This summer, everyone's hot (pink) with Barbie fever.

In the last few months, seemingly all corners of the world have been painted Barbie pink. From floods of #barbiegirl TikToks to ubiquitous brand collaborations, there's been no shortage of almost alarmingly efficient marketing for Greta Gerwig's upcoming blockbuster Barbie.

Out July 21, the fantasy comedy spotlights Margot Robbie and Ryan Gosling as Mattel's classic Barbie doll couple, alongside a slew of other major stars including Issa Rae, Will Ferrell, America Ferrera, Kate McKinnon, Simu Liu, and plenty more.

The highly anticipated Barbie soundtrack is helmed by Mark Ronson, the seven-time GRAMMY-winning producer known for working with artists like Lady Gaga, Paul McCartney, Amy Winehouse, and Miley Cyrus. Ronson's nearly year-long work on Barbie The Album kicked off when he checked his phone and saw a one-word text: "Barbie?"

The text came from producer George Drakoulias, who previously worked with Barbie co-writer Noah Baumbach on critically acclaimed films like Marriage Story and White Noise. Drakoulias shared details about the project, and Ronson was sold.

"I don't read a lot of scripts, but it was just everything I want in a movie," Ronson remembered in a Rolling Stone profile. "I was like, 'If I don't get this gig, this is gonna be my favorite movie of the year.'"

Ronson happily signed on as the soundtrack's executive producer — in his own words, becoming "the Robin to [Gerwig's] Batman" — and he hopped on a preliminary Zoom with Gerwig and Baumbach while they were in England gearing up for production.

As they brainstormed for Barbie The Album, Gerwig sent over a playlist of some of her favorite songs, which featured everything from Andrea True Connection to music from Xanadu, to what Ronson personally dubbed "Peloton pop." Spitballing ideas evolved into a crystal pink vision for Barbie The Album, which would be 17 tracks in total and featuring everyone from Lizzo to FIFTY FIFTY to Tame Impala to even Gosling himself.

Speaking to the New York Times, Gerwig described the film Barbie as an "anarchic dance-party emotional meltdown spiritual quest." In line with the movie's chaotic good, she and Ronson wanted the soundtrack to be many, many things: poppy, playful, whimsical, nostalgic, and most importantly, full-hearted.

With all this in mind, there was more news: Barbie would feature a highly-choreographed dance number, and Ronson was tasked with putting together the film's central groove. Rehearsals were scheduled to hit the floor in two weeks. 

Ronson and producer Andrew Wyatt — who would end up scoring the entire film together — got to work, crafting the fluttery, up-tempo beat to "Dance The Night" to power the film's core dance scene. Caroline Ailin also contributed as a songwriter to what would become Barbie's defining lead single.

"It became the Barbie anthem on set," Robbie shared with Rolling Stone.

According to Robbie, Barbie cast members rehearsed to the temporarily lyricless song, following only its whirling beat. That is, until Ronson slid into Dua Lipa's DMs to recruit her for the track. Channeling carefree fun reminiscent of Future Nostalgia, Lipa felt like a perfect fit for the song's retro disco relief. (Gerwig later invited the three-time GRAMMY winner to play the neon-pink-wigged role of Mermaid Barbie.)

"Dance The Night" unmistakably bubbles as the buoyant centerpiece of Barbie The Album; in fact, it's featured just 10 seconds into the film's trailer. As Barbie floats down from her dreamhouse, the song's strings flourish with nu-disco verve, luring viewers in and spiritedly signifying the magic of Barbie Land.

It's this breezy, dance floor-ready energy that Barbie The Album epitomizes. The record refracts the light of a disco ball, equating an evening at a club with a spiritual experience. In Gerwig's world, Barbies are — ironically — never boxed in.

While the album thrums with the rhythm of a nonstop party, Ronson still finds moments to hint at profundity, beneath the film's slick comedy. "Even when the tears are flowin' like diamonds on my face/ I'll still keep the party goin', not one hair out of place," Lipa sings in "Dance The Night."

The track's juxtaposition of sorrow and partying represents Barbie perfectly, nodding to the doll's controversial history. Since its 1959 launch, Barbies emerged as symbols of both female empowerment and unrealistic standards for women.

​​"I kept thinking: Humans are the people that make dolls and then get mad at the dolls," Gerwig explained to the NYT. "We create them and then they create us and we recreate them and they recreate us. We're in constant conversation with inanimate objects."

