essay on r&b music

• Advertise your Music
• R&B Artists
• R&B Videos
• Song Guides
• Best Guitar Lessons Near Me
• Best Singing Lessons Near Me
• Live R&B Radio
• Submit Music

Essay about the Role of R&B Music in Culture

It is normal for college students to find it difficult to understand an essay topic. But the big issue is how to write an essay according to the instructions of the paper. An essay topic related to the role of R&B music may pose a little challenge. Students often need a well-written sample to get the perfect picture of what to write. If you are a student with a similar topic, go through this sample essay, and use it as a guide.

Sample Paper: The Role of R&B Music in Culture

Music connects human beings irrespective of culture, ethnicity, or race, and this has become accepted in many regions of the world. Rhythm and Blue or R&B is of African-American origin born popular in the 1940s but has a growing fan base in contemporary times. The role of the R&B lies in connecting with the people, expressing personality, and asserting cultural freedom.

Rhythm and Blues provide the avenue for musicians in this genre to find expression and connect with the people of a particular culture. Like every human on earth, these musicians have encountered life problems. They face racial discrimination and continuous harassment from law enforcement agents. 

Since R&B had its origin from the Black experience (Shaw 71), the emotional connection is often intense. An example of the experience that triggers the same emotional expression is the case of Trayvon Martins.  George Zimmerman shot and killed Martins on February 26, 2012. R&B uses an incidence like this to find expression and create a familiar voice, especially for the black community. 

The intimacy and the ability to relate to the content of R&B music play an essential role in culture, especially in black communities. Most musicians in this genre use their songs as a platform for passing a message or expressing their personal beliefs. 

Although it can turn into a civil movement or used for political propaganda (Higgins 1), in some cases, it has a humanizing end. Imagine how influential the voices and personality of R&B musicians would be in a time of the global pandemic. These powerful voices can make governments begin to care for the masses. Thus, the outcry will yield better healthcare and lasting infrastructure. 

Freedom to live and practice inherited culture can come under threat by social and political forces. R&B, and the movement it drives, can be a force for good and help in liberating cultures considered to be less civilized.

 Limited understanding of the culture of other people can cause social frictions and the inability to live in harmony. With well-written lyrics and well-presented songs, R&B can articulate the grievances by lesser cultures. This will unite different cultures and generate mutual understanding and respect for all cultures of the world. 

The role of R&B music in culture goes beyond the melody, sweet voices, and instrumentals. It connects people who share a common history, presents an avenue to pass global messages, and becomes a tool for racial and ethnic freedom. With the discouragement of the use of arms and ammunition and the approval of non-violent means, R&B can use its popular music genres to forge unity and understanding between cultures. 

Rounding Off

Once you have written your essay according to the above format, you should go ahead to choose a style of reference. If you look at the sample essay, you will notice some in-text citations. This is in the MLA style or Modern Language style, but you may pick APA style or ASA style depending on the requirements of the paper. 

Some supervisors give students the freedom to choose the style of their choice. The important thing is to pay attention to the instructions for the paper. The lack of following instructions can lead to a failed paper. Thus, you will lose the efforts and money spent. 

It is impossible to downplay the importance of proper research, as this serves as the bedrock for an excellent paper. There are many offline books and tons of online resources that can serve as authentic sources of information. When you gather the necessary ideas and materials, writing an essay on R&B will be easy. 

The reason most students claim to not get materials for their essay is that they did not search in the right places. Google Scholar and JSTOR Research are some of the right places to find materials for academic research. 

The bottom line is to view the sample essay, take note of the thesis statement, and understand how to write the topic sentence and detailed explanation of each point in the paragraph. But sometimes the pressure of academic work can be overwhelming, or you needed to come to terms with the technicality of essay writing. At that point, you may seek help from AffordablePapers to get your essay written for you at a reasonable price.

Reference(s)

1. Tell It Like It Is: A History of Rhythm and Blues

Curled from https://folklife.si.edu/talkstory/2016/tell-it-like-it-is-a-history-of-rhythm-and-blues

2. The Origins and History of R&B Music

Curled from https://www.liveabout.com/what-is-randb-music-2851217

3. Category: R&B

Curled from https://official.fm/rb/

4. How Modern R&B Revitalized Pop Music

Curled from https://www.udiscovermusic.com/in-depth-features/modern-rnb-revitalised-pop-music/

5. Rhythm and Blues’ influence on Pop Culture

Curled from https://prezi.com/pf2hsd-bwfhf/rhythm-and-blues-influence-on-pop-culture/

6. R&B CULTURE

Curled from https://prezi.com/tpv5nhfoz5ls/rb-culture/

7. The History Of R&B Music

Curled from https://www.indiegogo.com/projects/the-history-of-r-b-music#/

Since 2005, Singersroom has been the voice of R&B around the world. Connect with us via social media below.

Related Posts

10 Best Otis Redding Songs of All Time

15 Best Rock Bands of All Time

10 Famous Singers from Hawaii

10 Best Linda Ronstadt Songs of All Time

“unholy” by sam smith: deciphering the song’s profound meaning, 10 best pokémon earbuds for gaming and music.

100 Best Worship Songs of All Time

Worship songs are a powerful form of music that serve to uplift, inspire, and connect people with a higher power...

50 Best Southern Gospel Songs of All Time

The Soul Train Award winner for "Best Soul Site," Singersroom features top R&B Singers , candid R&B Interviews , New R&B Music , Soul Music , R&B News , R&B Videos , and editorials on fashion & lifestyle trends.

