Dance music wouldn't be the same without Daft Punk. In 1993, Thomas Bangalter and Guy-Manuel de Homem-Christo joined forces, not knowing they would become trailblazers of the decade's French house movement.

The duo took their name from a negative review of their former band Darlin', in which their music was criticized as "a daft punky thrash" — and so Daft Punk was born, living up to their name by merging creative absurdity with liveliness. The duo made few public media appearances, quite literally shrouding themselves in mystery through a sci-fi aesthetic accompanying their prolific, contemporary sound.

From their 1997 debut studio album Homework to collaborations with The Weeknd decades later, the duo built their extensive discography on a fearless restyling of electronica. Contributing to dance music popularization in North America with their 2006-2007 tour, Daft Punk is credited with ushering EDM into the mainstream.

Although the duo disbanded in 2021, their influence is everlasting: colorfully blending house with every genre from techno to synth-pop, Daft Punk has proved their creativity knows no limits.

In honor of the 10-year anniversary of the GRAMMY-winning duo's "Get Lucky" and their 30-year career span, take a listen to these 9 funky essentials by Daft Punk.

"Da Funk," Homework (1997)

Tripping into acid house, Daft Punk's single "Da Funk" is a glaring highlight from the duo's debut, Homework. Featuring a squirming, snappy 303 bass line and refreshing disco-inspired sound, the lyricless track is a '90s house classic.

"Around The World," Homework (1997)

Daft Punk's dynamic sounds are staples in clubs all over the world, and part of this is due to the smash success of their single "Around The World." The second single from their debut hit No. 1 on dance charts worldwide, its only lyric — fittingly, "around the world" — repeated 144 times to reach full earworm potential.

"One More Time," Discovery (2000)

Daft Punk regards "One More Time" as the bridge between Homework and Discovery, and this song speaks to the duo's timeless, overarching creativity. Spotlighting their signature auto-tuned vocals and futuristic production, the song is a full-blown celebration. Upon release, the track tied with "Around The World" by hitting No. 61 on the Billboard Hot 100.

"Harder, Better, Faster, Stronger," Discovery (2001)

An instant influential hit, "Harder, Better, Faster, Stronger" combines the keyboard riff from Edwin Birdsong's 1979 funk song "Cola Bottle Baby" with heavily vocoded vocals. The song has been remixed, sampled, and covered dozens of times, and a live version of the track — from Daft Punk's live album, Alive 2007 — took home a GRAMMY for Best Dance/Electronic Recording in 2009.

"Digital Love," Discovery (2001)

Led elegantly by a Wurlitzer and filled with prolonged harmonies, this Daft Punk essential sloshes through a dreamy electropop soundscape. Longing pulses through the textured, technological track, and its softness cushions the song's outlined fantasy in a graceful way.

"Robot Rock," Human After All (2005)

Wonderfully mechanical, Daft Punk's "Robot Rock" is a staple of electronic rock. Its central and only lyric — "Rock, robot rock" — repeats over and over, meshing with a looping synth-led riff and electric guitar power chords. Filmed on VHS, its music video glitters as the first video to star Daft Punk exclusively.

"Starboy" - The Weeknd, Starboy (2016)

The title track from The Weeknd's third studio album, "Starboy," strays from Daft Punk's signature electronic sound, determinedly wandering into edgy pop and R&B. Surprisingly, the collaboration is Daft Punk's first and only No. 1 on the Billboard Hot 100.

"Get Lucky" featuring Pharrell Williams and Nile Rodgers, Random Access Memories (2013)

Pulling in a couple of legends for collaboration, "Get Lucky" strikes a perfect groove as a disco-pop banger about staying up 'til the sun. Starring Nile Rodgers' radiant guitar riff and Pharrell Williams' funky vocals, the experimental song won Record Of The Year and Best Pop Duo/Group Performance at the 56th GRAMMY Awards.

"Derezzed," TRON: Legacy (Original Motion Picture Soundtrack) (2010)

Who better than Daft Punk to craft the soundtrack for a sci-fi film? The pair's robotic aesthetic and futuristic music perfectly complement the 2010 Disney cyberworld film Tron: Legacy, and "Derezzed" stands out as an especially immersive track. At the 54th GRAMMY Awards, TRON: Legacy (Original Motion Picture Soundtrack) was nominated for Best Score Soundtrack Album For Visual Media.

"Lose Yourself to Dance" featuring Pharrell Williams, Random Access Memories (2013)

Pharrell Williams returned to work with Daft Punk for the groovy "Lose Yourself to Dance" in 2013. His vocals float through the song's funky production, and partway through, a multi-layered clap imbues the track with new, crowd-sourced energy.

The Fall Out Boy Essentials: 15 Songs That Display Their Lyrical Genius & Global Rock Star Status

**"I’ve got an obsessive mind," admits producer Danny L Harle. "I often can't sleep at night because I've got melodies circling in my head. I get haunted by melodies, and I think that's why some people trust me, because they know that I will not let it go unless I think it's absolutely perfect."

That dedication to crafting powerful pop melodies has resulted in a treasure trove of earworms on Dua Lipa’s new album Radical Optimism. Harle was recruited by Lipa as one of the album’s co-producers, alongside Tame Impala’s Kevin Parker and songwriters Tobias Jesso Jr and Caroline Ailin.

It's no surprise that Harle was recruited to craft a record that seeks to find light and happiness where darkness prevails. Since his 2015 debut EP Broken Flowers, Harle has created dance-pop that examined the relationship between melancholia and euphoria, as well as the grandeur and escapism of a rave. 