This idea of creating and recreating applies not just to the film, but its music, too. A modern musical reimagination filled with nostalgia, Barbie The Album slots in several iconic samples, including Toni Basil's 1981 "Mickey," Janet Jackson's 1997 "Together Again," and Aqua's 1997 "Barbie Girl."

​​"I was like, 'Greta, how are we going to incorporate this song? We can't do a Barbie movie and not have a nod to Aqua's 'Barbie Girl.' It has to be in there,'" Robbie told Rolling Stone. "And [Greta] was like, 'Don't worry, we're going to find a cool way to incorporate it.'"

Gerwig's response was apparently code for "get Nicki Minaj to hop on the track." Minaj made the top of Ronson and Gerwig's "dream list" of artists for the soundtrack — no doubt because of her reigning title as queen of the Barbz. The fanbase name emerged after the cover of Minaj's debut 2007 mixtape, Playtime Is Over, featured the rapper as a Barbie doll within a Mattel box.

"I feel like people have been asking Nicki to rhyme over some version of 'Barbie Girl' for 15 years now," Ronson estimated in conversation with Rolling Stone.

In her pink carpet interview with "Access Hollywood," Minaj admitted it took her a second to warm up to the track's Aqua sample: "I didn't even want to listen to this song because a lot of people have sent me that sample for years, and I never like it!"

But the rapper knew she wanted to be a part of Barbie. "So the next day, I mustered up the courage to listen to the song, and then I loved the beat, and that sold me," Minaj continued.

Once Minaj jumped on the track, Ronson began chasing down another one of today's hottest names in the rap scene: Ice Spice. The 23-year-old Bronx rapper almost didn't make the track because of her demanding schedule, but one night, she found the time to slide into the studio — just as Ronson was getting ready to go to sleep "like an old guy." He biked to the studio after midnight to track her verses, and "Barbie World" was born.

The track marked a "very full circle moment" for Minaj — as well as for Charli XCX. The pop singer told Rolling Stone that her first live performance was actually of Aqua's "Barbie Girl." Although XCX beheaded her Barbie dolls when she was younger, her a cappella rendition of Aqua's hit earned her a win in a cruise ship talent show.

Years later, XCX traded cruise ships for "lavender Lamborghinis" in her 2016 magnum opus "Vroom Vroom." So when Ronson and Gerwig showed XCX a few Barbie clips to choose from, it's no surprise that XCX was immediately drawn to the car chase scene. XCX's Barbie track "Speed Drive" runs through all the red lights, interpolating Toni Basil's "Mickey" as well as sampling Robyn's cover of Teddybears' "Cobrastyle" to assemble one of the album's many hot girl anthems.

And where there's a hot girl anthem, there's a sad girl anthem. Billie Eilish and Sam Smith were recently revealed to be the album's mystery guests, and Ronson put the former behind the wheel for "What Was I Made For?", with her brother and producer FINNEAS riding shotgun. For the siblings, working on Barbie helped flare a creative spark they felt had been dimming.

"We were really in a zone of feeling like we lost it and feeling like, 'man, I don't know if we can do this anymore,'" Eilish shared with Zane Lowe on Apple Music 1. "Barbie and Greta just pulled it out of me, I don't know."

The seven-time GRAMMY winner shared that writing for Barbie The Album allowed for her to refreshingly write from a new perspective — before realizing that she was actually reflecting on herself.

"I did not think about myself once in the writing process. I was purely inspired by this movie and this character and the way I thought she would feel, and wrote about that," Eilish continued with Lowe. "But I do this thing where… I'm writing for myself and I don't even know it."

Just as Eilish's inspiration came from processing her relationship with Barbie, other musicians featured on the album also held personal connections to the doll. 

Barbie was rooted in HAIM's childhood. The sisters grew up in Los Angeles in the '90s and self-labeled themselves as "Barbie specialists." Funnily enough, the siblings were allowed just one VHS tape: a Barbie film. 

Ronson and Gerwig fell into the habit of showing soundtrack participants scenes from Barbie during the creative process, offering more context for the pair's vision. The HAIM sisters found themselves watching scenes from Gerwig's Barbie to pen "Home" for the soundtrack.