Trending Posts

• Greatest Singers of All Time
• Best Rappers of All Time
• Best Songs of All Time
• Karaoke Songs
• R Kelly Songs
• Smokey Robinson Songs

Recent Posts

• 15 Best Guitar Players of All Time
• 15 Best Folk Music Singers of All Time
• 15 Best Saxophone Players of All Time
• 15 Best Piano Players of All Time
• 15 Best R&B Singers of All Time
• 15 Best Country Singers of All Time

Good Music – Best Songs by Year (All Genres)

• Best Piano Lessons Near Me
• Best Music Gear

Musical Equipment

• Accessories
• Audio Equipment
• Musical Instruments

© 2023 SingersRoom.com - All Rights Reserved

The evolution of R&B: from the 90s to now

R &B, along with hip-hop, are arguably the two biggest genres of contemporary mainstream music. Nowadays they are arguably interchangeable. Their rise to becoming the most popular genres amongst our generation is an almost 50-year journey beginning in the 90s and culminating with the stardom now enjoyed by prominent R&B artists, such as Lizzo and The Weeknd.

30 years ago, 1990 was a major turning point for R&B. The R&B singles chart in America became known as ‘Hot R&B singles’ in October of that year, after eight years of being called the ‘Hot Black Singles’. The significance and root of this racial label is clear; R&B was considered a genre listened to specifically by black people. R&B’s transcendence beyond racial lines in the present shows that there has been a clear, and much welcomed, shift in the way in which society tries to label everything.

At the beginning of the 90s, R&B was heavily infused in the sub-genre of new jack swing: an amalgamation of 80s R&B and hip-hop production techniques. Examples of new jack swing songs from this time are Michael Jackson’s ‘Remember the Time’ and Whitney Houston’s ‘I’m Your Baby Tonight’.

R&B traded in the slow-jams and chill vibes of the late 90s for funkier and more upbeat sounds with faster tempos

In 1995, Mariah Carey, who was the most popular mainstream singer of the time thanks to her pop ballads, gained more creative control over her artistry and opted to produce more R&B orientated music. The executives at her record company were very wary of her transitioning into full on R&B as it wasn’t considered commercially bankable at the time. When she revealed she wanted to include rapper Ol’ Dirty Bastard on the lead single for her album that year, they thought she was deluded to believe people would enjoy an R&B/hip-hop hybrid song. The single, ‘Fantasy’, made her the first ever woman to debut at the top of the charts and she stayed there for eight weeks. Her gamble paid off and ushered in a new era for R&B, the hip-pop hybrid, that went on to influence other famous songs featuring both R&B singers and rappers such as ‘Mo’ Money Mo’ Problems’ by The Notorious B.I.G., and ‘Crazy in Love’ by Beyoncé and Jay-Z.

At the beginning of the 00s, R&B traded in the slow-jams and chill vibes of the late 90s for funkier and more upbeat sounds with faster tempos. Some 90s artists like Aaliyah and Mariah Carey were able to embrace the change for a new era that kicked off with dance infused R&B tracks like Ciara with ‘1, 2 Step’, and Chris Brown with ‘Run It!’. The new century also saw the debut of Rihanna, who emulated the dance infused R&B genre with songs such as ‘Pon de Replay’, but later on experimented with more genre-bending R&B songs such as ‘California King Bed’ and ‘What’s My Name?’.

Beyoncé is still an R&B artist, albeit one who has mastered the art of genre-fluidity

It was the 10s that marked the advent of classic R&B’s death. Up until this point, R&B had evolved drastically but there was still a common sound connecting all these different eras and movements. 00s artists such as Justin Timberlake and Alicia Keys were still able to top the charts at this time with hits such as ‘Suit & Tie’ and ‘Girl on Fire’ respectively. The beginning of this decade saw the last days of classic R&B artists, whilst the rest of the decade saw R&B become a genre of many different faces and sounds.

An artist who has survived many different eras of R&B is Beyoncé. She comes from the hip-pop era of the late 90s and has successfully experimented in many different forms of the genre. In 2018, with husband Jay-Z, she released a collaborative album, Everything is Love . The album’s lead single, ‘Apeshit’, sees Beyoncé, famous for her pioneering sounds in R&B, deliver a flawless performance in what can only be described as a trap song. Despite this transition into pure hip-hop, Beyoncé is still an R&B artist, albeit one who has mastered the art of genre-fluidity.

R&B over the past 30 years has evolved, from what was originally a genre of rigid conformity, guidelines and tropes, into a style of music permeated by different sounds and explored by artists such as Frank Ocean, with sometimes experimental R&B, and SZA, who has at times incorporated more traditional neo-soul sounds. It is a genre now only defined by the artist’s intentions and creativity rather than their colour or a specific sound.

Comments (1)

I remember watching this video on MTV for the first time in the 90s. Never thought it would become such a classic. In fact, all Mariah’s big songs became classic.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed .

• Urban Blues
• Electro-Funk
• Detroit Techno
• New Jack Swing

A Tribute to the Music of Motown: featuring Boyz II Men

Key Attributes of R&B

• Love/Relationships
• Entertainment

Musical Features

• Arrangement
• Polyrhythms

Instruments

• Electric Piano/Synthesizer
• Other Electronic Instruments

“There’s different cats with different approaches to R&B. There’s more of a pop sensibility to Chris Brown and those guys, which started with Usher. Now, it’s elevated to a more futuristic sound because of video games and sonically, things change.” Anthony Hamilton Neo-soul Vocalist

In 1990, Billboard (the leading music trade magazine that charts popular music) reintroduced the term R&B—the retro label that had been coined (as rhythm and blues) in the 1940s—to categorize all styles of Black popular music other than hip-hop. R&B embraces the soulful, medium-tempo ballads of Luther Vandross, Anita Baker, and Gerald Levert; the funky up-tempo songs of Janet Jackson and Michael Jackson; Whitney Houston’s soaring vocalizations and pop arrangements, as well as the vocal group harmonies of After 7, TLC, Jodeci, and Boyz II Men.