After releasing a string of singles via PC Music, Harle dropped his first album, Harlecore, in 2021 with Mad Decent. The ecstatic spirit of Harlecore, which is centered around a virtual rave headed by four imaginary DJs, echoes in Harle’s latest collaboration as co-writer and producer of the UK’s Eurovision song, "Dizzy" by Olly Alexander. 

"There is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting," Harle says. "I just really like good pop music, and that, for me, always seems to start from my research with people."

It was Harle’s naturally synergistic approach to collaboration that led to his work with Lipa. He has also worked with yeule on their album Glitch Princess, and the likes of Charli XCX. But it was his production and writing on  singer Caroline Polachek's  debut solo album that caught Dua Lipa's ear. "She appreciated the spirit of collaboration with that album and wanted me to make her album."

Read below to get a taste of how Danny Harle made Radical Optimism and other earwormy, dancefloor hits.  

This interview has been edited for clarity.

Hey Danny! What’s that cool instrument behind you?

It’s an electric double bass, which is my main instrument: bass guitar and double bass. I use that on some of the Caroline Polachek stuff. There's certain artists who come into the room and see that and they're like, "We have to use that." And some people try to pretend it doesn't exist.

It’s fascinating; I used to play that instrument when I was younger, and then gave it up. There was a 10 year gap, and then I found a place much later in my life where it could fit in. I stopped playing bass guitar at one point as well. 

Then I found myself in a session with NAO, and she was like, "Can you play bass guitar?" There was one literally on display outside, the Squire bass, so I picked it up and we made a track together. She was in a session with Nile Rodgers the next day playing it to him, and he loved it, and then it was on the Chic album [It’s About Time]! At that point I lost any preconceptions I had about needing good gear to make a great sounding music.

Did you do a lot of the bass work on Dua’s album?

I did a fair amount of it, but a lot of it is a collaboration with me and Kevin Parker. All that time he's spent touring and playing the bass live is time that I've spent in front of a computer. So it's hard to compare bass skills, as much as it's my instrument. 

Alongside being a great live player, Kevin has a particular skill for making an instrument sound great when it is recorded, which is a completely different thing. There were some times where I was like, "I prefer the way that it sounds when you do it." And then sometimes he would ask me to do it as well. It was a really nice, trusting partnership. 

The process of the album was very trusting; a sense of being able to say when you think something could be better, but also understanding that trusting someone else is good at what they're doing. It was a very rare environment, but the atmosphere of respect and trust was quite an incredible thing to experience. If you hear what anybody says involved in that process, they'll say those are some of the best sessions they’ve ever had in that respect. 

We were talking about this key Motown idea, which is that happy songs go best over a sad melody. It doesn’t have to be the melody, it can be the music sounding sad; "Tears Of A Clown" by Smokey Robinson is a good example. There's something very resonant in that combination. 

"Houdini," "Training Season" and "Illusion" are all in minor keys, aren’t they? It makes for such melodically rich stuff that’s different from your average four chord pop progression.

Yup. It’s not as simple as happy song, happy chords. It adds richness to the emotional landscape of the song, and that was a key element in that. 

It was a room full of people who are excited by hearing new melodies and approaches and structures. That’s why you don’t really hear the same melodic patterns that music’s fallen into these days on the album. I find that particularly inspiring. 

You’ve written with stars like Charli XCX and Rina Sawayama before, but this is your first extended project with a pop star. You first made pop music to engage people as a virtually unknown musician, but now that attention is guaranteed. Did that change the way you think about pop?

Not at all. My approach to this stuff, especially these days, is that I can just do my thing. I'm very honored to work with the people I've been working with. Very early on in my career when I was trying to make pop music in that way, it would always go horribly wrong. Whereas now I just try to make good music. 

Some people can just make a pop song and I can't do that. I'm like, "Let's make a good song." I personally believe that there is good pop music and more algorithmic pop music, pop music which is more guaranteed to work and is less interesting. I just really like good pop music, and that, for me, always seems to start from my research with people just trying to make the best music. 

How did you make this record more personal to Dua in terms of influences and not just lyrically?

It all stems from her at the center of it; so much stuff happens to her. It’s insane, the amount she’d have to say before every session — [like] "These tracks are actually making points." 

Then it would be a case of finding an instrumental with a certain emotion, and out of natural conversation, there’d be a sense of connection [from] a phrase someone would hit on. [But] it would always stem from her as the center of the whole thing. It was just a very organic way of writing and we were very privileged with the rich life Dua leads to draw from. 

This record was a tight songwriting team — where did you fit into it?

I was contributing to all of the tracks in all factors: lyric ideas most rarely, but also melodic ideas, songwriting ideas, mainly from a production standpoint.  

I would be in the corner on my computer, and I would constantly be in conversation with everybody. We might have Kevin on a guitar, and then I’d be making some electronic arpeggios to go with that. I’d be constantly AirDropping stuff to Cam Gower, the greatest vocal engineer in the world, and he would be stacking what we had in ProTools. Sometimes I would take Cam’s session and put it into my computer — like with ‘Illusion’, because there’s stuff that goes on that affects the whole track in a way that I needed to do to get that dancey feel. 

It's quite a global, almost old-fashioned producer role I was taking. I think that was a valuable thing for Dua in certain cases, because I would know about every song on the album. If we were writing with new writers, I'd be like, ‘we already said this idea in that song.’ I would have an eye on the whole thing and be a soundboard for the overall project. 

Let’s start with the opening track, "End Of An Era" is unexpectedly calming and gentle. What prompted you guys to make this the opener?

I just love the idea of starting an album with the track called "End Of An Era"; it is quite an alarming thing to see. I love the tone of the track, the joy of it, but also the fairy-godmother-style commentary going over it as well. 

It's about that heart-eyes emoji feeling of knowing you're irrationally in love in the moment where you rethink everything about your life. I just thought the emotion fit really well. The album has a story to it, and it's a great opener for that story.  