"Karol G was instantly telling us how much Barbie meant to her," Ronson told TIME.

"I wanted to see the movie first to understand the project because we know the doll as a perfect figure, so I needed to understand the film's message," Karol G told HOLA! USA. "Then we met [with the Barbie team], and they shared the songs they loved and the rhythm they were looking for... I wanted that when they played the music; it sounded like a real party. A Latino party!"

The Colombian reggaetonera collaborated with Panamanian rapper Aldo Ranks, recording the thumping reggaeton banger "WATATI" for the album. 

Ronson ensured that Barbie The Album stylishly encompassed a wide number of genres, and its variety serves an asset to the film's worldbuilding.

"[Gerwig] had a vision for a really diverse and unique world that she was creating," Brandon Davis, Executive Vice President and Co-Head of Pop A&R at Atlantic Records, said to Rolling Stone. "That's why you're hearing, for instance, a Karol G record that leans more reggaeton next to a Dominic Fike record that's a nod to Sugar Ray."

The slogan of Mattel's signature doll is simple: "You can be anything." Barbie The Album encapsulates this effortlessly, blurring the soft lines between disco pop and drill. The soundtrack even features an Irish jig, unexpectedly on PinkPantheress' wistful song "Angel."

"The soundtrack reminded me of a 2000s Disney prom scene. I was just like, let's try it and see what they think. I just wanted to have fun," the pop star told ELLE. The chorus' uplifting jig gave "Angel" the necessary "soundtrack vibe" she was looking for.

Before kicking off her musical career, PinkPantheress was originally on an acting path. Having studied Gerwig's filmography in school, she was "gassed beyond belief" to join the Barbie team. "I do not think that anyone knows me. I'm always surprised," PinkPantheress said. "So, the fact that Greta Gerwig [does]..."

PinkPantheress knew that thinking pink meant she was on the right track — the color's in her stage name, after all.

"When I listen to ['Angel'], all I think about is the color pink. And when I think of pink, I think of Barbie," she said.

At the end of the day, it's Barbie's world, and we're just living in it. Gerwig pulled us into this glossy, fuschia-flushed world, and Ronson fluidly soundtracked its complementary pop paradise. Ronson spoke highly of the writer-director, citing not only her impressive innovation and drive but her presence alone as uplifting.

"Greta proves that you can be an incredibly strong-minded visionary, but inspire people by just your goodness alone," Ronson told Vanity Fair. "Everybody just felt so free to create."

This open, creative freedom is what makes Barbie truly Barbie. Mattel’s slogan rings true in Ronson’s soundtrack, pulsing like a Barbie dreamhouse party come to life. Songs range from trend-setting and bubblegum to comedic and quirky, but above all, the rosy soundtrack glimmers with moments of sincerity.

One thing about Barbie? She'll always think outside of the box.

Everything We Know About The 'Barbie' Soundtrack: New Dua Lipa Song, Release Date, Artist Lineup, All The 'Barbie' Songs & More

When Amy Winehouse released Back To Black in October 2006, it was a sonic revelation. The beehive-wearing singer’s second full-length blended modern themes with the Shangri-Las sound, crafting something that seemed at once both effortlessly timeless and perfectly timed. 

Kicking off with smash single "Rehab" before blasting into swinging bangers like "Me & Mr. Jones," "Love Is A Losing Game," and "You Know I’m No Good," Black To Black has sold over 16 million copies worldwide to date and is the 12th best-selling record of all time in the United Kingdom. It was nominated for six GRAMMY Awards and won five: Record Of The Year, Song Of The Year, Best New Artist, Best Female Pop Vocal Performance, and Best Pop Vocal Album. 

Winehouse accepted her golden gramophones via remote link from London due to visa problems. At the time, Winehouse set the record for the most GRAMMYs won by a female British artist in a single year, though that record has since been broken by Adele, who won six in 2011.

Written in the wake of a break-up with on-again, off-again flame Blake Fielder-Civil, Black To Black explores heartbreak, grief, and infidelity, as well as substance abuse, isolation, and various traumas. Following her death in 2011, Back To Black became Winehouse’s most enduring legacy. It remains a revealingly soulful message in a bottle, floating forever on the waves. 

With the May 17 release of Sam Taylor-Johnson’s new (and questionably crafted) Winehouse biopic, also titled Back To Black, it's the perfect time to reflect on the album that not only charmed listeners but changed the state of a lot of popular music over the course of just 11 songs. Here are five ways that Back To Black influenced music today.

