Beyoncé doesn't only loom large in American culture just because of her hits. Although her musical accomplishments are staggering—at 28 GRAMMY wins, she holds the record for most GRAMMYs won by a woman—Beyoncé's ongoing commitment to uplifting and celebrating the Black community has become a key part of her legacy.

This goes beyond her empowering songs—it's in her public statements and art, too.

In the debut episode of GRAMMY.com's Black Sounds Beautiful series, a special series honoring Black music and culture in all its forms, learn about the many ways in which Beyoncé's words, music and initiatives have celebrated and elevated the Black community and how she remains a steadfast fighter for the accomplishments of Black people everywhere.

"It's important to me to show images to my children that reflect their beauty, so they can grow up in a world where they look in the mirror—first through their own families as well as the news, the Super Bowl, the Olympics, the White House, and the GRAMMYs—and see themselves and have no doubt that they're beautiful, intelligent and capable," Beyoncé said in an acceptance speech at the 59th GRAMMY Awards in 2017.

She doubled-down on the sentiment at the 2021 GRAMMY Awards show when she won the GRAMMY for Best R&B Performance for "BLACK PARADE," which she originally released on Juneteenth last year.

"As an artist, I believe it's my job, and all of our jobs, to reflect the times," she said in her GRAMMY acceptance speech this past March. "... So, I wanted to uplift, encourage and celebrate all of the beautiful Black queens and kings that continue to inspire me and inspire the whole world."

She's continued to do exactly that throughout her entire career.

In 2018, Beyoncé headlined Coachella, becoming the first-ever Black woman artist to headline the festival. She used the history-making moment as a platform to celebrate Black culture, inviting performers from historically Black colleges and universities (HBCUs) to the Coachella stage and mixing in vocal snippets of Black icons like Malcolm X and Chimamanda Ngozi Adichie. Her 2020 GRAMMY-nominated music film, Black Is King, is a "love letter" to Black men. The film is the visual counterpart to The Lion King: The Gift, a 2019 soundtrack album curated by Beyoncé that spotlights African and Afrobeats artists like Wizkid, Burna Boy, Mr Eazi and many others.

Check out the strengthening clip above and watch out for more episodes of Black Sounds Beautiful as GRAMMY.com's Black Music Month celebrations proceed throughout June.

Inside The Visual World Of Beyoncé And 'Black Is King,' Her "Love Letter" To Black Men

Three months after OneRepublic began promoting their sixth album, Artificial Paradise, in February 2022, the band unexpectedly had their biggest release in nearly a decade. The pop-rock band's carefree jam, "I Ain't Worried," soundtracked Top Gun: Maverick's most memeable scene and quickly became a global smash — ultimately delaying album plans in favor of promoting their latest hit.

Two years later, "I Ain't Worried" is one of 16 tracks on Artificial Paradise, which arrived July 12. It's a seamless blend of songs that will resonate with longtime and newer fans alike. From the layered production of "Hurt," to the feel-good vibes of "Serotonin," to the evocative lyrics of "Last Holiday," Artificial Paradise shows that OneRepublic's sound is as dialed-in as it is ever-evolving.

The album also marks the end of an era for OneRepublic, as it's the last in their contract with Interscope Records. But for the group's singer, Ryan Tedder, that means the future is even more exciting than it's been in their entire 15-year career.

"I've never been more motivated to write the best material of my life than this very moment," he asserts. "I'm taking it as a challenge. We've had a lot of fun, and a lot of uplifting records for the last seven or eight years, but I also want to tap back into some deeper material with the band."

As he's been prepping Artificial Paradise with his OneRepublic cohorts, Tedder has also been as busy as he's ever been working with other artists. His career as a songwriter/producer took off almost simultaneously with OneRepublic's 2007 breakthrough, "Apologize" (his first major behind-the-board hit was Leona Lewis' "Bleeding Love"); to this day he's one of the go-to guys for pop's biggest names, from BLACKPINK to Tate McRae.

Tedder sat down with GRAMMY.com to share some of his most prominent memories of OneRepublic's biggest songs, as well as some of the hits he's written with Beyoncé, Adele, Taylor Swift and more.

I was producing and writing other songs for different artists on Epic and Atlantic — I was just cutting my teeth as a songwriter in L.A. This is like 2004. I was at my lowest mentally and financially. I was completely broke. Creditors chasing me, literally dodging the taxman and getting my car repoed, everything.

I had that song in my back pocket for four years. A buddy of mine just reminded me last month, a songwriter from Nashville — Ashley Gorley, actually. We had a session last month, me, him and Amy Allen, and he brought it up. He was like, "Is it true, the story about 'Apologize'? You were completely broke living in L.A. and Epic Records offered you like 100 grand or something just for the right to record the song on one of their artists?"

And that is true. It was, like, 20 [grand], then 50, then 100. And I was salivating. I was, like, I need this money so bad. And I give so many songs to other people, but with that song, I drew a line in the sand and said, "No one will sing this song but me. I will die with this song." 

It was my story, and I just didn't want anyone else to sing it. It was really that simple. It was a song about my past relationships, it was deeply personal. And it was also the song that — I spent two years trying to figure out what my sound was gonna be. I was a solo artist… and I wasn't landing on anything compelling. Then I landed on "Apologize" and a couple of other songs, and I was like, These songs make me think of a band, not solo artist material. So it was the song that led me to the sound of OneRepublic, and it also led me to the idea that I should start a band and not be a solo artist.

We do it every night. I'll never not do it. I've never gotten sick of it once. Every night that we do it, whether I'm in Houston or Hong Kong, I look out at the crowd and look at the band, and I'm like, Wow. This is the song that got us here.

We were halfway through promoting Dreaming Out Loud, our first album. I played basketball every day on tour, and I snapped my Achilles. The tour got canceled. The doctor told me not to even write. And I had this one sliver of an afternoon where my wife had to run an errand. And because I'm sadistic and crazy, I texted [songwriter] Evan Bogart, "I got a three-hour window, race over here. Beyoncé called me and asked me to write her a song. I want to do it with you." He had just come off his huge Rihanna No. 1, and we had an Ashley Tisdale single together.

When you write enough songs, not every day do the clouds part and God looks down on you and goes, "Here." But that's what happened on that day. I turn on the keyboard, the first sound that I play is the opening sound of the song. Sounds like angels singing. And we wrote the song pretty quick, as I recall. 