Context and History

Record companies and music trade magazines have used various labels to market and chart the sales of music recorded by Black artists since the 1920s. Company executives, in the context of a segregated society, initially assumed that African Americans were the sole consumers of this music, including blues, jazz, gospel, spirituals, novelty, and pop songs. “Race music,” the first term targeting this market, had positive connotations among African Americans in the 1920s and 1930s, but later acquired a racist interpretation. In 1949 Billboard writer Jerry Wexler, who later became an executive at Atlantic Records, substituted the label “rhythm and blues” to describe the rhythmic and blues qualities of the music associated with the post-World War II era.

When Black music shifted from its primarily blues to a gospel foundation during the 1960s social upheaval, the label “soul” better captured its spirit and emotion. African Americans were the first to use this term in 1964, the mainstream press, Billboard and the broader music industry then adopted this label in 1969.

Music Diversity: 1970s – 1980s

“I learned about music that didn’t have any barriers or any kind of, like, containment. I learned about wild, crazy topics and ways to express yourself that had never been written in quite that way before. I learned that a human being could be able to defy all stereotypes and be the epitome of badassness.” Alicia Keys

In the 1970s and into the early 1980s, Black popular music evolved in so many different directions that it prompted yet another label change. The Black Music Association, established in 1978, campaigned for the use of the term “Black music.” Record companies and the music trade press adopted the label in 1982, which became the umbrella term for all styles of Black popular music for the next ten years. Simultaneously, MTV became an important media outlet for broadening the consumer base for Black popular music.

“We launched [Black Entertainment Television] Jan. 25, 1980, broadcasting two hours a week on Friday nights, and reached 3.5 million households. In 1981, when MTV didn’t feature rap and hip-hop artists, it gave us an opening. We got free music videos from the record companies.” Robert L. “Bob” Johnson Founder, Black Entertainment Television

“It’s not enough to say the Thriller video forced MTV to integrate. Michael Jackson helped save the network from being shut down. MTV executives had expected to lose $10 million before they showed a profit. The network quickly lost $50 million...” Rob Tannenbaum Journalist

Michael Jackson’s eclectic album Thriller (1982)—a mix of rhythm and blues, funk-rock, and funk tracks—broke through the exclusionary policies that prevented the exposure of any Black artist until 1983, when the company aired three music videos—the funk-rock “Beat It,” and the funk-derived tracks “Billie Jean” and “Thriller”—from this album. The success of this album led to the broadcast of music videos featuring other Black artists, including Prince (“Purple Rain,” 1984), and in 1988 hip-hop artists on hip-hop show Yo! MTV Raps. Through the appearance of these and other African American artists on MTV, the programming became aesthetically darker and Michael Jackson became known as the “King of Pop.” Both occurrences suggest that Black music had become a component of contemporary pop music.

Beyond MTV’s programming in the 1980s, the diverse sounds of Black music reverberated across African American communities that included the personalized ballad styles of Freddie Jackson (“You Are My Lady,” 1985), Anita Baker’s “Sweet Love” (1986), Stephanie Mills’s “I Feel Good All Over” (1987), Maze featuring Frankie Beverly’s “Before I Let Go” (1981), the synthesizer driven post-modern R&B-funk-rap style labeled New Jack Swing of singer Keith Sweat (“I Want Her,” 1987) and the group Guy (“Groove Me,” 1988). While the popularity of these artists centered in African American communities, record labels targeted a broader demographic with the release of interracial duets singing ballads in a Black style such as Michael Jackson and Paul McCartney’s “The Girl is Mine” (1982) and Patti LaBelle and Michael McDonald’s “On My Own” (1986).

“I wanted to marry rap with R&B with pop, classical, funk, and fusion and mix it all together. Today they are doing the New Jack Swing which is fusing and mixing R&B singing with rapping. No matter how you do it, or whatever way you do it, it is New Jack Swing.” Teddy Riley

As the number of white artists performing Black music or in a Black style proliferated in the 1980s, musicians and industry executives began to question the appropriateness of the “Black music” label. Eliminating direct racial references to Black music, Billboard chose “R&B” in 1990 to replace the label that remains in currency. This marketing term describes a hybrid or fusion style that often blends past and current traditions with new musical concepts and advanced technologies. Examples are Janet Jackson’s “Nasty” (1986), a synthesized funk-style rhythm and blues produced by the songwriting team “Jimmy Jam” Harris and Terry Lewis in the New Jack Swing style. Bobby Brown’s R&B song “Don’t Be Cruel” (1988) and the ballad “Roni” (1988) by the team Antonio “L.A.” Reid and Kenny “Babyface” Edmonds, combines a rap and break section. These production styles became standard in Black music of the 1990s and beyond.