She Heralded The Arrival Of The Alt Pop Star

When Amy Winehouse hit the stage, people remarked on her big voice. She had classic, old-time torch singer pipes, like Sarah Vaughn or Etta Jones, capable of belting out odes to lost love, unrequited dreams, and crushing breakups. And while those types of singers had been around before Winehouse, they didn’t always get the chance — or grace required — to make their kind of music, with labels and producers often seeking work that was more poppy, hook-packed, or modern.

The success of Back To Black changed that, with artists like Duffy, Adele, and even Lady Gaga drawing more eyes in the wake of Winehouse’s overwhelming success. Both Duffy and Adele released their debut projects in 2007, the year after Back To Black, bringing their big, British sound to the masses. Amy Winehouse's look and sound showed other aspiring singers that they could be different and transgressive without losing appeal.

Before she signed to Interscope in 2007, "nobody knew who I was and I had no fans, no record label," Gaga told Rolling Stone in 2011. "Everybody, when they met me, said I wasn’t pretty enough or that my voice was too low or strange. They had nowhere to put me. And then I saw [Amy Winehouse] in Rolling Stone and I saw her live. I just remember thinking ‘well, they found somewhere to put Amy…’" 

If an artist like Winehouse — who was making records and rocking styles that seemed far outside the norm — could break through, then who’s to say someone else as bold or brassy wouldn’t do just as well? 

It Encouraged Other Torch Singers In The New Millenium

Back To Black might have sounded fun, with swinging cuts about saying "no" to rehab and being bad news that could seem lighthearted to the casual listener. Dig a little deeper, though, and it’s clear Winehouse is going through some real romantic tumult. 

Before Back To Black was released, Fielder-Civil had left Winehouse to get back together with an old girlfriend, and singer felt that she needed to create something good out of all those bad feelings. Songs like "Love Is A Losing Game" and "Tears Dry On Their Own" speak to her fragile emotional state during the making of the record, and to how much she missed Fielder-Civil. The two would later marry, though the couple divorced in 2009.

Today, young pop singers like Olivia Rodrigo, Taylor Swift, and Selena Gomez are lauded for their songs about breakups, boyfriends, and the emotional damage inflicted by callous lovers. While Winehouse certainly wasn’t the first to sing about a broken heart, she was undoubtedly one of the best.

It Created A Bit Of Ronsonmania

Though Mark Ronson was already a fairly successful artist and producer in his own right before he teamed with Winehouse to write and co-produce much of Back To Black, his cred was positively stratospheric after the album's release. Though portions of Back To Black were actually produced by Salaam Remi (who’d previously worked with Winehouse on Frank and who was reportedly working on a follow-up album with her at the time of her death), Ronson got the lion’s share of credit for the record’s sound — perhaps thanks to his his GRAMMY win for Best Pop Vocal Album. Winehouse would even go on to guest on his own Version record, which featured the singer's ever-popular cover of "Valerie."

In the years that followed, Ronson went on to not only produce and make his own funky, genre-bending records, but also to work with acts like Adele, ASAP Rocky, and Paul McCartney, all of whom seemingly wanted a little of the retro soul Ronson could bring. He got huge acclaim for the funk-pop boogie cut "Uptown Funk," which he wrote and released under his own name with help from Bruno Mars, and has pushed into film as well, writing and producing over-the-top tracks like A Star Is Born’s "Shallow" and Barbie’s "I’m Just Ken."  To date, he’s been nominated for 17 GRAMMY Awards, winning eight.

Ronson has always acknowledged Winehouse’s role in his success, as well, telling "BBC Breakfast" in 2010, "I've always been really candid about saying that Amy is the reason I am on the map. If it wasn't for the success of Back To Black, no one would have cared too much about Version."

Amy Showcased The Artist As An Individual

When the GRAMMY Museum hosted its "Beyond Black - The Style of Amy Winehouse" exhibit in 2020, Museum Curator and Director of Exhibitions Nicholas Vega called the singer's sartorial influence "undeniable." Whether it was her beehive, her bold eyeliner, or her fitted dresses, artists and fans had adopted elements of Winehouse’s Back To Black style into their own fashion repertoire. And though it’s the look we associate most with Winehouse, it was actually one she had truly developed while making the record, amping up her Frank-era low-slung jeans, tank tops, and polo shirts with darker eyeliner and much bigger hair, as well as flirty dresses, vibrant bras, and heels.

