Lady Gaga Gives A Peak At Doc Coming To Netflix – The GRAMMYs

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Netflix 'Gaga: Five Foot Two' documentary on Lady Gaga to air Sept. 22, offering a window into the GRAMMY winner's life
The upcoming Netflix documentary, Gaga: Five Foot Two, on Lady Gaga scheduled for release on Sept. 22 provides intimate insights into the dialog between the winner of six GRAMMY Awards and the real woman striving to remain committed to her true self.

Gaga posted the doc’s surreal poster and some excerpts to Instagram and Twitter where we see her raised up to choral accompaniment, lifted to a stadium ceiling. We see her lonely confession that after a busy day, “All these people will leave and I’ll be alone,” left to cope in the “silence.” We see her medical care for facial pain, and listen while her specialist says the star feels “like you’re running from a tiger all the time.”
<blockquote class=”twitter-tweet” data-lang=”en”><p lang=”und” dir=”ltr”><a href=”https://twitter.com/hashtag/GagaFiveFootTwo?src=hash”>#GagaFiveFootTwo</a> <a href=”https://t.co/DbC2rEViDX”>pic.twitter.com/DbC2rEViDX</a></p>&mdash; xoxo, Gaga (@ladygaga) <a href=”https://twitter.com/ladygaga/status/900715486832447488″>August 24, 2017</a></blockquote><script async src=”//platform.twitter.com/widgets.js” charset=”utf-8″></script>
Drama, passion and intensity have stood out in Lady Gaga’s life of expression and innovation.
“I’m known for being larger than life, but really I’m just… #GagaFiveFootTwo,” was how she introduced this doc’s two-sided theme.
Produced by Heather Parry for Live Nation Productions, Netflix said, “This documentary goes behind the scenes with pop provocateur Lady Gaga as she releases a bold new album and prepares for her Super Bowl halftime show.”
Fans and admirers have a lot to look forward to.
Learn About Lady Gaga’s Born This Way Foundation
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Lady Gaga accepts the Best Pop/Duo Group Performance award for "Shallow" from 'A Star Is Born' at the 2019 GRAMMYs while encouraging the audience "to take care of each other."
Between two award seasons, A Star Is Born received seven nominations — including Record Of The Year and two nods for Song Of The Year — and four wins for Best Compilation Soundtrack for Visual Media, Best Song Written for Visual Media twice, and Best Pop/Duo Group Performance.
In this episode of GRAMMY Rewind, travel to 2019 to watch Lady Gaga accept one of the album's first GRAMMY wins for Best Pop/Duo Group Performance for "Shallow."
After thanking God and her family for their unwavering support, Lady Gaga expressed gratitude for her co-star, Bradley Cooper. "I wish Bradley was here with me right now," Gaga praised. "I know he wants to be here. Bradley, I loved singing this song with you."
Gaga went on to express how proud she was to be a part of a movie that addresses mental health. "A lot of artists deal with that. We've got to take care of each other. So, if you see somebody that's hurting, don't look away. And if you're hurting, even though it might be hard, try to find that bravery within yourself to dive deep, tell somebody, and take them up in your head with you."
Press play on the video above to hear Lady Gaga's complete acceptance speech for A Star Is Born's "Shallow" at the 2019 GRAMMY Awards, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.
Run The World: How Lady Gaga Changed The Music Industry With Dance-Pop & Unapologetic Feminism
Photo: Kirsten Balani
interview
For the first time in his career, Charles Esten is fully focused on music. But as the actor/singer details, his debut album, 'Love Ain't Pretty' is much more than another venture — it's a lifelong goal achieved.
Like many of his peers, Charles Esten has known music is his calling since he was a kid. But at 58, he's just now getting the opportunity to do what his contemporaries are long past: release a debut album.
As fans of the beloved ABC/CMT series "Nashville" or the hit Netflix drama "Outer Banks" know, Esten first established himself in the acting world. But as his "Nashville" role revealed, the actor also had some strong singing chops, too — and it wasn't a coincidence.