Technology, Hybrid Styles and Musical Eclecticism: 1990s – 2000s

“We embraced the technology. But being people that don’t really read directions, we were never told what to do with the technology. We just kind of did it off the cuff, and made it work.” Terry Lewis

In the late 1990s and into the new millennium and with few exceptions, hip-hop and technology became the musical framework for R&B productions. The merger of R&B, hip-hop and older genres, and the use of new technologies appealed to a new generation of African American music consumers. They came of age during the rise of hip-hop and their appreciation for 1970s and 1980s Black music came from their parents, who played the music at home. From this group came songwriter-producer-performers such as Sean Combs (a.k.a. Puff Daddy, P. Diddy), Pharrell Williams and Chad Hugo, Swizz Beatz, and Rich Harrison among others, who established themselves in the 1990s. They continued to explore myriad musical possibilities, including extending, adapting, and realigning past traditions to a changing musical scene. Puff Daddy, for example, taps into Diana Ross’s hit, “I’m Coming Out” (1980) for the groove and refrain sampled in Notorious B.I.G.’s “Mo Money Mo Problems” (1997); Harrison borrows from 1970s funk for Beyoncé’s “Crazy in Love” (2003); and the groove for Williams’s “Happy” (2013), although it employs a faster tempo, is similar to “Monkey Time” (1963) by Major Lance.

Collaborations between producers and artists from both hip-hop and R&B blurred the lines between these genres and became common. R&B productions incorporated hip-hop’s beats and rapping style illustrated in the recordings of TLC’s “Ain’t Too Proud to Beg” (1992) and Destiny’s Child’s “Say My Name” (1999), Usher’s “Confessions Part II” (2004) and Trey Songz’s “Say Aah” featuring Fabolous (2010). Retaining the production concepts of older styled ballads (string arrangements, gospel styled vocals and harmonies, and electric and acoustic instruments), artists added their own signature to the tradition as did singer-songwriter Alicia Keys’s “Fallin’” (2001) and “You Don’t Know My Name” (2003) and Aaliyah’s “Miss You” (2002).

A new generation of singer-songwriters added a contemporary ballad style to the eclectic mix of R&B in the second decade of the 21st century. Some fused creative vocal stylings, harmonies and arrangements with sparse instrumentations and the use of live instruments evident in Ledisi’s “Pieces of Me” (2011), Sevyn Streeter’s “Before I Do” (2017), H.E.R.’s “Focus,” and “Best Part” (2019); others delivered their unique vocals over sparsely constructed synthesized tracks such as Khalid’s “Talk” (2019). Technological collaborative experimentations with European producers of electronic dance music added yet another layer to the eclectic R&B sound. Scottish DJ Calvin Harris, for example, produced and is featured on Rihanna’s “We Found Love” (2011), and Italian DJ Benny Benassi produced and is featured on Chris Brown’s “Beautiful People” (2011).

R&B radio stations also programmed African popular music alongside American and British R&B artists. This music combines elements from hip-hop, R&B, Jamaican dancehall, Afrobeat and other African traditions that resonate with North American consumers of African and African Diasporic traditions. The Afro-fusion style of Nigerian singer Burna Boy’s “Ye” (2017) and “On the Low” (2019), American-born Nigerian singer Davido’s “Fall” (2017), and British-born Ivorian singer Afro B’s “Drogba (Joanna)” (2018) illustrate the on-going cyclical exchanges between African and African American musical traditions. Both are characterized by quasi-sung/spoken vocals, varying vocal timbers, vocal distortion using auto-tune, sparse instrumentation, and polyrhythmic structures.

Musical Features/Performance Style

With the exception of hip-hop, the term R&B encompasses all post-1980s genres and styles of African American music. Producers employ the latest technologies, and electric and acoustic instruments; they also blend elements from current and past Black traditions. Ballads tend to dominate the charts, and the repertoire of most artists includes moderate and/or up-tempo songs.

The R&B sound of the early 1990s retains many elements from the 1980s while engaging advanced technologies. Synthesizers replaced acoustic instruments as accompaniment for gospel-tinged ballad singers such as Peabo Bryson in “Can You Stop the Rain” (1991). Nevertheless, the acoustic sound returned by the mid-to late-1990s in songs like “On Bended Knee” (1994) by Boyz II Men, Toni Braxton’s “Un-Break My Heart” (1996) and India.Arie’s “Ready for Love” (2007). In “I Believe I Can Fly” (1996) R. Kelly presents a synthesized orchestral arrangement that imitates the acoustic sound in “When You’re Mad” (2006).

In the 21st century R&B artists increasingly cross genre and stylistic boundaries such as Keyshia Cole’s eclectic “I Changed My Mind” (2005) and Fantasia’s “I’m Not That Type” (2006). These songs carry the sensibilities of gospel, neo soul, and hip-hop. Artists also continue to evolve these traditions, tapping the modern gospel and hip-hop traditions. Simultaneously, artists explore myriad musical possibilities by drawing from pop, rock, and country: Florida Georgia Line’s “Cruise” featuring Nelly (2012), Alicia Keys’s “Girl on Fire” (2012), Miguel’s “Do You…,” (2012), and Rihanna’s “Diamonds” and “Jump” (2013). Electronic dance music provides the foundation for songs by Rihanna and Chris Brown. The newest development in the second decade of the 2000s is the Afro-fusion style popularized by Nigerian artists that blends hip-hop, R&B, Jamaican dancehall and Afrobeat (Burna Boy’s “Ye,” 2017) and the collaborations between artists of the African Diaspora. In 2019, H.E.R. teamed-up with reggae artist Skip Marley on the R&B-Reggae fusion “Slow Down.”

R&B lyrics cover a range of topics related to everyday life, but romance and relationships surface as the most common theme.

Bibliography

• Maultsby, Portia K. “Rhythm and Blues/R&B” in Mellonee V. Burnim and Portia K. Maultsby, eds. African American Music: An Introduction. 2nd ed. New York: Routledge Press, 2015, p. 239-276.

The Origins and History of R&B Music

Where did R&B come from?

