Four decades after he dazzled hip-hop fans across the globe with “La-Di-Da-Di,” his witty and unapologetically raunchy solo showcase for Doug E. Fresh & the Get Fresh Crew, Slick Rick’s legacy as a masterful storyteller, pioneering melodic rapper, and style icon remains secure.

Slick Rick emerged during the early years of hip-hop’s vaunted golden age. He was a platinum-selling solo star in an era defined by world-conquering groups like Public Enemy and N.W.A. Just like his peers, Slick Rick created sounds mimicked in the decades since, whether it’s Snoop Dogg rewriting “La-Di-Da-Di” as “Lodi Dodi,” or Future, Young Thug and Lil Uzi Vert harmonizing in a flow reminiscent of Ricky D on Doug E. Fresh’s “The Show.” According to the website WhoSampled, Slick Rick’s voice and music have been used more than 1,800 times, making him one of the most sampled hip-hop artists in history.

Rick raps in a droll, leisurely cadence with a heavy British accent and an unforgettably nasal voice, and sometimes swerves into cartoony vocal tones. His classic single about a stick-up kid on the run, “Children’s Story,” swings between slapstick humor and unexpected tragedy. “Cops shot the kid, I can still hear him scream,” he raps. Then there’s “Hey Young World,” one of the most affecting and moving songs in the genre’s history, on which he dispenses wisdom to troubled youth with gentle yet firm verses. “Believe it or not, the Lord still shines on you.”

Born Ricky Walters in 1965 to a Jamaican family, he immigrated from London to the Bronx in 1976. His famed eyepatch is the result of a childhood accident. While attending Fiorella H. LaGuardia High School of Music & Art, he formed the Kangol Crew with Dana Dane.

Walters initially called himself Ricky D when he joined beatboxer and rapper Doug E. Fresh’s Get Fresh Crew in 1984. The group’s debut 12-inch, “The Show” b/w “La-Di-Da-Di,” was inescapable on Black music radio stations between 1985 and 1986. The single was eventually certified gold, a major accomplishment for a record that never cracked the Billboard Hot 100. Slick Rick signed with Def Jam as a solo artist and in 1988 released his debut masterwork, The Great Adventures Of Slick Rick, yielding breakout singles like “Children’s Story,” “Hey Young World” and “Teenage Love.”

At the height of his success, a dispute with a cousin led to violence and a prison sentence. Bailed out by Def Jam’s Russell Simmons, Rick recorded a second album, 1991’s The Ruler’s Back, highlighted by the rap hit “I Shouldn’t Have Done It” before being convicted and sentenced to years in prison. A third album, Behind Bars, was constructed from verses completed during furloughs and work-release programs. Its highlight is the title track, which boasts jazzy, contemplative production from Warren G and Rick’s softly poignant lyrics about life in the slammer.

Despite being a hip-hop elder statesman upon completion of his sentence, Slick Rick quickly appeared on Outkast’s “Da Art of Storytellin,’ Pt. 1.” A fourth album, 1999’s gold-selling The Art of Storytelling, proved that interest in his work remained high. Unlike many of his peers, Slick Rick has continued to score high-profile cameos in recent years, from JAY-Z’s hit “Girls, Girls, Girls” to collaborations with Mariah Carey, Mos Def, Black Eyed Peas, and Missy Elliott. His style seems ageless, and representative of a throughline between hip-hop’s mythic New York past and its global present.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

South By Southwest lures more than 250,000 people to Austin each year to learn about a range of topics, including education, the cannabis industry, technology, film, and video gaming, but music is the heart and driving force of SXSW. The festival kicks off March 8, and a dizzying array of musical performances brings the festival to life from March 11 to 16.

The festival has grown exponentially since its inception in 1987 as a showcase for mostly unknown alternative acts. Roughly 2,000 musical artists will perform on more than 100 stages spread out across Austin and the possibilities for discovery feel endless.

SXSW can generate much buzz and help launch careers: Odd Future, the hip-hop/R&B collective that provided the springboard for Tyler, the Creator and Frank Ocean, played just a few short sets there in 2011, and Diddy declared them the future of rap music. HAIM, Janelle Monáe, John Mayer, M.I.A., and countless others have had significant early-career moments at SXSW. And legacy artists like New Order and RZA also come to the festival each year to share their wisdom in interviews and perform new material.

As the 2024 festival kicks off, check out some of the emerging and legacy artists appearing at SXSW, including a multiple GRAMMY-winning garage duo, an all-female post-punk group from Los Angeles that embraces "nihilism and loneliness," a modern Texas cumbia collective, an '80s light rock icon, a funk pioneer, modern funk innovators, Glasgow '90s post-rock, and more.