"Her stylist and friends were influential in helping her develop her look, but ultimately Amy took bits and pieces of trends and styles that she admired to create her own look," Vega told GRAMMY.com in 2020. While rock ‘n’ rollers have always leaned into genre-bending styles, Winehouse’s grit is notable in the pop world, where artists typically have a bit more of a sheen. These days, artists like Miley Cyrus, Billie Eillish, and Demi Lovato are willing to let their fans see a bit more of the grit — thanks, no doubt, to the doors Winehouse opened.

Winehouse also opened the door to the beauty salon and the tattoo studio, pushing boundaries with not just her 14 different vintage-inspired tattoos — which have become almost de rigeur these days in entertainment — but also with her signature beehive-like bouffant, which hadn’t really been seen on a popular artist since the ‘60s.It’s a frequent look for contemporary pop divas, popping up on artists like Ariana Grande, Lana Del Rey, and Dua Lipa.

The Dap-Kings Got The Flowers They Deserved

Six of Back To Black’s 11 songs, including "Rehab," got their "retro" sound via backing from the Dap-Kings, a Brooklyn-based soul act Ronson recruited for the project. 

While Winehouse’s lyrics were mostly laid down in London, the Dap-Kings did their parts in New York. Ronson told GRAMMY.com in 2023 that the Dap-Kings "brought ['Rehab'] to life," saying, "I felt like I was floating because I couldn’t believe anybody could still make that drum sound in 2006." Winehouse and the Dap-Kings met months later after the record was released, and recorded "Valerie." The band later backed Winehouse on her U.S. tour. 

Though the Dap-Kings were known in hip musical circles for their work with late-to-success soul sensation Sharon Jones, Back To Black’s immense success buoyed the listening public’s interest in soul music and the Dap-Kings' own profile (not to mention that of their label, Daptone Records).

"Soul music never went away and soul lovers never went away, but they’re just kind of closeted because they didn’t think it was commercially viable," Dap-Kings guitarist Binky Griptite said in the book It Ain't Retro: Daptone Records & The 21st Century Soul Revolution. "Then, when Amy’s record hit, all the undercover soul fans are like, I’m free. And then that’s when everybody’s like, Oh, there’s money in it now."

The success of Back To Black also seems to have firmly cemented the Dap-Kings in Ronson’s Rolodex, with the group’s drummer Homer Steinweiss, multi-instrumentalist Leon Michaels, trumpeter Dave Guy, and guitarist/producer Tom Brenneck appearing on many of his projects; the Dap-Kings' horns got prominent placement in "Uptown Funk."

Amy Exposed The Darker Side Of Overwhelming Success

Four years after Winehouse died, a documentary about her life was released. Asif Kapadia’s Amy became an instant rock-doc classic, detailing not only Winehouse’s upbringing, but also her struggles with fame and addiction. It won 30 awards after release, including Best Documentary Feature at the 88th Academy Awards and Best Music Film at the 58th GRAMMY Awards.

It also made a lot of people angry — not for how it portrayed Winehouse, but for how she was made to feel, whether by the British press or by people she considered close. The film documented Winehouse’s struggles with bulimia, self-harm, and depression, and left fans and artists alike feeling heartbroken all over again about the singer’s passing. 

The documentary also let fans in on what life was really like for Winehouse, and potentially for other artists in the public eye. British rapper Stormzy summed it up well in 2016 when he told i-D, "I saw the [documentary, Amy] – it got me flipping angry... [Amy’s story] struck a chord with me in the sense that, as a creative, it looks like on the outside, that it’s very ‘go studio, make a hit, go and perform it around the world, champagne in the club, loads of girls’. But the graft and the emotional strain of being a musician is very hard. No one ever sees that part." 

These days, perhaps because of Winehouse’s plight or documentaries like Amy, the music-loving population seems far more inclined to give their favorite singers a little grace, whether it’s advocating for the end of Britney Spears’ conservatorship or sympathizing with Demi Lovato’s personal struggles. Even the biggest pop stars are still people, and Amy really drove that point home.