I didn't get a response [from Beyoncé after sending "Halo" over], which I've now learned is very, very typical of her. I did Miley Cyrus and Beyoncé "II MOST WANTED" [from COWBOY CARTER] — I didn't know that was coming out 'til five days before it came out. And when I did "XO" [from 2013's Beyoncé], I found out that "XO" was coming out 12 hours before it came out. That's how she operates.

["Good Life"] was kind of a Hail Mary. We already knew that "All the Right Moves" would be the first single [from Waking Up]. We knew that "Secrets" was the second single. And in the 11th hour, our engineer at the time — who I ended up signing as a songwriter, Noel Zancanella — had this drum loop that he had made, and he played it for Brent [Kutzle] in our band. Brent said, "You gotta hear this drum loop that Noel made. It's incredible."

He played it for me the next morning, and I was like, "Yo throw some chords to this. I'm writing to this today." They threw some chords down, and the first thing out of my mouth was, [sings] "Oh, this has gotta be the good life." 

It's the perfect example of, oftentimes, the chord I've tried to strike with this band with some of our bigger records, [which] is happy sad. Where you feel nostalgic and kind of melancholic, but at the same time, euphoric. That's what those chords and that melody did for me.

I was like, "Hey guys, would it be weird if I made the hook a whistle?" And everyone was like, "No! Do not whistle!" They're like, "Name the last hit song that had a whistle." And the only one I could think of was, like, Scorpion from like, 1988. [Laughs.] So I thought, To hell with it, man, it's been long enough, who cares? Let's try it. And the whistle kind of made the record. It became such a signature thing.

Adele — "Rumour Has It," '21' (2011)

"Rumour Has It" was the first song I did in probably a four year period, with any artist, that wasn't a ballad. All any artist ever wanted me to write with them or for them, was ballads, because of "Halo," and "Apologize" and "Bleeding Love."

I begged [Adele] to do a [song with] tempo, because we did "Turning Tables," another ballad. She was in a feisty mood [that day], so I was like, "Okay, we're doing a tempo today!"

Rick Rubin was originally producing the whole album. I was determined to produce Adele, not just write — because I wanted a shot to show her that I could, and to show myself. I stayed later after she left, and I remember thinking, What can I do in this record in this song that could be so difficult to reproduce that it might land me the gig?

So I intentionally muted the click track, changed the tempo, and [created that] whole piano bridge. I was making it up as I went. When she got in that morning. I said, "I have a crazy idea for a bridge. It's a movie." She listens and she says, "This is really different, I like this! How do we write to this?" 

I mean, it was very difficult. [But] we finished the song. She recorded the entire song that day. She recorded the whole song in one take. I've never seen anyone do that in my life — before or since.

Then I didn't hear from her for six months. Because I handed over the files, and Rick Rubin's doing it, so I don't need to check on it. I randomly check on the status of the song — and at this point, if you're a songwriter or producer, you're assuming that they're not keeping the songs. Her manager emails my manager, "Hey, good news — she's keeping both songs they did, and she wants Ryan to finish 'Rumour Has It' production and mix it." 

When I finally asked her, months later — probably at the GRAMMYs — I said, "Why didn't [Rick] do it?" She said, "Oh he did. It's that damn bridge! Nobody could figure out what the hell you were doing…It was so problematic that we just gave up on it."

I was in a Beyoncé camp in the Hamptons writing for the self-titled album. [There were] a bunch of people in the house — me, Greg Kurstin, Sia — it was a fun group of people. I had four days there, and every morning I'd get up an hour and a half before I had to leave, make a coffee, and start prepping for the day. On the third day, I got up, I'm in the basement of this house at like 7 in the morning, and I'm coming up with ideas. I stumble across that chord progression, the guitar and the melody. It was instant shivers up my spine. 

"Lately I've been losing sleep, dreaming about the things that we could be" is the only line that I had. [My] first thought was, I should play this for Beyoncé, and then I'm listening to it and going, This is not Beyoncé, not even remotely. It'd be a waste. So I tabled it, and I texted the guys in my band, "Hey, I think I have a potentially really big record. I'm going to finish it when I get back to Denver."

I got back the next week, started recording it, did four or five versions of the chorus, bouncing all the versions off my wife, and then eventually landed it. And when I played it for the band, they were like, "This is our favorite song."

It was my second session with Taylor. The first one was [1989's] "I Know Places," and she sent me a voice memo. I was looking for a house in Venice [California], because we were spending so much time in L.A. So that whole memory is attached to me migrating back to Los Angeles. 

But I knew what she was talking about, because I lived in New York, and I remember the feeling — endless possibilities, all the different people and races and sexes and loves. That was her New York chapter. She was so excited to be there. If you never lived there, and especially if you get there and you've got a little money in the pocket, it is so exhilarating.

It was me just kind of witnessing her brilliant, fast-paced, lyrical wizardry. [Co-producer] Max [Martin] and I had a conversation nine months later at the GRAMMYs, when we had literally just won for 1989. He kind of laughed, he pointed to all the other producers on the album, and he's like, "If she had, like, three more hours in the day, she would just figure out what we do and she would do it. And she wouldn't need any of us." 

And I still think that's true. Some people are just forces of nature in and among themselves, and she's one of them. She just blew me away. She's the most talented top liner I've ever been in a room with, bar none. If you're talking lyric and melody, I've never been in a room with anyone faster, more adept, knows more what they want to say, focused, efficient, and just talented.

I had gone through a pretty dry spell mentally, emotionally. I had just burned it at both ends and tapped out, call it end of 2016. So, really, all of 2017 for me was a blur and a wash. I did a bunch of sessions in the first three months of the year, and then I just couldn't get a song out. I kept having, song after song, artists telling me it's the first single, [then] the song was not even on the album. I had never experienced that in my career.

I went six to nine months without finishing a song, which for me is unheard of. Andrew Watt kind of roped me back into working with him. We did "Easier" for 5 Seconds of Summer, and we did some Sam Smith and some Miley Cyrus, and right in that same window, I did this song "Sucker." Two [or] three months later, Wendy Goldstein from Republic [Records] heard the record, I had sent it to her. She'd said, very quietly, "We're relaunching the Jonas Brothers. They want you to be involved in a major way. Do you have anything?" 

She calls me, she goes, "Ryan, do not play this for anybody else. This is their comeback single. It's a No. 1 record. Watch what we're gonna do." And she delivered.