The Black Keys

The Black Keys helped usher in the garage rock revival of the early 2000s on just two instruments: drums and guitar. Their stripped-down sound, originally just made up of "old blues rip-offs and words made up on the spot" in Akron, Ohio, eventually grew to become a well-crafted, major-label rock sound that landed them in arenas and earned more than two dozen award nominations and multiple GRAMMY wins. They’ve released 11 studio albums.

The duo will perform at the 2024 festival in support of a new documentary, This Is A Film About The Black Keys, that traces their trajectory from jamming in basements to major-label rock band. Rolling Stone Senior Writer Angie Martoccio will interview members Dan Auerbach and Patrick Carney in a keynote event.

Automatic

Since the release of their 2019 debut album, Signal, the gloomy post-punk band Automatic has toured the U.S. and abroad, composed the soundtrack for Hedi Slimane’s 2020 Paris Fashion Week show for Céline, and opened for legendary post-punks Bauhaus ( drummer Lola Dompé is a daughter of the English goth rock band’s drummer Kevin Haskins).

The band’s three members — Dompé, Izzy Glaudini, and Halle Saxon-Gaines — draw inspiration from krautrock, dub reggae, and the off-kilter, moody atmosphere of films by auteurs like David Lynch. Their live performances are uptempo and melancholy at the same time, and have shared stages with Parquet Courts, Tame Impala, and Thee Osees. Automatic  once described their music as "fixated on the intersection between ’70s underground culture and the ’80s mainstream, ‘That fleeting moment when what was once cool quickly turned and became mainstream, all for the sake of consumerism.’"

Mogwai

When the Glasgow-based rock band released their first single in 1996, they were anxious to replace the '90s Britpop of well-known UK bands like Oasis and Blur with something a bit more emotional and dark: lengthy guitar-based instrumental pieces full of distortion and heavy effects that offered dynamic contrast and melodic bass guitar lines. 

They’ve since gone on to embrace electronica and instrumental music, and over the years has provided music for multiple film soundtracks. Their basic song formula typically begins with something low-key that grows into something gentle and melodic, and then pushes toward louder, layered driving rock. 

"Calling it ‘art’ would be a pretentious step too far, but it’s certainly something that feels exciting and different to most other pop," one British newspaper wrote. A new documentary from Antony Crook, If The Stars Had A Sound, which follows the independent Scottish band’s trajectory, will premiere at SXSW 2024. 

El Combo Oscuro

Modern-day interpretations of cumbia — a percussion-heavy genre of Latin American music originated in Colombia — have become more widespread in recent years, with some calling cumbia "the new punk" for a young generation of rockers who are politically engaged but want to have a good time.

On organ, guitars, bass, drums, and conga drums, El Combo Oscuro sounds modern and retro at the same time, by weaving together an "impenetrable wall of psychedelic Cumbia and Latin sounds" that "throws neon Tex-Mex tribalism," according to the Austin Chronicle. 

Almost immediately after forming in 2020 in Austin, El Combo Oscuro were nominated for an Austin Music Awards’ Best Latin Act, and their debut EP, Que Sonido Tan Rico, was No. 15 on the Austin Chronicle’s Top 100 Records of 2021. A second EP, 2022's Cumbia Capital, further showcased the sound of Texas. Their 2024 SXSW performance will also feature songs from their latest release, a 2023 debut full-length titled La Danza de las Sirenas.

Bootsy Collins

In addition to showcasing thousands of emerging acts, SXSW each year also honors legacy artists who continue to write, produce, and perform music. Bassist Bootsy Collins — who played with James Brown and Parliament-Funkadelic throughout the late '60s and '70s and, in recent years, has collaborated with Kali Uchis and Tyler, the Creator — will perform with the group Zapp. 

The performance is part of Bootsy's own anti-violence initiative, "Funk Not Fight," which includes a Cleveland-based (Collins is from Ohio) anti-violence hub designed to offer music recording and mentorship to local youth. During a free performance on March 15, Collins will release a new song and album of the same name. 

Collins’ previous album was 2021’s Nobody’s Perfect Experience. The GRAMMY-winning bassist was also inducted into the Rock and Roll Hall of Fame in 1997 with other members of Parliament-Funkadelic. Collins played on some of James Brown’s best-known and most political records – "Get Up (I Feel Like Being a) Sex Machine" and "Superbad" – and also had a hand in pop hits like Deee-Lite’s "Groove Is in the Heart" and Fatboy Slim’s "Weapon of Choice."

At 72 years old, Collins shows no signs of giving up the funk. "Funk just brings people together, from the ground up," he told the Guardian. "It doesn’t have nothing to do with color. It has nothing to do with status. It just brings you to ‘the one’, and the one thing that we all have in common is that we all just want to live. That’s what it’s really all about. It’s making something from nothing, like me." 

John Oates

John Oats is one half of five-time GRAMMY-nominated pop-soul duo Hall & Oates. Twenty-nine of their 33 singles charted on Billboard’s Hot 100 between 1974 and 1991, and six of those songs — like "I Can’t Go For That" and "Private Eyes" — peaked at No. 1 . The two were inducted into the Rock & Roll Hall of Fame in 2014 and their music has been sampled by artists like 2 Chainz.