The track "These Walls" expands Dua’s voice in a way I haven’t heard her sing before. Could you walk me through the production of that song?

With that song, I didn't want to get in the way of the purity of the message. It’s very important to understand when a track does not need to be a production showcase, you are in service of the storytelling. 

It was all about making space for the great emotion of the song and having occasional moments of departure, and always being relevant to what is being said. When she says "Did you really mean it when you said forever?", the track disappears into a strange fantasy synth moment. That idea is [that] your mind might get taken away by the thought of forever, just for a moment, as a sort of impossible idea. That's what the music's doing — it takes you out and it lands you straight back into the track.

There’s also a moment of self-deprecating humor: "If these walls could talk / they’d say you’re f—ed.". Was that humor fostered by the close relationship all the songwriters had?

Absolutely. That kind of thing is often the most memorable bit of a song, if placed correctly in the most tasteful area. There’s a track on the yeule album Glitch Princess, where it’s these big Charles Ives chords I wrote. It sounds like it’s gonna be a nice piano ballad, but the first line is "feels like s—." [Laughs.] It takes you by surprise, but it fits with the mood of the track. 

With Dua, it’s tastefully placing it where it fits in the story, and that point in the chorus, it felt perfect. It also reminds me of this idea in the [software] engineering world: the rubber duck principle. They have a rubber duck there because engineers will want to ask a question, but often when you’re asking the question, you’ll realize the answer to it. The rubber duck is there so you can ask the question and it’ll tell you the answer because you already knew it. ‘These Walls’ reminds me of that; if these walls are saying I’m f—ed, you know you’re f—ed. 

The climax of the album is "Falling Forever." It’s super ballsy, and the drums are mixed so loudly. Tell me about how this track came to be.

It’s a beautiful one, that one. A great thinker said it sounds like a thousand galloping horses. That one came about in the sessions with [producer and songwriter] Ian Kirkpatrick. He came in with the chords you hear at the beginning, and I really enjoyed the idea of having a galloping rhythm. You don’t hear the gallop very often, I can’t think of one other song that’s done that in recent history. 

I also thought up the "how long" thing — I thought it would be fun to make the word ‘long’ really long. Those were my key contributions to the song. Ian Kirkpatrick, his drums are so fantastic. You’ve gotta let him get on with it. 

The vocals are also so close — there’s subtler production going on earlier in the album, but this song punches you right in the face.

It’s so great. It’s very much an approach that I have with singers where I want them to do a thing that makes their voice sound f—ing amazing. The first time I thought I achieved that with Caroline was with "Parachute," using everything her voice can do: the runs, the high register, the emotional low register. This is a showcase. "Falling Forever" does that with Dua. "These Walls" is an interesting comparison as well, it shows a real range of emotion that Dua is capable of in a way I find really exciting. 

It’s indescribable to hear her sing in the room. I had the privilege of having her recording demo vocals on an SM-7 [microphone] like this sitting in front of her. It is unbelievable to hear that: just a human making that sound in front of you, it’s like nothing else. It’s like witnessing a wonder of the world. Also to use the specific, occasionally metallic sound she can make with her voice, to use it when necessary as part of an expression of something, the way she phrases things is incredible as well. 

Does the message of Radical Optimism — of finding grace in the chaos — match the euphoria you want to explore in music?

There is a sense of melancholic euphoria as well, the Elizabethan side of things. I would say there's a Venn diagram of euphoria that fits with Dua. 

On the track "Happy For You," there are certain ravey things going on where Dua was like, "What’s that sound?" It’s these chords Kevin wrote, and I start stuttering them. 

Also the flute mellotron in the song "Maria," she was immediately like, "Yep: I love it." I was so happy because it’s so my thing, that cyclical melody. Also, the bit in "Illusions" before the chorus where it goes to a major chord before the chorus, I love the sound of the unexpected major chord. Having repeated moments like that, I think, was the reason why I was asked to stay on the project; we clearly had chemistry, but it was interesting how macro it was. 

That unexpected major chord moment also appears in your Eurovision song with Olly Alexander, doesn’t it?

I've written some more tracks with him that do that. I've really been enjoying that with Olly because his voice is so agile and can really make sense of more complicated chord sequences. 

Another thing I've been enjoying with him is when there's sparseness and letting the vocal melody spell out the harmony and maybe occasionally go minor and major over one bass note, which is something I really, really enjoy. 

I've always been a big fan of Olly Alexander, I’ve wanted to work with him my whole career. I believe I tweeted at him in 2009 saying hi. But I think people who like my stuff could hear that he has the kind of voice that I really like: a very virtuosic, melodic voice. [We] just had immediate chemistry, musically. We've written a fair amount of music and he’s a very exciting artist to be involved with. 

The UK has a pretty shaky track record with Eurovision. Did you feel any of that pressure?

No, there wasn't that thing in my head. I just love Olly’s voice. And collaborating with him is just fantastic. I've had ideas for Olly for years now, and it was a dream to be able to actually enact some of them.

What’s next in store for you?

My own album. I've got another one that I'm finishing up at the minute that I'm very excited about. It was delayed by two and a half years because I got all of my dream projects offered to me at the same time and I wanted to make sure that I did them all properly. But now I can get back to doing my own stuff. 

It feels so good to be back at the grindstone, sitting in my studio writing beautiful things, making beautiful objects to present to the world. It’s the dream, really.

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

On the heels of her first GRAMMY wins, Miley Cyrus is feeling good — and she's ready to be your cure.

The pop superstar unveiled her new single, a lustful, funky dance track titled "Doctor (Work It Out)," on March 1. The track is her latest collaboration with Pharrell, and their first in 10 years.