We Only Said Goodbye With Words: Remembering Amy Winehouse 10 Years Later

In the latest episode of ReImagined, soul-pop newcomer Dylan Chambers delivers a fresh, heartfelt take on "Uptown Funk", using an electric guitar to drive the performance.

In the year of its inception, Mark Ronson and Bruno Mars' "Uptown Funk" quickly made strides across the map, from a No. 1 peak on the Billboard Hot 100 to a Record Of The Year and Best Pop Duo/Group Performance win at the 2014 GRAMMYs. Ten years after its release, it is the ninth most-viewed YouTube video of all-time and was named one of Billboard's "Songs That Defined The Decade."

Chambers named Mars as one of his most influential inspirations and praised Silk Sonic's Las Vegas residency as one of the "greatest concerts" he has attended in an interview with Muzic Notez.

"Don't believe me, just watch," Chambers calls in the chorus, recreating its notable doo-wop ad-libs with the strums of his instrument.

Chambers dropped his latest single, "I Can Never Get Enough" on April 10, following his March release "High (When I'm Low)." Both tracks will be a part of his upcoming EP, For Your Listening Pleasure!, out May 17.

Press play on the video above to watch Dylan Chambers' groovy rendition of Bruno Mars & Mark Ronson's "Uptown Funk," and check back to GRAMMY.com for more new episodes of ReImagined.

Behind Mark Ronson's Hits: How 'Boogie Nights,' Five-Hour Jams & Advice From Paul McCartney Inspired His Biggest Singles & Collabs

At the 2024 Oscars, Ryan Gosling and Mark Ronson performed a jubilant version of "I'm Just Ken" [From The Motion Picture *Barbie*], which is up for Best Original Song at the ceremony.

With an effervescent backing of black-suited dancers, Gosling leaned into the universal male yearning of the instant Barbie classic. And the arena rock magnitude was helped along by two guitar shredders who rightly dominate that world: Slash and Wolfgang Van Halen.

As Gosling put it at CinemaCon in 2023, Gosling initially doubted his Kenergy.

"It was like I was living my life and then one day I was bleaching my hair, shaving my legs, wearing bespoke neon outfits, and rollerblading down Venice Beach," he said.

"It came on like a light scarlet fever and then I woke up one day and was like, 'Why is there fake tanner in my sheets? What just happened?'"

Billie Eilish and FINNEAS won the Oscar for Original Song for "What Was I Made For?" [From The Motion Picture Barbie] at the 2024 Academy Awards.

Keep checking this space for more updates on the 2024 Oscars — including GRAMMY winners and nominees who are featured during the big night!

2024 GRAMMYs: Billie Eilish Wins GRAMMY For Song Of The Year For "What Was I Made For?" From The 'Barbie' Soundtrack

Music's Biggest Night and the film industry's biggest night are a little more intertwined than one might think.

The GRAMMYs have four Categories that tie in with the Hollywood machine, from Best Song Written For Visual Media to Best Music Film. And the Best Audio Book, Narration and Storytelling Recording award has offered thespians such as John Gielgud, Viola Davis, and Mike Nichols a route to EGOT glory.

The Academy Awards, meanwhile, gives both composers and songwriters their dues in the Best Original Score and Best Original Song categories, respectively. And the latter's nominees will often be performed to help break up all the drama at the podium, no matter how un-Oscar-like the track may be. Who can forget the fever dream that was The Lego Movie's "Everything Is Awesome," for example?

The 2024 Oscars bring both ceremonies even closer together, with 12 nominees walking in as previous GRAMMY winners. Half of them were even victorious at the 2024 GRAMMYs, including Billie Eilish, Finneas O'Connell, and Mark Ronson, who all took home golden gramophones for their Barbie contributions (and are all up for the same film at this year's Oscars).

Ahead of the March 10 ceremony, take a look at the GRAMMY stories of 2024 Oscar nominees — from celebrated composers to iconic directors to a few of this year's performers.

Jon Batiste

Jon Batiste has had quite the GRAMMY run as of late, picking up 19 nominations in just the last three years alone; he scored five wins for 2021's We Are in 2022, including the prestigious Album Of The Year. The jazz maestro, formerly the bandleader of The Late Show with Stephen Colbert, has also enjoyed Oscars glory in the same time frame.