Due Jan. 26, Love Ain't Pretty is a testament to both Esten's patience and his passion. Combining his soulful country sound and emotive songwriting, Love Ain't Pretty poignantly captures his years of loving and learning. And with a co-writing credit on all 14 tracks, the album is the purest representation of his artistry possible.
"Being the age I am, and the difference of what this album is to what maybe my first album would've been if I was 28, is the intentionality," he tells GRAMMY.com. "I can chase what's thoroughly me, and the facets of that. And in the end, that, I think, makes better music anyway."
As the title suggests, Love Ain't Pretty mostly focuses on finding the beauty in life. Along with several odes to his wife, Patty ("One Good Move," "Candlelight"), Esten delivers tales of self-reflection ("A Little Right Now") and simply enjoying the moment ("Willing To Try"), all with a grit that's equal parts inspiring and charming.
Perhaps the most fitting sentiment on the album is "Make You Happy" — not because of its lovestruck narrative, but because it captures Esten's goal with Love Ain't Pretty and beyond: "Wanna make you happy/ Wanna make you smile."
"I know that musical superstardom is not an option," he acknowledges. "I don't even seek it. So, what do I seek instead of perfection? Connection."
Below, Esten recounts his fateful journey to Love Ain't Pretty — from his first taste of stardom to finally fulfilling his lifelong dream.
This interview has been edited for clarity.
A post shared by Charles Esten (@charlesesten)
All the way back in third grade, our elementary school had a contest to write the school song. They said, "Find a Disney song and use the melody and then put new words to it." I did it to "It's a Small World." I probably wrote little doodles on my own [before that], but that was the first one with any bit of fame. 
I went back, like 10 years later, and they were singing that. They actually made it as part of all the assemblies and everything. That feeling, to hear people singing words that you thought of, I'm sure that was the beginning of this path.
Eventually, when I went to college, I was in a band. But, even before I was in a band, my grandmother passed in my sophomore year of college. And, I didn't get back in time to see her. She had helped raise me when I was little, after my parents' divorce, so it hit me hard. I somehow was able to put what she meant to me in a song, and that made a big impact in a lot of ways. Whereas that third grade little ditty made everybody laugh and smile and everything, this made my mother and my aunts and uncles [cry] in a warm, loving way. I could see it affecting them. 
I could [also] feel it help me process what I was going through. That was another bit of an aha moment, like, "Oh wow, writing a song can do that also."
Right after that, I started a band. That experience of hearing a band bring your song alive — it was so much more full, this experience, and hearing somebody else add a thing you hadn't thought of, that was another true revelation, the power of that. So I got hooked rather quickly. 
Honestly, I probably would've stayed in that world if my band had stayed in that world. They all made the decision to graduate and go be doctors and lawyers and stuff, as the song says. When that finished up, I didn't know what I was going to do next. But, having experienced that made it clear to me that I was not cut out for a desk job — even though I had an economics degree. 
I had some friends that had gone to L.A. and started becoming actors. I thought, "Maybe I'll give that a try." But the long and the short of it is, if you had asked me, "Will you continue in music?" I'd be like, "Absolutely. I'm going to go out there and I'm going to meet another bass player and a drummer and another band will come."
It didn't happen. I went to London and played Buddy Holly for two and a half years in the musical "Buddy." When I went back to L.A. after that, then the family started to come, and so the band just never happened. But I had a piano, had guitars — I never stopped writing or playing.
At one point, I had the thought, "Well, I might have missed the boat in terms of ever getting to be a performer myself, but I can write songs." And by this point, I was really listening to a whole lot of country, '90s country, 2000s and all.
So, I decided I was going to start writing in a more formalized way, in a more intentional way, instead of just whenever a song came to me. And, as soon as I sort of said that, things started happening.
I met my friend Jane Bach, who is a great Nashville songwriter. She was going back and forth between LA and Nashville at the time. She invited me to sing at the Bluebird [Cafe in Nashville], which I knew very well, and I said yes. And twice, I had to cancel because I got other work. And at a certain point, I literally said to my wife, "When am I going to get to go to Nashville? That'll never happen."
