Between selling over 100 million records and being the subject of one of the most controversial moments in pop culture history, Janet Jackson has experienced the highest highs and most crushing lows of the music industry. This episode of Black Sounds Beautiful takes a look at the music pioneer's decades-long journey.

Jackson has earned five GRAMMY wins throughout her prestigious career: Best Long Form Music Video (Rhythm Nation 1814), Best Rhythm and Blues Song ("That's the Way Love Goes"), Best Short Form Music Video ("Scream" and "Got 'til It's Gone") and Best Dance Recording ("All For You").

In the 40 years since her self-titled debut album and decades removed from her groundbreaking third and fourth releases — Control and Rhythm Nation 1814 — Jackson remains noteworthy and relevant. In late 2021, Hulu and the New York Times launched a documentary titled Malfunction: The Dressing Down of Janet Jackson, and in early 2022, A&E and Lifetime launched a four-hour self-titled docuseries.

Watch this episode of Black Sounds Beautiful to learn more about the 26-time GRAMMY nominee's one-of-a-kind career.

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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.

The Recording Academy is continuing to honor the legacy of hip-hop, to one of the most popular genres of music in America. Held on Dec. 4 at the GRAMMY Museum in downtown Los Angeles, Resonance: Celebrating 50 Years of Hip-Hop was presented by the Academy's Black Music Collective and sponsored by City National Bank.

The Resonance event took over the Museum's fourth floor, which is home to the recently unveiled "Hip Hop America: The Mixtape Exhibit." There, members and leadership from the Academy and BMC, along with musicians and industry professionals, celebrated 50 years of music that has transcended boundaries, inspired advocacy and fostered impactful social change. 

Guests were welcomed into the space by an unparalleled collection of artifacts — an ode to the genre through memorabilia and interactive displays showcasing the evolution of hip-hop music and culture. Tupac’s all-white suit — worn in the last video he made — is displayed next to Notorious B.I.G.'s red leather pea jacket worn in the music video for Junior M.A.F.I.A.’s "Players Anthem." The impact of the museum’s intentionally curated collection evokes the extended struggle of the Black experience in America, while celebrating its culture, creativity, and endurance against all odds.

The power of connection and representation was emphasized by five-time GRAMMY winner Jimmy Jam, an R&B songwriter, music producer, and illustrious GRAMMY Museum Board Member. "The idea of 'resonance' struck a chord in me because the mission is unification, amplification and to celebrate Black music. Nothing resonates more in our everyday lives than hip-hop." 

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A legendary figure who made his mark in the '80s by producing artists such as Janet Jackson, Jimmy Jam and producing partner Terry Lewis, were inducted into the Rock and Roll Hall of Fame in 2022. 

"I'm proud to have known my partner Terry Lewis for 50 years. We were raised on hip-hop," he told the crowd. "Hip-hop inspires, it embodies transcendence. Hip-hop advocates and fosters social change, and the cultural significance is astounding."

Jimmy Jam highlighted the integral role of partnerships between the Black Music Collective and sponsor/supporters such as City National Bank and Amazon Music. Such relationships have enabled the third year of the Amazon Music-sponsored Your Future Is Now, a scholarship program.

"We have the opportunity to pour knowledge, resources and many opportunities into the young talent and the young creatives of the future. And that's what we're here to do," he continued.

GRAMMY Museum Board Member and Executive Vice President of City National Bank, Linda Duncombe, who was introduced by Jimmy Jam as "music’s best friend" spoke to the critical work of support. 

"We protect and celebrate those who have shared their gift as well as ensure their artistic contributions are accessible for people of all walks of life around the world and for future generations," she said, adding that as a Museum board member, "educating the next generation of artists and teachers is always top of mind. The 'Mixtape Exhibit' really will inspire students to pursue hip hop and the music industry."

Host Lady London, a rapper and songwriter from The Bronx summed up the power of hip-hop and its ability to transcend music. A hyped crowd enthusiastically received her words.

"It's beautiful to see what we have been able to cultivate in such a short amount of time. We are the culture, we have the power to shift the culture and we continue to move mountains," she said. "We are influences in fashion and design and the Black family education, economic empowerment, the arts. We're limitless.

"We have balanced everything and there is nothing that is quite parallel to that," Lady London continued. "I'm so proud to be a part of the culture."

As guests mingled among the exhibits many displays and highlights like original lyric sketches, mixtapes, and an interactive "sonic playground" where guests could interact with recording devices, make 808 beats and record tracks. Academy CEO Harvey Mason Jr. reflected on the culmination of a year celebrating the 50th anniversary of hip-hop. 

"Hip hop has been a defining force in our culture and it is so important to be able to honor it in this way" he said. "This is the end of a year that started with us celebrating at our GRAMMY Awards show last season."

Los Angeles' DJ Jadaboo — who has performed for Tommy Hilfiger at New York Fashion Week and a slew of celebrity parties and high profile events — set the vibe all night. Her mix spanned all five decades of the genre and beyond, from R&B to hip hop classics by Jay-Z and Drake, stacking much-sampled songs like Curtis Mayfield’s "Pusher Man" into the set. 

As the event carried on, Jimmy Jam’s earlier remarks echoed between the museum’s walls. "Look at what's been done in the last 50 years. You see it all around here," he said. "Now take a look at each other and know all that is happening right now… is because we are the people that are gonna continue to carry this on for another 50 years."

The GRAMMY Museum’s "Hip Hop America: The Mixtape Exhibit" runs through Sept. 4, 2024. "A GRAMMY Salute To 50 Years Of Hip-Hop" will air Sunday, Dec. 10, from 8:30 to 10:30 p.m. ET and 8 to 10 p.m. PT on the CBS Television Network, and stream live and on demand on Paramount+.

How To Watch "A GRAMMY Salute To 50 Years Of Hip-Hop": Air Date, Performers Lineup, Streaming Channel & More

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."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

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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Lil Nas X became a global sensation practically overnight, but it wasn't an accident.

The American singer and rapper — born Montero Lamar Hill — became fluent in music and pop culture at an early age, becoming a meme aficionado. His love for internet culture cultivated the perfect recipe for his debut single, "Old Town Road," to become one of the most viral hits in music history; the song also prompted a necessary conversation about the bounds of genre. 

"Old Town Road" rose to the top of the Billboard Hot 100 chart, and still holds the record for most time spent at No. 1 at 19 weeks. The single later helped Lil Nas X snag two GRAMMY Awards for Best Pop/Duo Group Performance and Best Music Video. (To date, he's won 2 GRAMMYs and has received 11 nominations overall.)

Aside from his immense musical talent, Lil Nas X — who came out as gay on social media during his Hot 100 reign — has been a fierce champion for LGBTQIA+ and Black communities.

"It's just acceptance of gay people. And they see that as a bad thing, like, They're trying to normalize it. You know what? Yeah. That's actually what I'm trying to do," he told GQ in 2021.

At just 24 years old, Lil Nas X has plenty more history-making and game-changing moves in store. As he revealed during his March 2023 campaign with Coach, "My next big chapter is coming."

Press play on the video above to learn more about Lil Nas X's industry-altering career, and check back to GRAMMY.com for more new episodes of Black Sounds Beautiful.

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