Oates, 75, has released five studio albums as a solo artist and published a memoir in 2017 titled Change of Seasons.

"I made a move to Nashville in the late '90s, early 2000s. The move, and the musicians and people I surrounded myself with, allowed me to rediscover the musician that I was before I met Daryl Hall," Oates told GRAMMY.com. "Because I was a blues, folk, rootsy musician, and I tapped back into my earliest influences.

At SXSW 2024, Oates will discuss fame, fortune, and managing a hit music career. His talk will be moderated by Alex Heiche, CEO & Founder of Sound Royalties. Coincidentally, Oates has been in the middle of a legal battle with his former songwriting partner. 

Slick Rick

When asked about hip-hop icon Slick Rick, Roots drummer and Tonight Show bandleader Ahmir "Questlove" Thompson told Rolling Stone, "Slick Rick's voice was the most beautiful thing to happen to hip-hop culture. Rick is full of punchlines, wit, melody, cool cadence, confidence and style. He is the blueprint." 

Slick Rick "The Ruler" — largely considered the most sampled hip-hop artist in history — launched his career performing with Doug E. Fresh’s Get Fresh Crew in the mid-80s, and his 1988 breakout solo album reached number one on Billboard’s R&B/Hip-Hop chart. Slick Rick has recently collaborated with Soul Rebels Brass Band. He received a Lifetime Achievement Award at the 2023 GRAMMYs, to honor his legacy as a masterful storyteller and pioneering melodic rapper who raps in a British accent with a leisurely cadence and an unforgettably nasal voice that sometimes swerves into cartoony vocal tones. 

In recent years, Slick Rick has collaborated with Missy Elliott, Mos Def, and the Black Eyed Peas. He performed a duet with Mariah Carey at Radio City Music Hall in 2019, and was signed to actor Idris Alba’s record label. He will perform an all-ages showcase performance — badge-required — at The Mohawk on March 12.  

BALTHVS 

Funk music in recent years has taken on a more global sound, incorporating elements of Asian and Middle Eastern music, surf rock, reggae, and cumbia, thanks to bands like Khruangbin and BALTHVS, a Colombian psychedelic funk trio that has toured the world and released three full-length albums since forming in 2019. The band aims to make "cosmic music" that can combat anger and anxiety.

Band members Balthazar Aguirre (guitar), Johanna Mercuriana (bass), and Santiago Lizcano (drums) produce, mix, and master all of their music and design all of their artwork. Their most recently release, Third Vibration, incorporates funk, disco, dream pop, vaporwave, soul, and R&B into their songs.

Aguirre hypes those genres and more on his Cubensis Records YouTube page, where subscribers can better understand the BALTHVS universe by exploring a vast library of eclectic music, like the mystical 1968 Gabor Szabo album "Dreams," or Stefano Torossi’s 1974 Italian jazz fusion album "Feelings." For super fans, it’s a giant rabbit hole of discovery that helps illustrate the band’s musical recipe.

Brainstory

Brainstory is another modern funk outfit with an eclectic musical blueprint: the three members of Brainstory grew up in the Inland Empire area outside Los Angeles, and by the mid-2010s, they were developing a version of California retro soul music that combines jazz and funk with psychedelic rock and 70s R&B. 

"That's what we were all into at the time—jazz," says guitarist and singer Kevin Martin, who happens to be a big Bob Dylan fan. "And that's what we wanted to do with our first EP in 2014—take our songs and expand them, improvise, weld jazz onto them. We wanted to trick people into listening to jazz, basically." 

The band, made up of Kevin, his brother Tony Martin, and Eric Hagstrom, has released one full-length album, an instrumental album, and an EP. Their new record, Sounds Good, produced for Big Crown Records by Leon Michels — who recently collaborated with Black Thought of the Roots — drops on April 19. The band is touring this spring. Previously they’ve performed with soul singer Lady Wray, and singer Claire "Clairo" Cottrill has a guest feature on the new album.

Vulva Voce

SXSW is more associated with rock music than classical, but the UK-based, all-female string quartet Vulva Voce has applied a rock attitude to their ensemble. Formed during Covid lockdown, they compose much of their own music — which combines elements of folk, jazz, contemporary, and experimental music.

"In terms of our identity — and especially in terms of our business model — we treat ourselves like a band rather than a classical string quartet," violist Nadia Eskandari said. 

Vulva Voce also employ a bit of a punk attitude, performing outside classical concert halls, at open mic nights and pop-up performances. They also play a wide range of music written by female composers.

"We want all the music we play to feel accessible to anyone, because when you are playing music by women, it is even more important that anyone can connect to it, not just classical audiences,"  Eskandari adds.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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