[That] maybe was two or three years before "Nashville." And then I get this script that says, "Nashville." Next thing I know, I'm here and I'm literally doing my first scene in the Bluebird.
I understand, very cleanly, that ["Nashville"] opened all these side doors that most people don't have access to. But, I also know that there's a chance they could have all been opened and I could not have been ready. 
When it finally [happened], for a lot of people, just looking at an actor who's playing a singer/songwriter, I get the feeling that it was a pleasant surprise — I like to think that there was a little more there than they expected. It was actually more authentically who I was than the actor.
I never really quite verbalized this, but the feeling [of landing "Nashville"] was one of — it'll make me emotional — completion. I felt like the show was an answer to so many unsolved things in my life. And that's, I think, why we haven't left. And it's also why the album meant so much to me.
It meant so much to me that I didn't just get here and do an album. I got here at 46. To be that old and not really know who you are as an artist — I never had to define myself. So, I didn't chase that immediately. I just wanted to make music in Music City and make as much as I could. 
I always felt behind, because all my contemporaries that had been here, very many of them were already incredibly famous and already had done so much. But you can't [focus on] the road not taken. 
I have to admit, there's some part of me that would be like, "What if you were putting out your first album at 28?" That's nothing I sort of worry about. I know that it wouldn't have been this. I wouldn't change anything. I have this wife and this family and this career that brought me here. It feels like this was the way it was meant to happen, as strange as it all is.
I felt more prepared than people might expect. And I had something that most people didn't have, which was, Deacon walked in places before I did. Deacon sang at the Bluebird before Charles did. Deacon was at the Grand Ole Opry before I was.
That began what I would call my 10,000 hours in this town. Between the number of hours I've been able to be on stage at these incredible venues, and play music with these incredible people, and all the singles I was able to put out over the last 10 years, I now feel like that, in some ways, I have as much of a catalog as people that have been here for those 30 years. But, it's still my first album, which I've held onto for something special, and I'm so grateful for the way it turned out. I couldn't be happier.
I knew that I wasn't emptying the whole toolbox to play Deacon. But, having said that, I'm so moved by how much playing that guy influenced my music and my songwriting. A song like "A Little Right Now," it roars at the top and rages a little bit, but in general, that is a Deacon song through and through. "I'm a farmer praying for rain/ I'm a gambler that needs an ace of spades/ I'm a sailor hoping for a gust of wind/ I'm a singer looking for that song/ I'm a prisoner that ain't got long/ I'm a dreamer waiting for my ship to come in/ But lately all my roads have been running out/ There ain't no silver linings in these clouds/ Help me, Lord, and show me how to find the kind of faith that I once found/ 'Cause I could sure use a little right now." When you watch the show, you'll go, "That's the Deacon-est thing I've ever heard."
There's other songs on this album as well. "Maybe I'm Alright" — Deacon's journey was from utterly broken to "maybe I'm alright." As I look at it, he informs this album.
I'm a procrastinator. That's why I released so many singles in 2016, that world record. [Editor's note: Esten released 54 original songs once a week for 54 straight weeks, earning a Guinness World Records title in 2018 for the "Most consecutive weeks to release an original digital single by a music act."] 
That was a mind hack — a life hack — to arbitrarily create deadlines. And, my God, did that work, because I just started putting it out. [After that,] I started thinking about an album, and I even made an early attempt at it, and then COVID hit. 
They felt like songs from a thousand years ago [after the lockdown]. I pretty much scrapped it and didn't use any of them, and said, "I've just got to do this again in a different way. It's a different me. It's a different world."
My wife is not a procrastinator. And I'll show her, sometimes there's an upside of procrastinating. It's like using a crockpot when there's a microwave right there — it stews in all the ingredients. 