My memory is, being in lockdown in COVID, and just being like, Who knows when this is going to end, working out of my Airstream at my house. I had done a lot of songs for movies over the years, and [for] that particular [song] Randy Spendlove, who runs [music at] Paramount, called me.

I end up Zooming with Tom Cruise [and Top Gun: Maverick director] Jerry Bruckheimer — everybody's in lockdown during post-production. The overarching memory was, Holy cow, I'm doing the scene, I'm doing the song for Top Gun. I can't believe this is happening. But the only way I knew how to approach it, rather than to, like, overreact and s— the bed, was, It's just another day.

I do prescription songs for movies, TV, film all the time. I love a brief. It's so antithetical to most writers. I'm either uncontrollably lazy or the most productive person you've ever met. And the dividing line between the two is, if I'm chasing some directive, some motivation, some endpoint, then I can be wildly productive.

I just thought, I'm going to do the absolute best thing I can do for this scene and serve the film. OneRepublic being the performing artist was not on the menu in my mind. I just told them, "I think you need a cool indie band sounding, like, breakbeat." I used adjectives to describe what I heard when I saw the scene, and Tom got really ramped and excited. 

You could argue [it's the biggest song] since the band started. The thing about it is, it's kind of become one of those every summer [hits]. And when it blew up, that's what Tom said. He said, "Mark my words, dude. You're gonna have a hit with this every summer for, like, the next 20 years or more." 

And that's what happened. The moment Memorial Day happened, "I Ain't Worried" got defrosted and marched itself back into the top 100.

Tate McRae — "Greedy," 'THINK LATER' (2023)

We had "10:35" [with Tiësto] the previous year that had been, like, a No. 1 in the UK and across Europe and Australia. So we were coming off the back of that, and the one thing she was clear about was, "That is not the direction of what I want to do."

If my memory serves me correct, "greedy" was the next to last session we had. Everything we had done up to that point was kind of dark, midtempo, emotional. So "greedy" was the weirdo outlier. I kept pushing her to do a dance record. I was like, "Tate, there's a lot of people that have great voices, and there's a lot of people who can write, but none of those people are professional dancers like you are. Your secret weapon is the thing you're not using. In this game and this career, you've got to use every asset that you have and exploit it."

There was a lot of cajoling. On that day, we did it, and I thought it was badass, and loved it. And she was like, "Ugh, what do we just do? What is this?"

So then it was just, like, months, months and months of me constantly bringing that song back up, and playing it for her, and annoying the s— out of her. And she came around on it. 

She has very specific taste. So much of the music with Tate, it really is her steering. I'll do what I think is like a finished version of a song, and then she will push everyone for weeks, if not months, to extract every ounce of everything out of them, to push the song harder, further, edgier — 19 versions of a song, until finally she goes, "Okay, this is the one." She's a perfectionist.

I love [our latest single] "Hurt," but my favorite song on the album is called "Last Holiday." I probably started the beginning of that lyric, I'm not joking, seven, eight years ago. But I didn't finish it 'til this past year.

The verses are little maxims and words of advice that I've been given throughout the years. It's almost cynical in a way, the song. When I wrote the chorus, I was definitely in kind of a down place. So the opening line is, "So I don't believe in the stars anymore/ They never gave me what I wished for." And it's, obviously, a very not-so-slight reference to "Counting Stars." But it's also hopeful — "We've got some problems, okay, but this isn't our last holiday." 

It's very simple sentiments. Press pause. Take some moments. Find God before it all ends. All these things with this big, soaring chorus. Musically and emotionally and sonically, that song — and "Hurt," for sure — but "Last Holiday" is extremely us-sounding. 

The biggest enemy that we've had over the course of 18 years, I'll be the first to volunteer, is, this ever-evolving, undulating sound. No one's gonna accuse me of making these super complex concept albums, because that's just not how my brain's wired. I grew up listening to the radio. I didn't grow up hanging out in the Bowery in CBGBs listening to Nick Cave. So for us, the downside to that, and for me doing all these songs for all these other people, is the constant push and pull of "What is their sound? What genre is it?" 

I couldn't put a pin in exactly what the sound is, but what I would say is, if you look at the last 18 years, a song like "Last Holiday" really encompasses, sonically, what this band is about. It's very moving, and emotional, and dynamic. It takes me to a place — that's the best way for me to put it. And hopefully the listener finds the same.

In 1997, all-female R&B groups were thriving: TLC already had seven Top 10 hits on the Billboard Hot 100, En Vogue had numerous platinum singles, and Xscape reached No. 1 more than once. Soon, a quartet of teenagers would burst upon the scene and leave an indelible impact.

While Destiny’s Child are now canonical in the world of '90s and early aughts R&B, the group initially experienced spotty success. Their 1997 debut single, "No, No, No (Part 2)" peaked at No. 3 on Billboard’s Hot 100 and was certified platinum. Yet their eponymous album, released in February 1998, only hit No. 67. Their follow up single, "With Me," also failed to set the charts ablaze. 

Destiny’s Child's underwhelming chart performances could’ve easily derailed the budding group. Fortunately, the four ambitious girls from Texas had other plans. 

Beyoncé Knowles, Kelly Rowland, LaTavia Roberson, and Le Toya Luckett were determined not to become one hit wonders, and quickly went back into the studio to record their sophomore album. Released on July 14, 1999, The Writing’s On the Wall became Destiny’s Child’s highest selling album and spawned some of their most iconic songs — one of which led to the group's first GRAMMY win. Not only did the album establish Destiny's Child as a household name, but it fine tuned the R&B girl group concept to perfection.

"We had no idea that The Writing's on the Wall would be as big a record as it was. Especially worldwide," Beyoncé said in a 2006 Guardian interview.

In celebration of the iconic album's 25th anniversary, read on for five reasons why The Writing’s On the Wall is the defining album of Destiny’s Child’s career.

Its Members Took Creative Control

On their debut album, Destiny’s Child tapped into the neo soul trend popularized by the likes of D’Angelo, Erykah Badu, and Maxwell — artists in their early-to-mid twenties with a maturity the teen quartet didn’t yet have. The references and creative direction clashed with the reality of the group members being so young.

"It was a neo-soul record and we were 15 years old. It was way too mature for us," Beyoncé tol the Guardian.