Firstly, in 2021, he shared the Best Original Score Oscar with Atticus Ross and Trent Reznor for their work on Pixar animation Soul. And this year, he's nominated in the Best Original Song category for "It Never Went Away," a track featured in his own powerful documentary biopic, American Symphony.

Danielle Brooks 

Two years into her memorable run as prisoner Taystee in "Orange Is the New Black," Danielle Brooks proved her talents extended far beyond the walls of the Litchfield penitentiary with an acclaimed turn in the 2015 Broadway revival of The Color Purple. After the Juilliard graduate picked up a Tony Award nomination for Best Featured Actress in a Musical in 2016, she became a GRAMMY winner in 2017, when the cast won Best Musical Theater Album.

The all-singing, all-dancing film adaptation of the Alice Walker novel earned Brooks her first Academy Award nod, too. For she once again stole the show in its Hollywood transfer as the strong-minded Sofia, a character first played on the big screen by Oprah Winfrey.

Bradley Cooper  

Bradley Cooper spent six years practicing conducting just six minutes of music for his portrayal of legendary composer Leonard Bernstein in acclaimed biopic Maestro. And the multi-talent's admirable commitment paid off when he received Academy Award nods for Best Original Screenplay, Best Picture, and Best Actor.

Cooper was also nominated in the latter two categories, along with Best Adapted Screenplay, five years ago for another musical, A Star Is Born, and earned two GRAMMYs for the same project. In 2019, he shared Best Pop Duo/Group Performance with Lady Gaga for "Shallow," the spellbinding ballad which also picked up a Record Of The Year nod. A year later, the same film triumphed in Best Compilation Soundtrack for Visual Media.

Billie Eilish  

Like Batiste, Billie Eilish has made an impressive GRAMMYs run in a short span of time. The alt-pop phenomenon has already picked up nine awards from 25 nominations (and she's only just turned 22!). And at her first GRAMMYs just four years ago, Eilish already cemented herself in GRAMMY history: not only did she become just the second artist to claim Best New Artist and Record, Song, and Album Of the Year, but she became the youngest artist to do so at 18 years old.

Eilish added to her GRAMMY legacy with two more wins at the 2024 ceremony, for "What Was I Made For?" [From The Motion Picture *Barbie*], which won the star her second golden gramophones for Song Of The Year and Best Song Written For Visual Media; her James Bond theme, "No Time To Die," won the latter in 2021.

"What Was I Made For?" —  played during the poignant scene where Margot Robbie's titular character meets her creator — has also enamored Oscar voters. In fact, it's the predicted favorite to clinch Best Original Song, which "No Time to Die" helped Eilish claim in 2022.

Ludwig Göransson

Ludwig Göransson is predicted to win his second Best Original Score Oscar this year thanks to his suitably intense arrangements for Oppenheimer; his first win came in 2019 for Black Panther. The Swedish composer has already won Best Score Soundtrack for Visual Media for the same projects at the GRAMMYs.

But it's in the realm of socially conscious hip-hop where Göransson has been a GRAMMYs awards trailblazer. Childish Gambino's "This Is America," a powerful state of the nation address which he co-produced, picked up both Song and Record Of The Year at the 2019 ceremony — marking the first time a rap track had won either accolade. Göransson's fruitful partnership with Gambino has also seen him receive nods for Album Of The Year and Best R&B Song.

Finneas O'Connell 

Finneas O'Connell might have eight fewer GRAMMY nominations than his sister (Billie Eilish), but he does have one more win under his belt. Indeed, having masterminded Eilish's blockbuster breakthrough, 2019's When We All Fall Asleep, Where Do We Go?, and hit the studio with artists such as Tate McRae, Camila Cabello, and Selena Gomez, the Californian picked up Producer Of The Year, Non-Classical at the 2020 ceremony. (Alongside the nine golden gramophones he's shared with his younger sibling — and primary collaborator — that takes his overall tally up to 10.)

As a co-writer on Eilish's James Bond theme "No Time to Die," Finneas and his sis will have two Oscars a piece should their co-written song, "What Was I Made For?" [From The Motion Picture Barbie], win Best Original Song as predicted.

Mark Ronson 

Mark Ronson first caught GRAMMYs attention for his behind-the-scenes efforts, winning Best Pop Vocal Album, Record Of The Year, and Producer Of The Year, Non-Classical in 2008 for his work on Amy Winehouse's seminal Back to Black. But eight years later, he scooped two GRAMMYs for his very own throwback, the Bruno Mars-featuring "Uptown Funk," and in 2019, picked up Best Dance Recording as part of the supergroup Silk City alongside Diplo and Dua Lipa.