Jack Vartoogian/Getty Images

• Alternative Music
• Classical Music
• Country Music
• Rap & Hip Hop
• World Music
• Heavy Metal
• Latin Music

Rhythm & Blues (abbreviated R&B) is a term used to describe the blues-influenced form of music which has been predominantly performed by African-Americans since the late 1930s. The term 'Rhythm and Blues' was first introduced into the American lexicon in the late 1940s: the name's origin was created for use as a musical marketing term by Billboard magazine.

In 1949, then- Billboard magazine reporter Jerry Wexler (who later went on to become an influential music producer) created the term for Billboard to designate upbeat popular music performed by African American artists that combined Blues and Jazz .

R&B History

The "Rhythm & Blues" term was created to replace the designation "race music," which until then was the standard catch-all phrase used in reference to most music made by Black people at the time. After the "race music" term was deemed offensive, Billboard began using the Rhythm & Blues name that Wexler created.

In the 1950s, Rhythm and Blues music was associated with Black youth in honky-tonks and after-hours clubs, and it was often dismissed as a lowbrow style of art compared to Jazz's more highbrow form of Black expression. As hip hop music arose and began to dominate the Black social scene, R&B became thought of as "a bunch of love songs".

By the 1970s, the term rhythm and blues expanded to become a blanket term that included both soul and funk forms of music. And today, the term can be used to loosely define most sung African-American urban music, even though soul and funk can be placed in categories of their own.

Defining Characteristics

The meaning behind the name is this: the "rhythm" part comes from the music's typical dependence on four-beat measures or bars and the liberal use of a backbeat, in which the second and fourth beats are accented in each measure. And the "blues" portion comes from the lyrics and melodies of the songs, which were often sad, or 'blue', especially during the music's emergence in the World War II era. Over time the name was shortened to R&B as a matter of convenience.

In classic R&B, there is a straight up stacking of vocal harmonies, which writer-musician Stuart Goosman says reminds him of the urban environments of Baltimore and Washington DC where the music got its start. He suggests that the physical and psychic aspects of the city, in particular, those cities' urban segregation, helped shape the consciousness of the musicians, who freed themselves through the limitlessness of singing, engaging the imagination to soar beyond the limitations of place.

Pioneering Groups and Contemporary Artists

Pioneering R&B groups in the 1940s and 50s included The Cardinals, the Swallows, Dunbar Four / Hi Fi's, the Four Bars of Rhythm, the Five Blue Notes, the Melodaires, the Armstrong Four, the Clovers, and the Buddies / Capt-Tans. The musicians of these bands were mostly born before 1935 and came of age about 1947.

Examples of popular contemporary R&B artists include Usher, Alicia Keys, R. Kelly and Jennifer Hudson.

• Goosman SL. 2005. Group Harmony: The Black Urban Roots of Rhythm and Blues . Philadelphia: University of Pennsylvania Press.
• Neal MA. 2013. Songs in the Key of Black Life: A Rhythm and Blues Nation . London: Routledge.
• What is the Chicago Blues Style?
• Music Genres of the 60s, 70s and 80s
• Ten Greatest R&B Bands of All-Time
• 30 Greatest Male R&B Artists of All-Time
• Greatest R&B/Soul Groups
• Your Guide to the Best R&B Singles of 1976
• Greatest 20 R&B and Soul Artists of All-Time
• 10 Kings of Funk in Music History
• Best R&B Movie Soundtracks
• Best Social & Political R&B/Soul Songs
• All About Jamaican Music
• The Origins and History of Rock Music
• Top 20 Male R&B Vocal Groups of All-Time
• The 20 Greatest Female R&B Vocalists
• Famous Black Musicians
• Music Career of Neo Soul Pioneer Maxwell

The Evolution of R&B Music: From the ’90s to the Present Day

Introduction.

We live in a dynamic and ever-evolving world; the music business is no exception. Each new decade may show musical fashion, taste, and preference changes. Some genres remain evergreen, while others slowly but surely lose their audience. Rhythm and blues, or R&B, is one style that has endured over the years. Originating in the 1940s, R&B was developed in African American neighborhoods. Since then, the genre has changed, taking on characteristics typical of different eras. This article will trace the development of R&B from the early 2000s to the Present. We will look at the evolution of R&B across the decades by analyzing the many musical trends that emerged at key points in time. In addition, we will investigate the historical, political, economic, and cultural settings that gave rise to and shaped R&B.

One of Black Americans’ most popular types of music is R&B. Love and heartache songs might find solace in R&B. Moreover, the “coming together” vibe of R&B is highly valued. Most modern people are clueless about the emotional depth that “old school” R&B provides. If you are a true music fan, you know there is a tune for any emotion you could feel at any given time. Soulful lyrical content was more prevalent in the ’90s R&B than modern R&B, which is why the genre lost its depth in the 00s. True R&B with heart has to make a comeback ( The Slow Death of R&B ). Before R. Kelly came along, the ’90s were sung to the tune of Marvin Gaye, who could help you get through a hard period and leave you feeling wonderful at album’s end.

As music is a common form of expression in black homes, you may go into someone’s home and hear them tidying up to the sounds of an old, but still soulful, Chaka Khan song. As a mother, you have probably seen it all before. Some current R&B songs are gloomier than those of the ’90s, while others lack the energy of their predecessors. Janice is a product of the ’90s; thus, she grew up in a home where music played an important role. Janice was raised by both her mother and father. Her father supplemented his income by working in plant manufacturing. As a disc jockey ( The Slow Death of R&B ). Janice’s mother used to play The Isley Brothers records for the family as she made breakfast on Saturday mornings when Janice was a little girl. When she entered the kitchen, she would see her mother dancing to the radio, and then she would see her father grab her mother and dance with her in the center of the room.