Heading back into the studio, the girls made sure to eradicate any misalignments and put more of themselves into their sophomore album. In an interview with MTV, the members said The Writing’s On the Wall had a fresher, more youthful vibe because "it comes from us." The quartet's fingerprints are all over the 16 track album: Each member co-wrote at least 50 percent of the album. 

"Even at the time, Beyoncé would produce a lot of their background vocals, and she was a leader even at a young age," Xscape's Kandi Burruss said in a Vice interview, reflecting on her work as a songwriter and producer on The Writing's On the Wall. This heightened presence enabled the group to develop lyrics that boldly reflected their opinions and youthful energy. In turn, The Writing's On the Wall netted a run of iconic hit singles.

Read more: Destiny's Child's Debut Album At 25: How A Neo-Soul Album From Teens Spawned R&B Legends

It Pushed R&B Forward 

Like its predecessor, The Writing’s On the Wall is very much an R&B album. However, Beyoncé's father Mathew Knowles — who still managed the group at the time — brought in producers who weren’t afraid to experiment. The result was a more commercial album that fused classic R&B with pop influences, creating a sound that was simultaneously contemporary and timeless.

Kevin "She'kspere" Briggs and Burrus (who would go on to co-write and produce TLC’s "No Scrubs") contributed to five of the album's tracks, shaping its overall sound and differentiating it from Destiny’s Child. The duo kept a few elements from the group’s debut effort, including the sing-rapping heard on "Bug A Boo" and "Hey Ladies." With syncopated beats, thumping basslines, and their knack for writing catchy hooks, Briggs and Burrus created R&B records with the perfect blend of chart-friendly accessibility.

On the Missy Elliott produced "Confessions," synthesizers, drum machines, and electronic garbling were layered to create a lush, futuristic backdrop. Further subverting the classic R&B ballad, Elliott paired what sounds like a cabasa to match Beyonce’s cadence throughout the verses which gives her laidback vocals an almost robotic feel. In addition to producing, Elliott’s velvety vocals also appear quite prominently on the chorus, adding to the track’s sonic tapestry.

GRAMMY-winner Rodney Jerkins was tapped to produce "Say My Name." The original beat Jerkins used was two-step garage, a subgenre of UK garage. No one else liked the sound, so he completely revamped the track into the GRAMMY-winning anthem we know today. Jerkins melded funk-inspired guitar and a call and response approach, then modernized them with a shimmery, polished production. This helped "Say My Name" become the group’s most listened to song on Spotify with over 840 million streams. Jerkins has even gone on record to say this is his favorite song he’s produced to date.

Read more: "Say My Name" 20 Years Later: Why The Destiny's Child Staple Is Still On Everyone's Lips

Its Music Videos Praised Black Culture

"For me, it is about amplifying the beauty in all of us," Beyoncé said in a 2019 interview with Elle when asked about the importance of representation. Even before her solo work, the importance of spotlighting Black culture was evident in Destiny's Child's music videos.

In "Bills, Bills, Bills," we see the group play the role of hair stylists in a salon which is an obvious nod to Beyoncé's mother’s longstanding relationship with all things hair. Near the end of "Bug a Boo," the members change into their version of majorette costumes and dance in front of a marching band. Majorettes and marching bands have a vibrant legacy within HBCUs; almost 20 years after this video premiered, Beyoncé revisited this very concept for her 2018 Coachella performance. 

It Delivered Mainstream Success 

The Writing’s On the Wall was a hit across the charts. The group earned their first No. 1 singles on Billboard’s Hot 100 with "Bills, Bills, Bills" and "Say My Name." Promotions for the latter also reinvigorated album sales and helped shift another 157,000 copies (an impressive 15 percent increase from their first-week sales). The fourth and final single, "Jumpin’, Jumpin’" was released during the summer of 2000 and became one of the most played songs on the radio that year.

Songs from the album were nominated at both the 42nd and 43rd GRAMMY Awards. Destiny’s Child took home their first golden gramophone at the 2001 GRAMMYs, winning Best R&B Performance by a Duo or Group with Vocals for "Say My Name." The single also won Best R&B Song and  was nominated for Record Of The Year. 

With 14 nominations, Destiny’s Child remain the most nominated girl group in GRAMMY history. With worldwide sales of 13 million, The Writing’s On the Wall is also the fourth best-selling girl group album of all time.

It Expanded The Concept Of "Girl Power"

The Writing’s On the Wall was much more than catchy, radio-friendly tunes. Lyrically and in production, the album reintroduced Destiny’s Child as the architects for their own lives. The tongue-in-cheek Godfather-inspired intro tees up each song with a commandment for their partners and, at times, for themselves.

Often misconstrued as a gold digger anthem,"Bills, Bills, Bills" empowers a woman to confront a lover who's financially taking advantage of her. This is a far cry from the theme of a young woman focused on finding love — a common theme on Destiny's Child —  and puts their confidence on full display. "So Good" is a sassy, uplifting anthem which explicitly addresses haters with pointed lyrics like "For all the people ‘round us that have been negative/Look at us now/See how we live." Destiny's Child was sending a clear message: they’re going to be fine regardless of what others say. 

And when the group became tabloid fodder due to unexpected lineup changes, "So Good" took on a new meaning for persevering through hard times. While there are some songs with morally questionable lyrics — we’re looking at you ‘"Confessions" — the consistent message of embracing one’s self-worth and independence is clear. 

Every July, millions of Black people, specifically Black women, descend upon New Orleans for the Essence Festival of Culture (EFOC). Known for many years as the Essence Festival, the festival is a celebration of Black culture, community, and heritage. Since its inception in 1995 as a one-off event to commemorate the publication’s 25th anniversary, the festival has evolved into a diasporic jubilee, drawing in people of African descent from across the diaspora. 

In addition to its global presence, the festival pours millions of dollars into the local New Orleans community, which has served as the festival's home for 30 years (with the exception of 2006, when the festival was held in Houston, because of Hurricane Katrina). In 2020, the festival was canceled because of the COVID-19 pandemic. Despite this, the annual festival continues to be one of the most sought-after and attended festivals in the United States. 

This year’s Essence Festival of Culture will be held at the Superdome from July 4-7, replete with legendary and fast-rising talents. On July 5, Birdman & Friends will celebrate the 30th anniversary of Cash Money Records. The following day will feature a special performance by Charlie Wilson, while Usher will commemorate the 20th anniversary of Confessions.