Deacon's a major ingredient, but if you just put that major ingredient on it and cook it real quick, it's too pronounced. Stew it in there with all the other ones until it's a new flavor, a new thing in its entirety. And that's what happened.
It's also interesting that, being the age I am, and the difference of what this album was to what, maybe, my first album would've been if I was 28, is the intentionality in terms of radio success or chart success — or chasing something that might not be thoroughly you, but might be a little more popular than thoroughly you. There's no reason for it at my age, so I can chase what's thoroughly me, and the facets of that. And in the end, that, I think, makes better music anyway.
There's a video I put out for "Somewhere in the Sunshine." Already, the impact of that song is sort of blowing my mind. The video is full of quotes from people that commented on YouTube about who they lost, and how it's giving them a little moment of peace, and how it's blessing them. That's my radio play. That's my GRAMMY.
I try to always realize how blessed I am to be able to do this. It's so much more precious later in life. I think people sometimes meet me and I have an enthusiasm for it that is younger than my years. And, maybe [that's] just because I've been waiting at a distance so long and it finally came true. I might get jaded someday, but it hasn't happened yet.
There's still an outsider mentality. I also feel like an anomaly. All the great artist friends I have, I'm not like them. They've been on the radio, they've had cuts, they've had hits. And then, all the new ones starting off doing their first album, I'm not in their group either — they have a whole career and future ahead.
On the other hand, I feel warm and welcomed in all of those arenas, and in everyone in this town. It always has been unusual for me here. All the reasons I'm here, all the why's, all the how's — but I guess, in the end, that's how I fit, and that's how I belong.
I was blessed that I was able to take my time. I think, once you let go of the outcome, freedom is available. It's just really hard to let go of that outcome. But, as I said, I'm a different beast. What I am means I better let go of that outcome, because the odds of me getting a No. 1 smash off this, they're not great. But the odds of me moving somebody with this music? I think they're pretty good.
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Released in 2013 and following the iconic 'Born This Way,' Lady Gaga's 'ARTPOP' was maligned and misunderstood. Yet the avant garde album took admirable leaps in genre, style and presentation — and deserves serious applause.
A decade ago, the music industry was practically eulogizing Lady Gaga’s career. Cause of death: her fourth album, ARTPOP.
Universally deemed a misfit (even among Gaga’s off-kilter discography), it was all too easy to crack “artflop” jokes as the record’s reception paled in comparison to the thunder of 2011’s Born This Way. In addition to Billboard-charting bangers aside, Born This Way pledged to be a champion for LGBTQIA+ rights, employing the word “bravery” so frequently that the two are now inextricably bound. The album’s daring demeanor had created a tough spectacle to follow, even for the shock-pop maven.
But rebukes of ARTPOP’s avant-garde concepts and stylings, disregard the record’s brazen interweaving of music, fashion, technology, and digital art. Released after Gaga broke her hip and canceled the  Born This Way Ball tour, ARTPOP was a canvas of earth-shattering bursts of pain and passion, and an electronic confessional.
For her efforts and vision, Gaga's maligned 2013 album would become a blueprint for contemporary alt-pop artists — not just with its experimental clash of genres, but through its winking subversion of industry expectations.  
In honor of ARTPOP’s tenth anniversary this month, read on for 10 reasons why  the overlooked outcast of Gaga’s catalog is actually the bravest album of them all.
When the public slams an artist for “only” selling one million copies of an album in a week, record sales lose their shine. After facing flack for her Born This Way numbers in 2011, Lady Gaga entered the ARTPOP era with clear intentions: creativity for creativity’s sake.
“Really, it’s about freeing yourself from the expectations of the music industry and the expectations of the status quo,” she explained during an interview at SXSW. And you know she meant it, because that same week she bucked those pressures by climbing atop a mechanical bull, where she served as the human canvas for the "creative output” of vomit artist Millie Brown.
“I write for the music not for the charts,” she tweeted, addressing a comparison between her lead single “Applause” and Katy Perry’s song “Roar,” which outperformed “Applause” on the Billboard charts. The singles were released days apart, stirring up a heated conversation about which singer was a more powerful pop star. Gaga was, of course, quick to crush the debate.
