete Brown

Pete Garner

Peter Austin

Peter Brötzmann

Peter Cooper

Peter Kowalsky

Peter Luboff

Peter McCann

Peter Nero

Peter Solley

Peter Schickele

Phil Quartararo

Phill Niblock

Pilarín Bueno

Pluto Shervington

Polito Vega

Prabha Atre

Pt Vijay Kichlu

Qamar Gula

R.C. Harris

Ralph Gordon

Ramani Ammal

Ramla Beegum

Ramsey Lewis Jr.

Randy Bailey

Randy Meisner

Rashid Khan

Ray Cordeiro

Ray Hildebrand

Ray Pillow

Ray Shulman

Ray Sparks

Raymond Froggatt

Raymond Lumpkin

Red Paden

Reiner Goldberg

Rena Koumioti

Renata Scotto

Renée Geyer

Ricardo Iorio

Ricardo Drue

Richard Davis

Richard Landis

Richard Law

Richard Ross

Richard Gaddes

Rick Froberg

Rick Newman

Rickie May

Rita Hollingsworth

Rita Lee

R.L. Boyce

Rob Laakso

Robbie Bachman

Robbie Robertson

Robert Becerra

Robert Black

Robert Haimer

Robert Hicks

Robert Michaels

Robert H. Precht

Robert W. Smith

Robin Tamang

Rock Brynner

Rodney Hall

Rodriguez

Roger Sprung

Roger Whittaker

Rohana  Jalil

Rolf Harris

Ron Cornett

Ron Haffkine

Ron Hamilton

Ron Spears

Ron S. Peno

Ronnie Turner

Roseline Damian

Roxie Cawood Gibson

Roy Rifkind

Roy Taylor

Royal Blakeman

Royston Ellis

Rudolph Isley

Russell Batiste Jr.

Russell Sherman

Ryan Siew

Ryuichi Sakamoto

Sajid Khan

Sakevi Yokoyama

Sal Piro

Sam Cutler

Sanath Nandasiri

Sandra Butler Truesdale

Sandra Trehub

Sara Tavares

Sarah Schlesinger

Sarah Rice

Scott Johnson

Scott Schinder

Séamus Begley

Sean Martin

Seán Keane

Sebastian Marino

Seóirse Bodley

Seymour Stein

Shahidul Haque Khan

Shane Yellowbird

Shaul Greenglick

Shaun Roberts

Sheila Smith

Sheldon Harnick

Sheldon Reynolds

Shoji Tabuchi

Silent Servant

Silvio Berlusconi

Sinéad O'Connor

Sir David Lumsden

Sixto Diaz Rodriguez

Slim Andrews

Smokey Greene

Soňa  Červená

Spot

Stainslaw Radwan

Stan Hitchcock

Stanley Drucker

Stella Stevens

Stephen Gould

Stephen "tWitch" Boss

Stephen Allen Davis

Steve Harwell

Steve Riley

Steve Skold

Steve Travis

Steve Nelson

Steven Lutvak

Stevie B-Zet

Stuart Margolin

Sudakshina Sarma

Sueli Costa

Sulochana Chavan

Suna Kan

Surinder Shinda

Suzanne Somers

Suzy Frank

Swarup Nayak

Sweet Charles Sherrell

Tamara Milashkina

Tapas Das

Teddy White

Teresa Taylor

Teri Bristol

Terri Nolan

Terry Hall

Terry Kirkman

Terry Thacker

Terry Baucom

Teté Caturla

Thanga Darlong

The 45 King

Theo de Barros

Theresa Reneé Watson

Thom Bell

Thomas Stacy

Thomas H. Lee

Thomasina Winslow

Thotakura Somaraju

Tim Bachman

Tim Stacy

Tim Rogers

Tim Norell

Tina Turner

TJ De Blois

Tohru Okada

Tom Jones

Tom Langdon

Tom Leadon

Tom Verlaine

Tom Whitlock

Tom Wilkerson

Tom Smothers

Tom Mazzetta

Tony Bennett

Tony Coe

Tony McPhee

Tony Oxley

Tony Clarkin

Torben Ulrich

Toru Mitsui

Toto Cutugno

Treat Williams

Treva Chrisco

Trish Williams Warren

Troy Brammer

Tshala Muana

Vakhtang Kikabidze

Valentin Gheorghiu

Van Conner

Varnell Harris Johnson

Victor Pikayzen

Victor Rasgado

Vilayil Faseela

Vince Hill

Violeta Hemsy de Gainza

Virginia Zeani

Vivian Trimble

Vivian Williams

Vivienne Westwood

Walt Groller

Walt Wilson

Walter Aipolani

Walter Arlen

Walter Charles

Walter Cole Darcelle XV

Walter Ulloa

Walter "Wolfman" Washington

Wayne Shorter

Wayne Swinny

Wee Willie Harris

William "DJ Casper" Perry Jr.

Willie Ruff

Willis Spears

Yaacov Bergman

Yehonatan Geffen

Yitzhak Klepter

Yogesh Vaidya

Yotam Haim

Young Capone

Yukihiro Takahashi

Yuri Temirkanov

Yuzo Toyama

Yvonne Přenosilová

Zahara

Zdenek Macal

Zita Carno

2024 GRAMMY Nominees and Winners: See The Full List