Janet Jackson and Victoria Monét will headline the festival's final night, while Frankie Beverly and Maze close out the festival with the return of All-White Night. Other performers include The Roots featuring Mickey Guyton, Ari Lennox and T-Pain, Busta Rhymes, Raphael Saadiq, D-Nice featuring Shelia E, Big Boi, and many more.  

Read more: Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More 

EFOC has been compared to SXSW, Coachella, Austin City Limits, and other notable festivals, yet it stands out for its empowerment-centered approach. It is not simply a festival, it is a family reunion. The one festival in the United States that does not pander to or take advantage of Black audiences, but truly celebrates them and their achievements. Although music has always been an integral part of the festival’s ethos — Aretha Franklin and B.B. King performed at the first iteration — the festival excels in its multi-generational and interdisciplinary programming. On any given day, attendees can attend sessions on Black entrepreneurship, politics, mental health, and literature, as well as seminars focused on issues impacting the Black community.  

There’s a reason why the festival is referred to as the party with a purpose. For decades, it has operated as a celebratory convening place for Black people, Black families, and Black communities. Now, more than ever, spaces like EFOC are needed, as the Black community experiences an onslaught of changes — from Historically Black Colleges and Universities in North Carolina and Tennessee being subject to intense government oversight, to Black women-owned venture capital firms being targeted by conservatives, and Black voting rights becoming at risk during an election year. 

Ahead of the festival’s 30th celebration, Michael Barclay, Executive Vice President of Experiential for ESSENCE Ventures and Barkue Tubman Zawolo, Chief of Staff, Talent and Diasporic Engagement for Essence Ventures, spoke to the Recording Academy about the history, legacy, and future of the Essence Festival of Culture.

This interview has been edited for clarity.

Are you part of the generation that grew up with the Essence Festival of Culture? If so, how does it feel to be a part of it?

Barkue Tubman Zawolo: I'm originally from Liberia. And even being in Liberia, prior to my family moving to the U.S. in 1980, Essence was always a thing for my mom and my aunts. When we came here, fast forward to me, as an adult, [after] graduating college, I got into the music industry. I've managed artists that have gone through the Essence stages and pages in different ways.

Essence Fest has always been something that we were familiar with. I have to say, I had not really experienced Essence Fest until 2019 when Essence was actually a client. One of the things that I was doing [at that point] was integrating the Diaspora and African creatives within the festival in fashion and music.

To be in the role that I'm in right now and to be on a team with people who have been a part of Essence for a long time…. Essence seems to be ingrained in all of our fabric. [What] started as a music festival now is the Super Bowl of Culture that is the Essence Festival of Culture. To be on the team that helps bring this to life for our community is a daunting but rewarding task all in the same. 

Essence is something that I don't think anybody in our community takes lightly. Even our partners understand the value of it. We certainly understand that we serve the Essence-inverse and, and we are in service to this community. It is a huge honor to be able to be a part of the team that brings this to life and, and, and constantly hear what it means to the community globally too. 

One thing that I admired, especially about last year's festival, was GU Kickback — a music event hosted by Girls United, the publication’s Gen Z vertical. I saw a number of local artists from New Orleans, such as 504ICYGRL. ESSENCE just released a series of cover stories celebrating the 30 year relationship between the publication and New Orleans; how do you highlight the city and their history?

Michael Barclay: As somebody who's worked in experiential, creating gatherings and experiences for almost 25 years now, the venue is always important when you're trying to set the box where you are creating for your community, for your audience. New Orleans has been that backdrop for us for almost 30 years now. 

New Orleans is the convergence of our mission, our brand, in a city that is perfectly matched for that energy. New Orleans is as much a part of Essence Festival of Culture as Essence Magazine is to Essence Festival. 

It is very much a partnership that has created this cultural movement. To be more inclusive, and highlight more of those local relationships and talent is very intentional. It has been something that we have put a lot of energy and effort into over the last couple of years. 

This will be my third festival this year. I think Barkue, you started maybe a year or two before me. We're a fairly new crew that is working to help grow and reshape and solidify those relationships. Even with how we handle the management of the festival. 

Our VP of Essence Festival, Hakeem Holmes is a hometown boy from New Orleans. He's the pride and joy. They love to see him coming. He's always enlightening us on the things that we need to be focused on for the city and how we make the best partnership and make the best impact on the area.

It was intentional what you saw last year. It's intentional this year. We dedicated our entire festival edition of the magazine as a love letter to New Orleans. It's a symbiotic relationship that is one of the key reasons why this festival is the Super Bowl of Culture.  

I would love to hear about the talent aspect of the festival. Last year, Megan Thee Stallion headlined. In previous years, Beyoncé and Prince have served as headliners. What is the formula between balancing local talent, national talent and diasporic talent at the festival?

Zawolo: As we grow the festival, the intentionality becomes even more and more important. And, what we do in understanding where we are as a brand. 

We're 30 years into the festival, the brand is 55 years. What's traditionally known as the Essence Woman is now bringing her daughter. It's multi-generational. We also know that the world is as big as your cell phone, so people are now exposed to different types of content and music. 

We see the influence of Afrobeats and Caribbean music. We are intentional about making sure that every night really speaks to multiple generations, but it's anchored in a generation. It's like, who's bringing, who to the concert on Friday? Is it the daughter bringing her mama? 

It's anchored in  that younger demo, but we're going to make sure that they're going to have a collective good time there. Saturday is usually our heaviest night. We have our living legends that show up there; that really cuts across generations. This is anybody can bring anybody, but let me tell you, you're going to be able to teach each other, connect with each other with the different groupings of talent that we have.

We try to make sure that there is something that speaks to us, but that that connects with the diaspora on as many nights as possible. Sometimes it's not because they're from a different country, but because we know the music also resonates.

If you think of Janet Jackson, you can go anywhere in the world. She can check off that box, although she's not from there. You can create those ties, but we also are intentional about having Ayra Starr and Machel Montano. Last year we had Tems and Wizkid. The goal is to continue to grow what that looks like, because we are a global brand and that is our diasporic and global intent in connecting the global Black community is really important.  

We are intentionally multi-generational. We intentionally lead into where a multitude of generational communities can come together and have fun together. There is something for everybody. We have a unique opportunity with Essence as the brand grows to be able to not only speak to what they want to call the aunties, I call the punties. I also think that this is where we get to educate the next generation on where we're coming from. We also get to learn from them on where they are and where they want to go. 