Over a pulsating bass guitar-driven beat, Cyrus opens with the punchy chorus (“I could be your doctor/ And I could be your nurse/ I think I see the problem/ It's only gon' get worse/ A midnight medication/ Just show me where it hurts," she sings) before erupting into a dance break as she declares, "Let me work it out… Imma work it out…”

So far, 2024 is feelin' fine for Cyrus. At the 2024 GRAMMYs, her 2023 smash, "Flowers," took home two awards, for Best Pop Solo Performance and Record Of The Year. Following her first win, she delivered a knockout performance featuring the unforgettable ad lib, "I started to cry and then I remembered I… just won my first GRAMMY!" 

Less than a month later, "Doctor (Work It Out)" serves as another groovy celebration of Cyrus' achievements in life and music so far.

The song's music video is reminiscent of her 2024 GRAMMYs performance, too. Not only is she wearing a similar shimmery fringe dress, but the entire video is a jubilant, blissful solo dance party.

Though Cyrus first teased "Doctor (Work It Out)" just a few days before the song's arrival, Pharrell first gave a sneak peek in January, at his American Western themed Fall/Winter 2024 Louis Vuitton Men's fashion show in Paris. It was Pharrell's third collection for the luxury house, and the bouncy single served as a fitting soundtrack. 

The song marks Cyrus' first release in 2024, and her first collab with Pharrell since 2014's "Come Get It Bae" from his album G I R L'; Pharrell also co-wrote and produced four tracks on the deluxe version of Cyrus' 2013 album, Bangerz.

Watch the "Doctor (Work It Out)" video above, and stay tuned to GRAMMY.com for more Miley Cyrus news.

Miley Cyrus' Big GRAMMYs Night: Why Her Two Wins Were Monumental

In the world of hip-hop, fashion is more than just clothing. It's a powerful means of self-expression, a cultural statement, and a reflection of the ever-evolving nature of the culture.

Since its origin in 1973, hip-hop has been synonymous with style —  but the epochal music category known for breakbeats and lyrical flex also elevated, impacted, and revolutionized global fashion in a way no other genre ever has.   

Real hip-hop heads know this. Before Cardi B was gracing the Met Gala in Mugler and award show red carpets in custom Schiaparelli, Dapper Dan was disassembling garment bags in his Harlem studio in the 1980s, tailoring legendary looks for rappers that would appear on famous album cover art. Crescendo moments like Kendrick Lamar’s performance at the Louis Vuitton Men’s Spring-Summer 2023 runway show in Paris in June 2022 didn’t happen without a storied trajectory toward the runway.

Big fashion moments in hip-hop have always captured the camera flash, but finding space to tell the bigger story of hip-hop’s connection and influence on fashion has not been without struggle. Journalist and author Sowmya Krishnamurphy said plenty of publishers passed on her anthology on the subject, Fashion Killa: How Hip-Hop Revolutionized High Fashion, and "the idea of hip hop fashion warranting 80,000 words." 

"They didn't think it was big enough or culturally important," Krishnamurphy tells GRAMMY.com, "and of course, when I tell people that usually, the reaction is they're shocked."

Yet, at the 50 year anniversary, sands continue to shift swiftly. Last year exhibitions like the Fashion Institute of Technology’s Fresh, Fly, and Fabulous: Fifty Years of Hip-Hop Style popped up alongside notable publishing releases including journalist Vikki Tobak’s, Ice Cold. A Hip-Hop Jewelry Story. Tabak’s second published release covering hip-hop’s influence on style, following her 2018 title, Contact High: A Visual History of Hip-Hop.

"I wanted to go deeper into the history," Krishnamurphy continues. "The psychology, the sociology, all of these important factors that played a role in the rise of hip-hop and the rise of hip-hop fashion"

What do the next 50 years look like? "I would love to see a hip-hop brand, whether it be from an artist, a designer, creative director, somebody from the hip-hop space, become that next great American heritage brand," said Krishnamurphy.

In order to look forward we have to look back. In celebration of hip-hop’s 50 year legacy, GRAMMY.com examines iconic moments that have defined and inspired generations. From Tupac walking the runways at Versace to Gucci's inception-esque knockoff of Dapper Dan, these moments in hip-hop fashion showcase how artists have used clothing, jewelry, accessories, and personal style to shape the culture and leave an indelible mark on the world.

*The cover art to Eric B and Rakim’s* Paid in Full

Dapper Dan And Logomania: Luxury + High Fashion Streetwear

Dapper Dan, the legendary designer known as "the king of knock-offs," played a pivotal role in transforming luxury fashion into a symbol of empowerment and resistance for hip-hop stars, hustlers, and athletes starting in the 1980s. His Harlem boutique, famously open 24 hours a day, became a hub where high fashion collided with the grit of the streets.

Dapper Dan's customized, tailored outfits, crafted from deconstructed and transformed luxury items, often came with significantly higher price tags compared to ready-to-wear luxury fashion. A friend and favorite of artists like LL Cool J and Notorious B.I.G., Dapper Dan created iconic one-of-a-kind looks seen on artists like Eric B and Rakim’s on the cover of their Paid in Full album.

This fusion, marked by custom pieces emblazoned with designer logos, continues to influence hip-hop high fashion streetwear. His story — which began with endless raids by luxury houses like Fendi, who claimed copyright infringement — would come full circle with brands like Gucci later paying homage to his legacy.

Athleisure Takes Over

Hip-hop's intersection with sportswear gave rise to the "athleisure" trend in the 1980s and '90s, making tracksuits, sweatshirts, and sneakers everyday attire. This transformation was propelled by iconic figures such as Run-D.M.C. and their association with Adidas, as seen in photoshoots and music videos for tracks like "My Adidas."