Janice used to think about how she might bring the same positive energy to her own family when she started her own Saturday morning rituals since she loved seeing her parents share them. Her parents never stopped looking forward to the Saturday morning dances, even as they grew older. Even as an adult, Janice continued taking infrequent trips to the lake to clear her head. At her residence, Janice would listen to different R&B musicians, and the experience was wonderful (Harrison). Among the artists her mother played for her were Chaka Khan, Tina Turner, Anita Baker, and Toni Braxton.

Much R&B in the early to late ’90s was meaningful; you could connect to most issues. On top of that, most R&B makes you feel more in love with your partner every time you listen to it. Listening to Mary J. Blige’s “I am not gon weep” through a breakup helped Janice feel at peace and finally get over the loss of her boyfriend. On the other hand, R&B has seen several transformations in the modern period. Janice attempted to listen to some of the newer performers, which did not give her the same feelings as the 90’s music previously did (Harrison). Musicians of the 2000s R & B include little significance in their songs. Songs about love tend to skip the sentimental buildup and go straight to the sexual act. Conversely, some musicians sing how they feel and give off some old-school flavor to their songs. Janice likes the music of contemporary singer Keishia Cole, which she compares to that of Mary J. Blige, even though she finds it difficult to connect with most of today’s R&B artists (Harrison).

The music during the ancient days was and its influence notable in pulling a family together. The loss of R&B’s former flavor and significance is also attributed to the shift from excellent and meaningful music to the prevailing trend of meaningless music. An old school signifies music in the past, while a new school represents music in the contemporary days. The essay’s wording is precise and efficient in conveying the author’s feelings (Petrusich). Each word is heard and comprehended in all of its fullness and complexity, making use of a specialized lexicon. The essay’s context has been reduced to a family environment, making it simpler to comprehend the intended message and easy to read, “Janice is a child of the ’90s; therefore, she grew up in a home where music was always playing. Janice was raised by both her mother and father. Whenever she heard music, she would follow her mother into the kitchen, where she would find her dancing to the beat (Petrusich). Sometimes her father would join in, grabbing her for a dance in the center of the room.”

Unfortunately, compared to old-school R&B, today’s R&B has lost its flavor and significance. Saddened that “Janice tried listening to some of the younger performers, and it does not give her the same feelings as the 90’s music previously did,” the narrator describes her dissatisfaction with modern music. The essay has smooth transitions between the various parts. They indicate the connection between paragraphs and between sentences within paragraphs, as well as between paragraphs and between sentences within paragraphs.

Last thought: R&B music has been an essential element of the African American experience for decades. Singers like Mary J. Blige, Jodeci, and Keisha Cole carried on the heritage of R&B’s deep and poignant songs from the ’90s. However, the genre has evolved greatly, shifting towards more explicit and less meaningful material. Despite this, R&B’s influence on homes, hearts, and towns is immeasurable. However, it can mend broken hearts and bring people closer together. Some may say the genre has lost its soulful edge, yet the music of the ’90s R&B sound lives on in the work of select performers (Petrusich). R&B music has been and will be an important cultural force for the African American community for many years to come.

Works Cited

Petrusich, Amanda. “Genre Is Disappearing. What Comes Next?”  The New Yorker , 8 Mar. 2021, www.newyorker.com/magazine/2021/03/15/genre-is-disappearing-what-comes-next.

Harrison, Maxine. “Is R&B Dead in 2022? Addressing the Question That Won’t Quite Go Away.”  The Blues Project , 22 Sept. 2022, the blues project. Co/2019/08/rnb-evolution-and-state-of-play-today.

The Slow Death of R&B . 14 Jan. 2015, www.austinchronicle. Com/daily/music/2015-01-14/the-slow-death-of-RB.

Cite This Work

To export a reference to this article please select a referencing style below:

Related Essays

Essay on museum visitation, essay on poetic devices, bible: exodus and deuteronomy, boarding school literature, assignment: becoming a responsible business – starbucks, social media is changing how people communicate, popular essay topics.

• American Dream
• Artificial Intelligence
• Black Lives Matter
• Bullying Essay
• Career Goals Essay
• Causes of the Civil War
• Child Abusing
• Civil Rights Movement
• Community Service
• Cultural Identity
• Cyber Bullying
• Death Penalty
• Depression Essay
• Domestic Violence
• Freedom of Speech
• Global Warming
• Gun Control
• Human Trafficking
• I Believe Essay
• Immigration
• Importance of Education
• Israel and Palestine Conflict
• Leadership Essay
• Legalizing Marijuanas
• Mental Health
• National Honor Society
• Police Brutality
• Pollution Essay
• Racism Essay
• Romeo and Juliet
• Same Sex Marriages
• Social Media
• The Great Gatsby
• The Yellow Wallpaper
• Time Management
• To Kill a Mockingbird
• Violent Video Games
• What Makes You Unique
• Why I Want to Be a Nurse
• Send us an e-mail

R&B and Hip-Hop Effect Western Music Essay

Introduction.

Music is a form of art which uses sound and actions as a medium and for one to be able to communicate using music, he/she must be able to form a rhythmic flow of words that convey an intended message. The intended music must also create a meaning and also make sense to the audience that is intended, this is because the intended audience decide on how the music is rated on the music charts.

Music also varies from one social culture to the other, in that, one culture’s music structure varies with another culture’s music structure. Music also uses musical instruments that create a rhythm which the musician uses to create a flow of words to pass on the intended message. In addition to that, music is also used for several purposes such as to pleasing the angry or even can be used to put a baby to sleep (Ardley 52).