What a beautiful way to kind of tie all of these connections. Last year, the festival celebrated 50 years of hip-hop; this year you're celebrating the 30th anniversary of the festival. What is the intention behind this year’s music programming?

Zawolo: Paying homage to people who had done some historical things on our stages. We have Janet [Jackson] back. People are like, “Oh, we saw Janet two years ago,” but Janet is also one of the highest sellers in the festival's history. 

If we're going to celebrate, let's celebrate, because we know Janet never disappoints. We also want to lean into some of the [older] talent, like Charlie Wilson, Uncle Charlie. He's graced that stage so many times, but yet it's still very relevant. Using this moment to reignite things that we've done in the past and bring them back to life that we know the audience missed.

Frankie Beverly, who is going to come, this is probably going to really be his last performance. The passing of the torch. This year was about having to be intentional about what other milestones are happening that are important to this culture. Cash Money is also celebrating 30 years. Who better, right?  

Essence has been in New Orleans for 30 years. Cash Money and crew are from New Orleans. Juvenile just got the key to the city from the mayor. We want to honor and celebrate him, but we also want to recognize the influence that this group of very creative, entrepreneurial, rappers and artists have had on culture, because there was a time where we all were backing that ass up. 

Making sure we highlighted milestones, connecting with people who have historically been a part of making history with us, introducing some new ones — that's what we have to do. We have to set up now for the next 30 years. We want to go to the soul of what appeals to our audience, and we're really all about good music.  

I think the 30th year just continues to do what we do. As we look to grow and connect demos, Megan Thee Stallion is a very viable option because again, the daughter now is going to bring the mama. Intergenerational diasporic and connecting demos, I think that only happens at the Superdome. That's also happening in the convention center, which I believe is honestly the soul of the festival. 

What are your hopes and aspirations for the next 30 years of the Essence Festival of Culture? Will Essence Fest always be in New Orleans? Are we going to have an Essence Fest in Lagos, Nigeria?

Barclay: Being on this side of [EFOC], seeing the true impact of the festival and how it impacts the communities, how it impacts the folks that come to New Orleans, and now, because we've expanded to our virtual audience, the 1.7 million that are viewing around the world, my hope for the festival is that we continue to show up where our community needs us.

We're going to be in New Orleans. We're going to be in our official world as we call it. If you can't make it to New Orleans, you can tune into Essence.com and you can see what's going on there. We are creating virtual experiences, AR experiences, VR experiences, all those things, so really keeping up with the way that people continue to connect with each other, whether they're physically in the same place or halfway across the world.

I think that type of innovation is what I want to continue to see us do and allow us to create that joy that we generate in New Orleans and wherever it's needed for our community.

We’re fortunate enough to be living in the middle of a Missy Elliott resurgence — not that she ever went away.

Three decades into her groundbreaking career, Missy is readying her very first headlining tour, which begins July 4 in Vancouver, British Columbia. The Out of This World Tour runs through August and features her longtime collaborators Timbaland, Busta Rhymes, and Ciara.

The fact that it is her first headlining tour may be surprising, given that she’s been on the scene since debuting with the group Sista in the mid-1990s, and has been a chart-topping star since becoming a solo artist in 1997.

The hip-hop icon released her last full-length album, The Cookbook, nearly two decades ago but time hasn’t diminished her influence at all. In fact, we’re all still catching up to the futuristic vision that Missy and Timbaland introduced to the world in the late 1990s in their songs and videos.

Missy began her career as a member of Sista, which was a part of the Swing Mob, a musical collective working under Jodeci’s DeVanté Swing. That crew included a number of future world-changers, including Missy, Timbaland, Ginuwine, Tweet, Stevie J., and two legends who have since passed on, Magoo and Static Major. After Sista was dropped from their label, Missy, by all accounts, would have been perfectly happy to settle into a life as a songwriter and producer. But something bigger was beckoning. 

Persuaded by Elektra’s Sylvia Rhone with the promise of her own label, Missy agreed to turn in one album as a solo artist. That album, 1997’s Supa Dupa Fly, made Missy not just a star but an icon, and changed the course of her life. It began a career that, over a quarter-century later, found her inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame — she was the first female rapper ever to be nominated for the latter.

And that’s just the beginning of the accolades. There are the four GRAMMY wins and head-spinning 22 nominations. She was also honored alongside Dr. Dre, Lil Wayne (who has not been shy about calling Missy his favorite rapper), and the woman who gave Missy her first solo record deal, Sylvia Rhone, at 2023’s Black Music Collective’s Recording Academy Honors event. Missy was also a key participant in the GRAMMYs tribute to a half-century of hip-hop that same year.

Throughout it all, Missy has remained humble. When speaking to GRAMMY.com in 2022, she reflected on how she and longtime collaborator Timbaland had no idea of their impact at the time.

"We really just came out with a sound that we had been doing for some time, but we had no clue that it would be game changing, that we would change the cadence — the sound of what was happening at that time," she said. "No clue!"

"Her whole existence is based on moving us and influencing us," says her longtime manager Mona Scott-Young. "She wants to be able to touch people."

And that she has. To celebrate the Missy-aissance, GRAMMY.com spoke with Missy's colleagues and collaborators for an insider’s view on the course of her career and what makes the four-time GRAMMY winner unique. 

The quotes and comments used in this feature were edited for clarity and brevity.

Missy’s Impact Began With Her First Guest Verse 

The first time many people took note of Missy Elliott was her verse on the 1996 remix of Gina Thompson’s "That Thing You Do."  

Gina Thompson (singer): I was in the process of completing my first album, Nobody Does It Better. Actually, it was complete. So what happened was, my A&R at the time, Bruce Carbone at Mercury Records, wanted to have Puffy do the remix.

Puffy was like, "We have this person that's really talented. Her name's Missy, and she used to be with the group Sista, and she's a phenomenal writer. She's working with a lot of other artists, she’s definitely the next big thing in the R&B/hip-hop world." We were like, cool.

I believe we actually heard it over the speaker phone in Bruce’s office. I know that I said that I loved it, and I felt her style was unique and different. It grew on me in a great way. I just felt like it was a smash. She definitely had added a great touch to it. I was super-excited about it.