*LL Cool J. Photo: Paul Natkin/Getty Images*

LL Cool J’s Kangol Hat

The Kangol hat holds a prominent place in hip-hop fashion, often associated with the genre's early days in the '80s and '90s. This popular headwear became a symbol of casual coolness, popularized by hip-hop pioneers like LL Cool J and Run-D.M.C. The simple, round shape and the Kangaroo logo on the front became instantly recognizable, making the Kangol an essential accessory that was synonymous with a laid-back, streetwise style.

*Dr. Dre, comedian T.K. Kirkland, Eazy-E, and Too Short in 1989. Photo: Raymond Boyd/Getty Images*

N.W.A & Sports Team Representation

Hip-hop, and notably N.W.A., played a significant role in popularizing sports team representation in fashion. The Los Angeles Raiders' gear became synonymous with West Coast hip-hop thanks to its association with the group's members Dr. Dre, Eazy-E, and Ice Cube, as well as MC Ren.

 *Slick Rick in 1991. Photo: Al Pereira/Getty Images/Michael Ochs Archives*

Slick Rick’s Rings & Gold Chains

Slick Rick "The Ruler" has made a lasting impact on hip-hop jewelry and fashion with his kingly display of jewelry and wealth. His trendsetting signature look — a fistful of gold rings and a neck heavily layered with an array of opulent chains — exuded a sense of grandeur and self-confidence. Slick Rick's bold and flamboyant approach to jewelry and fashion remains a defining element of hip-hop's sartorial history, well documented in Tobak's Ice Cold.

Tupac Walks The Versace Runway Show

Tupac Shakur's runway appearance at the 1996 Versace runway show was a remarkable and unexpected moment in fashion history. The show was part of Milan Fashion Week, and Versace was known for pushing boundaries and embracing popular culture in their designs. In Fashion Killa, Krishnamurpy documents Shakur's introduction to Gianni Versace and his participation in the 1996 Milan runway show, where he walked arm-in-arm with Kadida Jones.

*TLC. Photo: Tim Roney/Getty Images*

Women Embrace Oversized Styles

Oversized styles during the 1990s were not limited to menswear; many women in hip-hop during this time adopted a "tomboy" aesthetic. This trend was exemplified by artists like Aaliyah’s predilection for crop tops paired with oversized pants and outerwear (and iconic outfits like her well-remembered Tommy Hilfiger look.)

Many other female artists donned oversized, menswear-inspired looks, including TLC and their known love for matching outfits featuring baggy overalls, denim, and peeking boxer shorts and Missy Elliott's famous "trash bag" suit worn in her 1997 music video for "The Rain." Speaking to Elle Magazine two decades after the original video release Elliot told the magazine that it was a powerful symbol that helped mask her shyness, "I loved the idea of feeling like a hip hop Michelin woman."

Diddy Launches Sean John

Sean "Diddy" Combs’ launch of Sean John in 1998 was about more than just clothing. Following the success of other successful sportswear brands by music industry legends like Russell Simmons’ Phat Farm, Sean John further represented a lifestyle and a cultural movement. Inspired by his own fashion sensibilities, Diddy wanted to create elevated clothing that reflected the style and swagger of hip-hop. From tailored suits to sportswear, the brand was known for its bold designs and signature logo, and shared space with other successful brands like Jay-Z’s Rocawear and model Kimora Lee Simmons' brand Baby Phat.

 *Lil' Kim. Photo: Ron Galella/Ron Galella Collection via Getty Images*

Lil’ Kim Steals The Show

Lil' Kim’s daring and iconic styles found a kindred home at Versace with

In 1999, Lil' Kim made waves at the MTV Video Music Awards with her unforgettable appearance in a lavender jumpsuit designed by Donatella Versace. This iconic moment solidified her close relationship with the fashion designer, and their collaboration played a pivotal role in reshaping the landscape of hip-hop fashion, pushing boundaries and embracing bold, daring styles predating other newsworthy moments like J.Lo’s 2000 appearance in "The Dress" at the GRAMMY Awards.

Lil Wayne Popularizes "Bling Bling"

Juvenile & Lil Wayne's "Bling Bling" marked a culturally significant moment. Coined in the late 1990s by Cash Money Records, the term "bling bling" became synonymous with the excessive and flashy display of luxury jewelry. Lil Wayne and the wider Cash Money roster celebrated this opulent aesthetic, solidifying the link between hip-hop music and lavish jewelry. As a result, "bling" became a cornerstone of hip-hop's visual identity.

Jay-Z x Nike Air Force 1

In 2004, Jay-Z's partnership with Nike produced the iconic "Roc-A-Fella" Air Force 1 sneakers, a significant collaboration that helped bridge the worlds of hip-hop and sneaker culture. These limited-edition kicks in white and blue colorways featured the Roc-A-Fella Records logo on the heel and were highly coveted by fans. The collaboration exemplified how hip-hop artists could have a profound impact on sneaker culture and streetwear by putting a unique spin on classic designs. Hova's design lives on in limitless references to fresh white Nike kicks.

Daft Punk and Pharrell Williams. Photo: Mark Davis/WireImage

Pharrell Williams' Hat At The 2014 GRAMMYs

Pharrell Williams made a memorable red carpet appearance at the 2014 GRAMMY Awards in a distinctive and oversized brown hat. Designed by Vivienne Westwood, the hat quickly became the talk of the event and social media. A perfect blend of sartorial daring, Pharrell's hat complemented his red Adidas track jacket while accentuating his unique sense of style. An instant fashion moment, the look sparked innumerable memes and, likely, a renewed interest in headwear.