Thesis Statement

With reference to the given question, this paper will focus on a particular artist or band and will analyze the ways to which their music is taken into the society. This paper will then discuss different aspects of music and how it affects the community as a whole. In addition to that, this paper will discuss music from the 20 th century.

Artist or band

This paper will focus on Michael Jackson as an artist. Michael Jackson was one of the biggest pop artists that the world has ever known and was nicknamed the king of pop. In addition to that, Michael Jackson has released very many albums which have sold over one million copies worldwide. Michael Jackson who was born in August 1958 had four other brothers who they released several albums in 1964 (Davies 15).

Pop type of music is considered to be very influential because of the fact that most of the artists who have made it in the music industry today started in the pop type of music. Michael Jackson had a lot of influence especially in the black community in the United States and this was because of the kind of music he released that preached a message of peace and hope to the community and considering that he was black.

The music that Michael Jackson released was not based on gender but was based on truth and hope to the people and this gave him a lot of influence in the community reason being that that most of the people in the United States love to listen to pop music and thus Pop music is considered to be one of the most popular types of music in the United States.

Michael Jackson as an artist preached about gender equality in the community and in addition to that, he preached about anti-racism considering that racism is one of the most common types of offenses in the United States. Michael Jackson was also loved by the little children because he always showed the importance of protecting the rights of the children because they are the future of the world.

Branding of an artist

Michael Jackson who was considered one of the biggest artists in the world today always had the press and media following him around so it was very important that he be at his best at all time. For any artist to be able to do well in the music world, he must always be able to commercialize his music and must always be ready to try new aspects of the music world.

Michael Jackson was considered one of the biggest artists in the world and as such, he was always performing in concerts all around the world which commercializes his music. In the concerts, people listened to to his music and liked it and that meant that they had to buy it so as to be able to listen to it in their homes and thus, the concert performing was the aspect that Michael Jackson used when trying to captivate his fans to buy his music (Webster 26).

Michael Jackson also used the power of industry control to try as much as possible to beat his biggest rival in the music industry. He tried as much as possible to go with the flow of the current music world and it is for this reason that he was able to rise to the top of the music charts. He had released albums that had sold millions of copies worldwide and it is here that his popularity continued to increase among music lovers in the world.

On the other hand, Michael Jackson tried as much as possible not to disappoint his fans. The kind of music that he released was very objective and thus had an advantage over most of his biggest competitors who at times released music that made no sense and thereby lost popularity among music lovers across the world.

Michael Jackson was also on the front line in trying to advocate for the rights of the children and this also gave him popularity among the music lovers across the world who admired how he advocated for the rights of the children.

Multiple Versions of a Song

Before a song is released to the general public, it has to undergo a number of processes so as to make sure that the quality of music that is being released is the best. In addition to that, before music is released to the public, it has to have the intended message and thus has to be heard over and over again to make sure that the intended message has been passed on.

This process of listening to the music before it is released to the public is known as sampling and it involves the process of listening to the music to make sure that it has the right quality and the right words as the artist intended (Cook 23).

After it has been sampled, it is then mastered, that is, the process of making sure that the beats that have been allocated to the lyrics fit in correctly without making any noise in the process. This process involves the use a computer to blend the lyrics and the beats together so as to create a rhythm and thus be able to pass on the intended message in the process.

After the mastering process has been done and everything has been confirmed to be fine, then the song is covered in another song. This is the process of giving the music fans a preview of the music that will be coming and in turn gauges the reaction of the fans and create anticipation among the fans. This process is very important in music because by creating anticipation among the music fans then an artist will be able to know how the fans will react to the songs when released.

Genre within the Context of Globalization

Globalization is the process of bringing human beings together for a specific reason. Pop music has been on the front line to making sure that human being are brought together regardless of their race and cultures. Pop music is used by many artists to be able to bring people together so as to be able to pass on the intended message. When people are brought together as a result of music, then the artists will be able to pass on the intended message by using pop music.

Michael Jackson was one of the artists who used pop music so as for him to be able to pass on his intended message to the public. Most of the music that he sang were very objective in terms of message and it is for this reason that he increased his popularity among his fans who loved the message that was being passed through his music (Tomasino 16).

Pop music can thus be used to pass on the intended message to a group of people and artists who have come together to perform in concerts.

Gender Representations in Music Videos

Gender representation in music videos has been fair considering that most of the video clips that are shown in the media have equal gender representation. Artists in the world today have known that for them to be able to sell more of their songs in the music world, they must be able to embrace the spirit of equal gender representation which is very important when it comes to educating the public about equal gender representation (Tomasino 32).

Music is always used to entertain but in some cases, it is used to educate, and it is for this reason that artists have discovered that for them to be able to sell more in the music industry, then they must be able to educate the public about gender equality and to be able to educate the public correctly, then they must practice it in their own music video as an example to the general public.

Ways in Which a Particular Artist or Band Has Supported a Political Ideal or Discussed Political Issues via Their Music

Politics is one of the most important aspects of any country and it is for this reason that politicians are using artist who are known to have a bigger influence to the general public to campaign for them. A very good example is the hip hop artist popularly known as Lil’ Wayne who openly declared that he was in support of Barrack Obama as the United State president during the 2008 presidential election (Davies 45).

In a move like this, the specific artist was able to convince millions of voters who are his fans to vote for Barrack Obama whom they thought would never be able to become the president of the United State due to his skin color which is black. Lil’ Wayne openly campaign for Barrack Obama and because of his influence to the general public, then most of the voters who did not want to vote for Barrack Obama changed their minds which in turn led to Barrack Obama becoming the president of the United States of America.