Ronson and Lipa were once again nominated together at the 2024 GRAMMYs for their global chart-topper, "Dance the Night" [From The Motion Picture Barbie], which didn't receive a Best Original Song Academy Award nod. The DJ-turned-hitmaker still notched an Oscar nomination, though, thanks to a different Barbie number he co-wrote: the Ryan Gosling-sung "I'm Just Ken."

Martin Scorsese 

Here's a staggering fact: Martin Scorsese, widely regarded as one of the finest filmmakers in Hollywood history, has as many GRAMMYs to his celebrated name as he does Oscars: one.

The auteur received his GRAMMY in 2006, when his Bob Dylan documentary, No Direction Home, won in the Best Long Form Music Video Category. (He had been nominated the previous two years, in the same Category in 2005 for his PBS series Martin Scorsese Presents the Blues: A Musical Journey, and in the Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media Category in 2004 for Gangs Of New York.)

His sole Best Director victory at the Academy Awards came not for Taxi Driver, Raging Bull, or Goodfellas, but for his 2006 remake of The Departed in what many interpreted as a career win. He earned his tenth nomination in the coveted category at the 2024 Oscars, for Killers of the Flower Moon.

Diane Warren 

Diane Warren is responsible for some of the all-time great movie power ballads: see the late '90s holy trinity of Celine Dion's "Because You Loved Me," LeAnn Rimes' "How Do I Live," and Aerosmith's "I Don't Want to Miss A Thing." However, the prolific songwriter has never won an Oscar outright (she was awarded an honorary one in 2022). She has another shot at the 2024 Oscars thanks to Becky G's "The Fire Inside" from the Cheetos-inspired Flamin' Hot, which earned Warren her 15th Best Original Song nomination.

The songwriting dynamo has received the same number of nods at the GRAMMYs, and celebrated a win in 1997, when "Because You Loved Me" (from 1996's Up, Close and Personal) took home Best Song Written Specifically for a Motion Picture or for Television.

John Williams 

Where to start with John Williams? The veteran composer received his 54th Academy Award nod this year, with his work on Indiana Jones and the Dial of Destiny recognized in Best Original Score. He remains second only to Walt Disney for the most Oscar nominations ever, he's the only individual to be recognized across seven decades in a row (his first came back in 1968 for Valley of the Dolls), and he became the oldest nominee ever in 2023 — a record which he topped again this year at 91.

And Williams has been even more successful at the GRAMMYS, picking up a remarkable 26 golden gramophones from 76 nominations. His latest came only last month when "Helena's Theme," the piece of music composed for Phoebe Waller-Bridge's character in Dial of Destiny, was crowned Best Instrumental Composition.

Dan Wilson 

Dan Wilson picked up the first of his six GRAMMY nominations with his own band Semisonic's anthemic "Closing Time." But following the alt-rock trio's initial split in 2001, all of his other nods have been for his work as an in-demand songwriter. Wilson has won two of the General Field GRAMMYs, first for Song Of The Year for Dixie Chicks' "Not Ready to Make Nice" in 2006 and Album Of The Year for his work on Adele's 21 in 2012.

And he added a third GRAMMY to his trophy haul this year, as his co-written Chris Stapleton track "White Horse" won Best Country Song. Thanks to his contribution to the aforementioned Batiste ballad, the hitmaker can also now call himself an Oscar nominee, too.

Andrew Wyatt 

Ronson co-produced and co-wrote "I'm Just Ken" [From The Motion Picture Barbie] with longtime collaborator Andrew Wyatt. The pair won the 2019 Best Original Song Oscar for their co-write on A Star Is Born cut "Shallow," and also picked up Best Song Written for Visual Media with the same tearjerker (alongside Cooper) at the GRAMMYs.

Wyatt, who first found fame as one-third of electronic trio Miike Snow before launching a solo career, has also enjoyed a taste of GRAMMY recognition elsewhere. The New Yorker's first nod came in 2012 when Bruno Mars' "Grenade," the emotive heartbreak anthem that counted him as one of six songwriters, was nominated for Song Of The Year.

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