Kanye’s Rise & Fall At Adidas (2013-2022)

Much more than a "moment," the rise and eventual fall of Kanye’s relationship with Adidas, was as documented in a recent investigation by the New York Times. The story begins in 2013 when West and the German sportswear brand agreed to enter a partnership. The collaboration would sell billions of dollars worth of shoes, known as "Yeezys," until West’s anti-semitic, misogynistic, fat-phobic, and other problematic public comments forced the Adidas brand to break from the partnership amid public outrage.

Supreme Drops x Hip-Hop Greats

Supreme, with its limited drops, bold designs, and collaborations with artists like Nas and Wu-Tang Clan, stands as a modern embodiment of hip-hop's influence on streetwear. The brand's ability to create hype, long lines outside its stores, and exclusive artist partnerships underscores the enduring synergy between hip-hop and street fashion.

*A model walks the runway at the Gucci Cruise 2018 show. Photo: Pietro D'Aprano/Getty Images*

Gucci Pays "homage" to Dapper Dan

When Gucci released a collection in 2017 that seemingly copied Dapper Dan's distinctive style, (particularly one look that seemed to be a direct re-make of a jacket he had created for Olympian Dionne Dixon in the '80s), it triggered outrage and accusations of cultural theft. This incident sparked a conversation about the fashion industry's tendency to co-opt urban and streetwear styles without proper recognition, while also displaying flagrant symbols of racism through designs.

Eventually, spurred by public outrage, the controversy led to a collaboration between Gucci and Dapper Dan, a significant moment in luxury fashion's acknowledgement and celebration of the contributions of Black culture, including streetwear and hip-hop to high fashion. "Had Twitter not spotted the, "Diane Dixon" [jacket] walking down the Gucci runway and then amplified that conversation on social media... I don't think we would have had this incredible comeback," Sowmya Krishnamurphy says.

A$AP Rocky x DIOR

Self-proclaimed "Fashion Killa" A$AP Rocky is a true fashion aficionado. In 2016, the sartorially obsessed musician and rapper became one of the faces of Dior Homme’s fall/winter campaign shot by photographer Willy Vanderperre — an early example of Rocky's many high fashion collaborations with the luxury European brand.

A$AP Rocky's tailored style and impeccable taste for high fashion labels was eloquently enumerated in the track "Fashion Killa" from his 2013 debut album Long. Live. ASAP, which namedrops some 36 luxury fashion brands. The music video for "Fashion Killa" was co-directed by Virgil Abloh featuring a Supreme jersey-clad Fenty founder, Rihanna long before the two became one of music’s most powerful couples. The track became an anthem for hip-hop’s appreciation for high fashion (and serves as the title for Krishnamurphy’s recently published anthology). 

*Cardi B. Photo: Steve Granitz/WireImage*

Cardi B Wears Vintage Mugler At The 2019 GRAMMYs

Cardi B has solidified her "it girl" fashion status in 2018 and 2019 with bold and captivating style choices and designer collaborations that consistently turn heads. Her 2019 GRAMMYs red carpet appearance in exaggerated vintage Mugler gown, and many custom couture Met Gala looks by designers including Jeremy Scott and Thom Browne that showcased her penchant for drama and extravagance.

But Cardi B's fashion influence extends beyond her penchant for custom high-end designer pieces (like her 2021 gold-masked Schiaparelli look, one of nine looks in an evening.) Her unique ability to blend couture glamour with urban chic (she's known for championing emerging designers and streetwear brands) fosters a sense of inclusivity and diversity, and makes her a true trendsetter.

Beyoncé & Jay-Z in Tiffany & Co.’s "About Love" campaign

The power duo graced Tiffany & Co.'s "About Love'' campaign in 2021, showcasing the iconic "Tiffany Yellow Diamond," a 128.54-carat yellow worn by Beyoncé alongside a tuxedo-clad Jay-Z. The campaign sparked controversy in several ways, with some viewers unable to reconcile the use of such a prominent and historically significant diamond, sourced at the hands of slavery, in a campaign that could be seen as commercializing and diluting the diamond's cultural and historical importance. Despite mixed reaction to the campaign, their stunning appearance celebrated love, adorned with Tiffany jewels and reinforced their status as a power couple in both music and fashion.

Kendrick Lamar Performs At Louis Vuitton

When Kendrick Lamar performed live at the Louis Vuitton Men’s spring-summer 2023 runway show in Paris in June 2022 following the passing of Louis Vuitton’s beloved creative director Virgil Abloh, he underscored the inextricable connection between music, fashion and Black American culture.

Lamar sat front row next to Naomi Campbell, adorned with a jeweled crown of thorns made from diamonds and white gold worth over $2 million, while he performed tracks including "Savior," "N95," and "Rich Spirit'' from his last album, Mr. Morale and the Big Steppers before ending with a repeated mantra, "Long live Virgil." A giant children’s toy racetrack erected in the Cour Carrée of the Louvre became a yellow brick road where models marched, clad in designer looks with bold, streetwear-inspired design details, some strapped with oversized wearable stereo systems.

Pharrell Succeeds Virgil Abloh At Louis Vuitton

Pharrell Williams' appointment as the creative director at Louis Vuitton for their men's wear division in 2023 emphasized hip-hop's enduring influence on global fashion. Pharrell succeeded Virgil Abloh, who was the first Black American to hold the position.

Pharrell's path to this prestigious role, marked by his 2004 and 2008 collaborations with Louis Vuitton, as well as the founding of his streetwear label Billionaire Boy’s Club in 2006 alongside Nigo, the founder of BAPE and Kenzo's current artistic director, highlights the growing diversity and acknowledgment of Black talent within high fashion.

Listen To GRAMMY.com's 50th Anniversary Of Hip-Hop Playlist: 50 Songs That Show The Genre's Evolution

Thirty years ago, a rap music legend began his journey to immortality — and to Martha Stewart.