Merlin Bobb (former Executive Vice President, Elektra Records): I was blown away by the simple fact that I knew she was a great songwriter. But when I heard her rhyming, I thought it was the most unique style that I had heard in some time.

Digital Black (former member of Playa, part of the Swing Mob): A lot of people only knew her as a writer or an R&B artist, but when she came on that Gina Thompson record with that rap, it changed everything. It allowed her to be even more herself.

Mona Scott-Young (manager): Oh my God, have you heard that song? It’s her ability to use expression and evoke emotion without even using words. She said, "He he he haw," and we all found a new way to bounce. There was something fun and magical and different that spoke to what we would come to know was this incredibly vivid imagination that would take us places sonically and visually that we didn’t even know we needed to be. 

Read more: 50 Artists Who Changed Rap: Jay-Z, The Notorious B.I.G., Dr. Dre, Nicki Minaj, Kendrick Lamar, Eminem & More 

She Changed The Sound Of Hip-Hop With Her Debut LP 

Missy’s first solo album, Supa Dupa Fly, came out the following year. It gave new energy to a hip-hop scene that was still reeling from the deaths of 2Pac and Biggie.

Anne Kristoff (former Vice President of PR, Elektra): She 100 percent did not want to be an artist. She's like, "I'm not an artist. I want to be Diane Warren. I'm going to write the songs. I'm going to be behind the scenes."

Merlin Bobb: I started talking to her regarding being an artist. She was totally against it. "No, I want to be a songwriter." And also, just to be honest, [Sista] had been dropped from Elektra prior to my conversations with her, so she wasn't too eager, I think, to jump back aboard.

It took about six or seven months of us discussing ways to do this. I spoke to Sylvia [Rhone, then-head of Elektra], and I said, "She's an incredible songwriter. Let's offer her a production deal or a label deal where she can not only just look at herself as an artist, but at the same time develop and nurture artists under her own banner." Sylvia thought it was a great idea. 

We both talked to Missy about it, and she said, "Okay, I'll do one album." I was ecstatic because she was writing some great songs, but she also gave us her first album, which was, needless to say, a classic.

Kathy Iandoli (author, "God Save the Queens: The Essential History of Women in Hip-Hop and Baby Girl: Better Known as Aaliyah"): In God Save the Queens, I referred to her as the Andy Warhol of hip-hop, in the sense that she took the art and the cultural aspect of it, and she just put this spin and interpretation of the art that no one had ever really done prior.

With Missy’s arrival around ‘97, we were at a point in time where hip-hop was in a complete state of confusion. We did not know where it was going to go. Missy made high art hip-hop that was commercially accessible. And for that, she changed the entire game. 

Gina Thompson: When she had her first project with the whole vision — not only her sound, but her songwriting style, the look — everyone was like, "This girl went out on edge. I'm gonna do a little bit of the same thing and not be so worried if I don't sound so average, what people are going to think. Because she's out on the edge doing it." And I promise you, ever since she came out, that you started hearing a lot more of female rappers tweaking their voices.

Lenny Holmes (guitarist): In hip-hop, everybody would think that it's a whole bunch of computer generated stuff. Missy Elliott does not approach it like that. She loves live instrumentation, but she likes to take bits and pieces of it. She simplifies it, and it is placed uniquely in the track at certain points. That's what makes up the structure of the song.   

Mona Scott-Young: Everything from the way she looked to what she was talking about to the way she delivered that music and what she represented in terms of being nonconforming, not looking like the other female rappers of the day — I think all of those elements were the perfect lightning in a bottle. The way she rode that beat, both lyrically and with her delivery, was very, very different from everything else that we were hearing. 

Read more: Revisiting 'Supa Dupa Fly' At 25: Missy Elliott Is Still Inspired By Her Debut Record 

She Reinvented The Music Video 

You can’t think of Missy Elliott without picturing her iconic music videos, many done in collaboration with director Hype Williams. 

Brian Greenspoon (former International Publicist, Elektra): I mean, she came out of the gate wearing a garbage bag, and made it the coolest thing anyone had ever seen. 

Merlin Bobb: She said, if I put out this album — initially we were talking about a single deal, but we went into an album — there’s two things very important to me: the dance aspect and the visual aspect.

Kathy Iandoli: The thing that I really loved about Missy's music videos, she was a big budget music video person. She got the men's music video budget.

Anne Kristoff: When you think about the "Rain" video — I'm just guessing, I don't want to put words in her mouth — but I think when she saw that the vision in her head could become real out in the world, that anything she could think of could happen, that maybe it made it a little more fun for her to be an artist. I hope.

Digital Black: Missy is one of the funniest people you’ll ever meet. People maybe don't know. She loves joking. So that was just her being her. 

Gina Thompson: You started seeing a lot of people doing certain robotic-type images or moves in their videos to almost mimic her "Supa Dupa Fly." She’s the creator of that.

Earl Baskerville (manager/producer): Missy would get with the director, and she would sit there and go over the whole treatment. A lot of the visuals came from her. She was very hands on. Today, you can shoot a video in four or five hours. But Missy’s video shoots was so long, I used to hate it. We would be there fifteen hours for a three minute video!

She Was Avant-Garde But Still Pop 

Missy’s musical and visual style was like nothing anyone had ever seen. Yet she still became a star. How did she manage to be both innovative and accessible? 

Kathy Iandoli: You can't make something that the general public can't access, or speak over their heads.

Digital Black: Even if you said it sounded weird, it still had some soulfulness to it. I think that was what allowed her to touch so many different people. 

Merlin Bobb: When you have an artist that stands out, but it doesn't go over your head musically, artistically, lyrically, then it works. People, when they heard and experienced something new and fresh that was easy to digest, but it was unique, they gravitated to it. 

Brian Greenspoon: How was it sold to a mass audience? I mean, the sound was breakthrough. What Timbaland was doing with drum sounds, and the way they were building these very sparse rhythms and sound beds, they were breaking ground. But the thing that worked is that they had these incredible songs that Missy was writing and that she had these incredible featured artists on. 

Gina Thompson: To try to figure out what her brain is doing, I’ve been gave that up.

Earl Baskerville: Nobody could figure out what we were doing, because they couldn’t understand the sound.

Lenny Holmes: Her rhythmic style of how she would do the vocals was just unheard of. Like, doubling up accents. The things that she started doing — you would hear a deejay do a scratch on a record. You would not hear a singer do it. I was like, What in the world?