“Applause” peaked at No. 4 on the Billboard Hot 100, and despite being released in mid-November, ARTPOP nabbed 2.3 million album sales worldwide by the end of 2013. In contrast, Born This Way sold 2.1 million copies between its May 2011 release and the end of its debut year in the United States alone. 
By 2013, Lady Gaga boasted an impressive list of co-producing credits from working alongside collaborators like RedOne, DJ White Shadow, and Fernando Garibay. Yet ARTPOP marks the first time she slipped behind the soundboard by herself.
For "Venus," an intergalactic ode to lust that blossoms into starry-eyed infatuation, she saluted the titular goddess of love and pushed the men out of the room, folding a hybrid Sun Ra reference/Zombie Zombie sample into her sexually-emboldened EDM. Gaga cites "Venus" as the first song she ever self-produced, a major milestone for the multi-hyphenate and for women producers as a whole.
One decade’s definition of "sloppy" is the next decade’s epitome of style. In 2013, the general consensus among critics was that ARTPOP’s sound was often too messy to take seriously. Their examples were copious; "Aura," for instance, dedicates 15 seconds to nothing but hysterical, autotuned laughter over an unraveling country western guitar riff. Manic deep cuts "MANiCURE" and "Jewels N’ Drugs" were labeled choppy and sonically inconsistent, as Gaga allegedly struggled to find common ground between rock, trap, and electronic music.
Compared to the streamlined pop sound of the time — including some of Gaga’s prior hits — ARTPOP’s frenetic mishmash of sounds felt totally alien. "I was desperate, in pain, and poured my heart into electronic music that slammed harder than any drug I could find," Gaga reflected, explaining her need for catharsis over catchiness (a choice that she was lambasted for at the time). 
Ten years later, her avant garde approach to pop suddenly seems remarkably en vogue, as genre-hopping and highly-textured sonic palettes become the norm — especially in the alt-pop sphere. In hindsight, it’s apparent that ARTPOP was ridiculed so artists like SOPHIE, Charli XCX, and Dorian Electra could rave.
ARTPOP prioritized pushing art into uncharted territory, and not just on Earth.In addition to a naked Jeff Koons sculpture of Gaga herself, the album’s release was feted with the debut of a flying dress named Volantis. The original creation from Gaga’s TechHaus (a branch of her Haus Labs team) is technically an "electric powered hover vehicle" that fits around Gaga’s body to hoist her into the air. Gaga offered a less technical term for it, calling the dress a metaphor. "I will be the vehicle of their voices," she said during a press conference, sharing her vision for representing young fans in the sky.
Volantis arrived alongside news that Gaga would become the first musician to perform in space aboard a Virgin Galactic ship. The flying dress successfully cleared its first flight; the Virgin ship unfortunately did not. After a fatal test flight, the plans for Gaga’s galactic debut were canceled.
It’s admittedly hard to recall ARTPOP’s ill-conceived R. Kelly collaboration "Do What U Want" without wincing. Beyond Kelly’s unnerving presence on the track, his lone sexually-charged verse ultimately skewed the true message of the song, transforming a kiss off to tabloid journalism into randy radio fodder.
Gaga scrubbed the song from streaming services in 2019, sparing the alternative version that instead features Christina Aguilera. Here, Gaga’s intended retaliation shines: "You can’t have my heart / and you won’t use my mind / but do what you want with my body," she taunts on the chorus, welcoming the public’s superficial — and therefore meaningless — judgments.  
When unveiling the track in October of 2013, she took to X (then named Twitter) to trounce a litany of rumors and nitpicks about her weight, likeness to Madonna, and erroneous identity as a hermaphrodite. At its core, "Do What U Want" proved that the only gesture more pointed than a middle finger is cackling while inviting the world to do its worst. 