Most in-the-know music fans were aware of Snoop Doggy Dogg (as he was then known) because of his collaborations with Dr. Dre. First there was "Deep Cover" from the soundtrack of the film of the same name. Then there were his memorable contributions to Dre's The Chronic, which came out in late 1992. 

So the world was primed for Snoop's solo debut Doggystyle when it was released into the world on November 23, 1993. The album sold around 800,000 copies in its first week, and set the stage for Snoop to become a superstar, one who would eventually reach a stage of pop-culture ubiquity that mid-90s rap fans — and those people who saw his scowl on the cover of Newsweek as the literal face of the question of whether rap was too violent — could have never imagined.

To celebrate the anniversary of Doggystyle's release, GRAMMY.com is revisiting the D-O-double-G's biggest and best musical moments. A quick note: this list does not include songs that appear on another artist's album (hey, we had to draw the line somewhere!), so there's no "Nuthin' But A 'G' Thang" or "2 of Amerikaz Most Wanted." And we tried to pull from all eras of his career, so it's not all Doggystyle (though you should, of course, listen to that classic in its entirety). 

So with all that said, here we are: 15 of Snoop Dogg's most popular and most dynamic songs. 

"Deep Cover" with Dr. Dre, Deep Cover soundtrack (1992)

Snoop's very first recorded song — his introduction to the world at large — occurred over a Dre beat so powerful, with a bassline so iconic, that it became the foil for not one, not two, but three classic songs (plus a nasty Biggie freestyle). The duo's lyrical chemistry was undeniable as they traded verses throughout. And, of course, there's the song's chorus, in which Snoop introduced California penal code 187 into the national lexicon.

The track and its video loosely parallel the plot of the movie on whose soundtrack it appears, the absolutely nuts (and surprisingly entertaining) Deep Cover, directed by Bill Duke and starring Laurence Fishburne. 

"Who Am I (What's My Name)?" Doggystyle (1993)

This track wasn't just the world's introduction to Doggystyle — it lets fans know that the Dre-and-Snoop chemistry they'd heard on The Chronic was not a fluke. The track's George Clinton and P-Funk interpolations also showed that Dre was still in his bag, and Snoop's vocal performance was one for the ages. Still in his very early 20s, the rapper was adept at mythmaking, showing the audience how he would "step through the fog" and "creep through the smog" to deliver his charismatic raps.

As if that wasn't enough, the song's Fab 5 Freddy-directed video showed Snoop's sense of humor, as it featured the rapper and his compatriots morphing into literal dogs. 

"Gin and Juice," Doggystyle (1993)

Any rap fan of a certain age can not only spit this song word for word, but also quote pretty much every line in the video ("Snoop Doggy Dogg! You need to get a jobby-job"). Just say the words "Laid back…" to pretty much anyone who is at the age where they can say complete sentences, and you'll get "With my mind on my money and my money on my mind" in response.

The song and video created an image for Snoop that was fun-loving and comic — one that he rode (sometimes in a Chrysler) all the way to a decades-long career as a pitchman, TV host and overall personality that would at first glance seem incongruous for an avowed Crip from Long Beach. Beyond all the myth-making, though, it's just a fantastic song, one that Rolling Stone included in its 100 best rap songs of all time list.

"Gz and Hustlas," Doggystyle (1993)

This Doggystyle highlight begins with a hilarious skit that ends with a funny and profane punchline from a very young Bow Wow. It just gets better from there.

Snoop has said that this is one of his two personal favorites from his debut album. Not unrelatedly, he's also admitted that the whole thing was improvised while he was just checking a mic. And as we'll see on the "Afro Puffs" remix, freestyling Snoop is the best Snoop. That's certainly the case here. The sample of Bernard Wright's "Haboglabotribin" provides the perfect soundtrack for the ride. 

"Murder Was the Case," Doggystyle (1993)

This song is the Faustian tale of a young man who survives a shooting by selling his soul to the devil in exchange for eternal life and a life of riches and success. But, as always with these stories, the protagonist's greed gets the better of him, and the devil gets his due. The narrator ends the story locked up, with only a prison riot to look forward to.

It's a gripping tale that would have eerie real-life resonance when Snoop was actually charged with murder, a charge on which he was famously acquitted. He wrote the song before the incident, a coincidence that affected him so deeply that he decided that "maybe I shouldn't be writing about devilish s— like this."

"Afro Puffs (Extended Remix)" with The Lady of Rage, Above the Rim soundtrack (1994)

Snoop is at his best when he's in the moment — when he's relaxed, freestyling and rapping in his inimitable style about whatever is on his mind. His opening verse on this song is perhaps the quintessential example of that.

He sounds completely at ease, swinging, developing ideas in an unforced way. It's like you're in the studio with Snoop for two solid minutes, watching him warm up and get comfortable. It's a performance style he wouldn't duplicate on any other studio track, even the ones he would also make up on the spot. 

"Woof! (feat. Fiend and Mystikal)," Da Game Is To Be Sold, Not To Be Told (1998)

One of Snoop's first major business and stylistic switches happened in March 1998, when he signed to No Limit Records. What was a Long Beach gangsta rapper doing on a New Orleans label? Well, it turned out to be a pretty great fit, at least on "Woof!"

The track was the second single on Snoop's No Limit debut, and it featured two of the label's stars, Fiend and Mystikal. The Dogg fits perfectly on a track in the label's aggressive, chant-based Southern style (even the track's percussive dog barks manage to add intensity). Snoop adopts a more free rhythmic approach here, perhaps influenced by his all-over-the-beat labelmates. It's fascinating to hear, and it works amazingly well.