Anne Kristoff: She was doing these really creative things that no one else was doing visually. And the sound was different than whatever everyone else was doing. So it wasn't a hard sell for the press.

She Was A Master At Working With Other Artists 

Missy was far more than just a solo star. All throughout her career, she continued her first love: writing and producing for other artists — including Ciara, Aaliyah, Destiny’s Child, and Whitney Houston. 

Lenny Holmes: Missy had a great relationship with singers and rappers, because she could do both. A lot of people don’t know, but Missy can sing. So when we worked with groups that had singing parts on them, a lot of times she would go ahead and lay down the guide track for the actual artist to sing.

Kathy Iandoli: Missy just really understood the artists that she worked with. She saw their strengths, and she helped them utilize them to the best of their capabilities. 

Angelique Miles (former music publishing executive): She was able to relate to the artist and express that artist. She was able to customize and express that artist's story. Whatever she wrote for 702 didn’t sound like what she wrote for Whitney Houston. 

Digital Black: She was good at listening to the artist, seeing what they do, and then, how can you enhance what they do well? Those are the best records. She was great at tailor-making records for people, just from her doing her due diligence on learning who the artist is. Not just going in, "I’m Missy, I can write whatever." I'm gonna write something specifically for you that enhances what you’ve already done.

Merlin Bobb: She would have made an incredible A&R person. I would have hired her back then. She was able to come up with lyrics and melodies and songs and chords and production that to me stood out. She worked with both male and female artists. She really knew how to get an artist not only to sing a great song, but to sing very uniquely and in their own way, because she was a great vocal production coach.

Mona Scott-Young: She's always listening beyond what we hear. Even if there's a song an artist has [that she’s not involved with], she'll say, "Yeah, I would have done this thing differently with this artist. Because if you listen to what she did on this one part of the song, you can hear that there's more range there. But for some reason they didn't push her to go there." That to me is just one of the things that makes her such a great producer and star finder, because she always is looking for what more they can do and how they can challenge themselves to be better.

Earl Baskerville: She had signed an artist that I used to manage named Mocha. And she told Mocha to go in there and just rap. I think Mocha might have did 30-something bars, 60 bars. know. Missy listened to all of the stuff she did, took it, and dissected it. She went in there and took eight bars, not from the beginning of the track — I don’t know where she found it, in the middle or something — and put it on the Nicole Wray record "Make It Hot." When Mocha comes in, that’s actually the middle of the verse somewhere! That was crazy to me.  

Her First Love Was Always Songwriting 

Through it all, Missy’s strength remained (and remains) her songwriting. But what makes her songs stand out, and stand the test of time? 

Earl Baskerville: Missy didn’t want to be an artist. She just wanted to be a songwriter. 

Merlin Bobb: Her songwriting was very soulful, but it also had great melodic edge to it. They’re very realistic lyrics to a young scene that was happening in R&B and hip-hop at the time. So it was somewhat of a fusion of R&B and hip-hop lyrically, and she just had a very strong sense of melody and great hook lines.

Mona Scott-Young: She wasn't talking about the same thing that we were hearing from a lot of the other females in the genre at the time — overt sexuality and material possessions and that kind of stuff. She was engaging, having a good time lyrically, and holding her own with her male counterparts. 

She was giving us music that was great, and it didn't matter that it was coming from a female. She was kind of this androgynous being that was delivering great music. You listen to the song, you just want to party.

Read more: Missy Elliott Makes History As First Female Rapper Nominated For Songwriters Hall Of Fame 

She Changed The Artists Who Came After Her 

As with all major innovations, it didn’t take long after Missy broke big for her influence to be felt. 

Kathy Iandoli: The special relationship between Aaliyah, Missy, and Timbaland was the fact that together they all created a new sound that would set the standard of hip-hop and what we now define as alt-R&B. They invented a new subgenre. It was something that Missy was able to continue along and then create a sound on her own terms. 

Gina Thompson: Many people were trying to emulate her whole different style.

Lenny Holmes: [Were people copying her?] Most definitely. But there's only one Missy. And I got to say, there’s only one Timbaland too. You hear that trademark voice or the trademark lick, and you just know that's them. 

Brian Greenspoon: I think she influenced just about everybody that came after her. The sound of hip-hop changed after her and Timbaland dropped that music. The way the people produced their drum sounds and their beats, the use of hi hats, it all changed based on Missy and Timbaland.

Merlin Bobb: Most hip-hop/R&B collaborations at that time were hip-hop records with vocal hooks from R&B artists. She kind of flipped it, where she worked from the R&B side and made the vocals and the production more hip-hop friendly.

Mona Scott-Young: Her whole existence is based on moving us and influencing us. She wants to be able to touch people. So when we see artists who you can hear or see the influence, then you know that she's done her job.

There's so many artists — Flyana Boss, a little bit Cardi, a little bit Nicki. They all, I think, have been influenced by Missy, her look, her sound, in one way, shape or form. And that is the greatest compliment, to inspire a generation and see them take what you've done to another level. But then she's constantly also evolving and keeping everyone on their toes.

Learn more: 8 Ways Aaliyah Empowered A Generation Of Female R&B Stars

Considering Missy And Her Legacy 

Everyone interviewed for this piece had so much love for Missy. Here’s a small sample.

Brian Greenspoon: Missy is one of the most professional, talented, creative artists I've ever had the luck to work with. I'm happy to see that she is being recognized for being the icon that we all saw that she was becoming back then. 

Lenny Holmes: Even today, in whatever we're doing, we use what we've learned from Missy Elliott. It’s mixed in whatever we do. It’s amazing what she has done for herself, but she has definitely helped people along the way, and we will forever be grateful to her.

Digital Black: She's a one-of-one, God-given talent. She earned every award, every accolade, accomplishment. Her work ethic was phenomenal, and nothing was given. Big sis earned everything, and I just want to say I love her, and it's been a pleasure and an honor to be a part of her career.

Kathy Iandoli: There’s so much of the art that we have right now that we have to thank her for.

Mona Scott-Young: This has been an incredible journey. I always talk about being incredibly blessed to have had the opportunity to play a role when you have somebody like her who has touched so many people globally and whose music and entire presence hold this special place in fans’ hearts. 

Every day it's just about, how do we continue to push forth, break boundaries, challenge ourselves to do things bigger and better than we did it the last go round.