Lady Gaga can’t take credit for the notion of art-pop, but she did coin a new phrase, calling the conceptual glue of ARTPOP a "reverse Waholian expedition." Translation: if Andy Warhol transformed mass-produced items like Campbell’s soup into high art, then Gaga wanted to flip the process, placing high art where it could be easily accessible to the public.
As a result, the visual aspects of ARTPOP present a mosaic of the most esteemed masterpieces of all time. The busy album cover fuses the brilliance of American sculptor Jeff Koons with fragments of Sandro Boticelli’s magnum opus "The Birth of Venus," while her outfits for public appearances nodded to greats like Pablo Picasso and Salvador Dali with brash makeup and fake mustaches. The concept opened her up to mockery — including from Maroon 5 frontman Adam Levine — but introduced the basics of art history to millions of listeners worldwide.
Many of ARTPOP’s most exuberant moments orbit high or drunken states, such as Gaga sneaking around Amersterdam while stoned and incognito on "Mary Jane Holland." Trap outlier "Jewels N’ Drugs," which collects verses from T.I., Twista, and Too $hort, packs the same giddy punch despite its somewhat awkward execution. Yet the party pauses on "Dope," ARTPOP’s sole piano ballad.
The sobering single gazes inward, where Gaga finds a startling void, her spirit gutted after years of addiction. While the song’s lyrics vow to prioritize loved ones over drugs and liquor, Gaga revealed the most personal promise during her album release show.
"I do not have to be high to be creative," she professed from behind her piano, hand raised in the air as if taking an oath. "I do not need to be drunk to have a good idea. I can sit with my thoughts and not feel crazy." On an album bursting with innovation, "Dope" is her firmest pledge to self-improvement, delivered with aching sincerity.
Designing mind-bending art? There’s an app for that. Or there was, anyways. ARTPOP arrived with a supplemental app, designed to enhance Gaga’s multimedia approach to the album’s release. As a way to empower fans to dabble in digital art, one of the app’s main features was a gif and still image generator that allowed users to choose from a rainbow of gyrating geometric shapes and backgrounds. Most creations straddled the line between optical illusion and Tumblr-ready art. The app also offered fans the ability to stream the album and chat with each other.
It was an entertaining endeavor, albeit ultimately a short-lived one. Despite an in-app countdown for other features, including a stream of new behind the scenes videos and a digital audio workshop called TrakStar, neither element came to fruition. Due to Gaga’s shift in management, the project was never developed further. 
Still, the ARTPOP app remains a unique addition to pop’s first brushes with modern tech, long predating crossovers like Charli XCX performances on Roblox and AI-created music.
When ARTPOP hit shelves, the world was still three years away from the awareness about pervasive sexual assault revealed by the #MeToo movement. But a hush around the topic didn’t stop Gaga from eeking out a screech or two about her own experiences with abuse in 2013. While Gaga has since divulged more information about her unfortunate experiences with predators as a fledgling popstar, the ARTPOP track "Swine" dropped some of the first angsty breadcrumbs about her survival story.
"I know you want me / You’re just a pig inside a human body / Squealer, squealer, squealer, you’re so dis-GUS-ting," she practically spits with revulsion on the chorus. The deep cut is an exorcism dressed up as a rave, revealing a gut-churning snapshot of a woman publicly processing her own violation years before the act was deemed acceptable.
Scrapping a major tour over an injury shouldn’t warrant a comeback, but that’s what the world demanded of Lady Gaga when her Born This Way Ball hit the brakes. Gaga was forced to end the tour early in February 2013 when she broke her hip, thwarting her ability to walk, let alone dance. As she underwent surgery and paparazzi vied for photos of her in a Louis Vuitton wheelchair, the public largely viewed the truncated Born This Way Ball as a personal failure on Gaga’s part. 
By the time ARTPOP arrived, the expectations for her next move couldn’t have been higher — which made Gaga’s spasmic, genre-jumping, vomit-covered return to pop all the more daring.
10 Reasons Why Outkast's 'Speakerboxxx/The Love Below' Is One Of Rap's Most Influential Double Albums
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Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 
Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 
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