"B— Please (feat. Xzibit)," No Limit Top Dogg (1999)

One of the things Snoop is greatest at is, to put it in crass, unavoidable terms, pimp talk. "B— Please" might be his ultimate entry into the genre. This song features a memorable performance by Xzibit and some classic singing from Nate Dogg. And the Dr. Dre beat is instantly memorable. But what really puts the song over the top is the confidence and style with which Snoop orders an unnamed lady to "hem my coat and roll me some dope."

Bonus points go to this track for its sequel, which appeared on Eminem's The Marshall Mathers LP, and which features Em doing a hilarious Snoop impression.

"Lay Low (feat. Master P, Nate Dogg, Butch Cassidy, and Tha Eastsidaz)," The Last Meal (2000)

Yes, Xzibit wrote Snoop's verse on this classic posse cut featuring rapping contributions from the Eastsidaz and Snoop's then-label boss Master P. But that doesn't make the Doggfather's contribution any less smooth. It doesn't prevent Nate Dogg's hook from being an unstoppable ear worm. It doesn't make Dr. Dre's beat any less of a minimalist masterpiece. It doesn't make the Eastsidaz's appearances less effective. And it certainly doesn't diminish in any way the single best part of the song: Master P rapping, "They call me Jed Clampett for all the bread I got/ But they call me Bill Clinton for all the head I got."

"Beautiful (feat. Pharrell Williams and Charlie Wilson)," Paid Tha Cost To Be Da Bo$$ (2002)

Snoop teaming up with Pharrell gave the Dogg a much-needed early aughts career boost. It turned out that Snoop and P made an unbeatable combination, and one that we will see again later in this very list.

"Beautiful" features an instantly memorable beat whose repetitive syncopated rhythms immediately drive into the listener's skull and don't let up until the song is over. Add in Pharrell's so-off-key-they're-somehow-on vocals, and you have a track that stands out even in the era of Neptunes ubiquity. Snoop adds his own style and grace, and, somehow, a (presumably intentionally) charmingly awkward reference to Clueless.

"Drop It Like It's Hot (feat. Pharrell Williams)," R&G (Rhythm & Gangsta): The Masterpiece (2004)

Snoop and Pharrell made a number of great songs, but this is arguably their masterpiece. This No. 1 hit was so popular that even its ringtone version went double platinum. It was also nominated for a GRAMMY. But accolades and numbers are secondary.

What makes this track is the perfect melding of one the Neptunes' greatest non-Clipse minimalist beats with Snoop's laid-back rapping (and a verse from Pharrell in which he bends his approach towards Snoop's to superb effect). Snoop sounds so relaxed that you might miss all the tough talk, which is delivered in his patented stylish way ("Pistol-whip you, dip you, then flip you/ Then dance to this mothaf—in' music we Crip to"). 

"Think About It," Tha Blue Carpet Treatment (2006)

This is the song Snoop chose to demonstrate to his own son that after nearly 15 years in the rap world, he could still hold his own. He couldn't have made a better choice.

"Think About It" is dense, wordy, even "intellectual" — a word Snoop comes back to a few times in the track. It's also a seemingly incongruous mixture of aggressive rapping, where Snoop sounds like he's really pushing himself; with laid-back music reminiscent of 1970s soul. And yet that combination, which could be off-putting, somehow works to the advantage of both elements of the song, supplying the rapping with needed comfort and style; and the music with energy and drive.

"Sensual Seduction," Ego Trippin' (2007)

Sometimes known by its uncensored title "Sexual Eruption," this Shawty Redd-produced track was one of Snoop's biggest chart hits, making it all the way to No. 7 on the Billboard Hot 100. It's also a big left turn for him, featuring Auto-Tuned singing throughout, minus a rap verse in the middle.

The incredibly catchy number started its life as a Shawty Redd solo song called "Drifter," which got leaked and hit the radio. "Snoop wanted to buy that song," Shawty told me a few years back. "At the time, Sylvia Rhone was signing me to Universal/Motown as an artist, and I couldn't sell Snoop that song. So I ended up making ['Sensual Seduction']."

"Young, Wild & Free" (Snoop Dogg & Wiz Khalifa feat. Bruno Mars) Mac & Devin Go To High School (2011)

This track brings together Snoop and a younger weed-obsessed rapper, Wiz Khalifa. But what really makes it a winner is the addition of Bruno Mars, who at that time was in the middle of an absolutely unstoppable run with his crew the Smeezingtons as a hitmaker for both himself and others. This was "F— You"/ "Billionaire"/ "Nothin' on You"-era Bruno, and his composition and hook here is right up there with those pop masterpieces. Snoop and Wiz trade rhymes back and forth with a chemistry that, while perhaps plant-induced, can't be faked.

"I'm From 21st Street (feat. DJ Drama and Stressmatic)," Gangsta Grillz: I Still Got It (2022)

Snoop spent much of the past decade doing unusual one-offs (see 2013's reggae album Reincarnated and 7 Days of Funk, a funk project with DāM-FunK, or 2018's gospel compilation Snoop Dogg Presents Bible of Love, among others). So when he wanted to get back to his rap roots in 2022, he teamed with Gangsta Grillz mastermind DJ Drama to release a mixtape called I Still Got It. The project, and especially this song, more than proves the title correct.

Snoop tears up the Rick Rock-produced beat, sounding more energized and hungry than he has in a while. The subject matter may be somewhat well-trod ground (it's not far removed from his 1994 track "21 Jumpstreet," which could easily have made this list as well), but how he talks about his past, and the intensity he brings to it, shows that Snoop can still produce great music 30 years into his career. 

A Guide To Southern California Hip-Hop: Definitive Releases, Artists & Subgenres From L.A. & Beyond