Association of a Specific Musical Genre with a Subculture

Hip hop is always associated with the black culture because of its violent nature; this has been a very wrong perception because today, most of the greatest hip hop artists are not black but are white. Hip hop is a music genre that evolved from the black community but has always been portrayed with a wrong image because people say that it is violent of which is not true.

Hip hop is a music genre that is used to educate the general public about issues related to life and how to cope with them, and most of the hip hop artists today release songs that educate the people on how to deal with issues that may arise in life.

Issue of Race in the Context of a Specific Musical Movement or Genre

Hip hop music is considered to be a music genre that is associated with the black community which means that the issue of race is still looming in the music industry.

In addition to that, most of the hip hop artists are trying as much as possible to educate the general public that it is not a matter of skin color that determines the kind of music that will be sung, but the ability to sing. On the other hand, the white community thinks that there are genres of music that they cannot venture into because as they are considered to be dominated by the black community.

Effect of Technology on Popular Production or Reception

Technology is one of the biggest factors changing the music industry today and has forced music producers to keep themselves updated with the new technological advancements so as to able to produce music that is of good quality and that moves with the current world. Music fans are shifting from one type of music to the other and for an artist to be able to keep the pace, then he must be able to produce quality music (Davies 48).

Works Cited

Ardley, Neil. Music , London, UK: Harvard University Press, 2004. Print.

Cook, Nicholas. Music: A Very Short Introduction , New York, NY: Sage, 2000. Print.

Davies, Matt. Music and Technology in the Twentieth Century , London, UK: John Wiley and Sons, 2005. Print.

Tomasino, Anna. Music and culture , Oklahoma, OK: Cengage Learning, 2005. Print.

Webster, Peter. Experiencing Music Technology , London, UK: Oxford University Press, 2008. Print.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2019, May 15). R&B and Hip-Hop Effect Western Music. https://ivypanda.com/essays/rb-and-hip-hop-effect-western-music-essay/

"R&B and Hip-Hop Effect Western Music." IvyPanda , 15 May 2019, ivypanda.com/essays/rb-and-hip-hop-effect-western-music-essay/.

IvyPanda . (2019) 'R&B and Hip-Hop Effect Western Music'. 15 May.

IvyPanda . 2019. "R&B and Hip-Hop Effect Western Music." May 15, 2019. https://ivypanda.com/essays/rb-and-hip-hop-effect-western-music-essay/.

1. IvyPanda . "R&B and Hip-Hop Effect Western Music." May 15, 2019. https://ivypanda.com/essays/rb-and-hip-hop-effect-western-music-essay/.

Bibliography

IvyPanda . "R&B and Hip-Hop Effect Western Music." May 15, 2019. https://ivypanda.com/essays/rb-and-hip-hop-effect-western-music-essay/.

• Language in R&B and Country Songs
• Hip-Hop Music
• That the Song Called "Leave" by Post Malone
• African-American Music From the 1920s to 1990s
• Hip-Hop and the Japanese Culture
• Hip Hop Definition
• The Hip-Hop Genre Origin and Influence
• R&B Musicians: Michael Jackson and Diana Ross
• Hip-Hop in Japan
• Hip Hop Culture and Music
• Bloc Party's CD titled "Four"
• Frank Zappa: Music Industry and American Culture
• Ray Charles Robinson's Life and Lessons
• Persian Music: Improvisation and Composition. Welcome to Dariush Eghbali’s Enchanted World
• The Elements of the O’Jays’ Success

How Beyoncé Fits Into the Storied Legacy of Black Country

Randall is an award-winning professor, songwriter, and author of My Black Country: A Journey Through Country Music's Black Past, Present, and Future

O n March 16, 1983, the Country Music Association (CMA) celebrated its 25th anniversary, and I was invited. Buddy Killen, the song publisher who pitched “Heartbreak Hotel” to Elvis Presley, thought “the Black girl from Harvard” might just be the second coming of that hit’s songwriter, Mae Boren Axton. He put me on the guest list and paid for the tickets.

It was a complicated night. The event was held at the DAR Constitution Hall, built by the Daughters of the American Revolution, an infamous venue whose management had refused to allow Black opera star Marian Anderson to perform on its stage in 1939. I took special pleasure in seeing guitarist and singer Charley Pride stride onto that stage—in a building named to honor the U.S. Constitution, but run to exclude Black artists—and stake his claim as part of that “We the People” that document claims to represent.

At one point in the ceremony, singer Roy Acuff announced that “country music is a family.” Then he proclaimed Jimmie Rodgers “the father” of that family. But he did not mention Lil Hardin Armstrong, the pianist who played on Rodgers’ hit “Blue Yodel No. 9.” Acuff nodded to Will Rogers, the comedian, but shamelessly omitted DeFord Bailey , the Grand Ole Opry’s first superstar.

My idea to name and spotlight the First Family of Black Country was conceived in that moment. It was nurtured in the silence of missing names. Quiet as it was being kept, country had Black founders. I knew it; Buddy Killen, who arrived in Nashville playing bass for a blackface comedy act on the Grand Ole Opry, knew it; Roy Acuff, who had played on stages with Bailey, Ray Charles, and Pride, knew it. And more than four decades later, Beyoncé knew it when she broke the internet on Super Bowl Sunday by surprise—releasing two country songs and announcing an album, Cowboy Carter , which has her devoted fans in the Beyhive buzzing about line-dancing into the summer of country.

Read More: Beyoncé Has Always Been Country

That evening back in 1983 was constructed to be country’s coming-out party as a musical genre worthy of exceptional respect because it was a reflection and celebration of America at its best. And that best was being defined as a family having only white founders—and not a single Black woman in sight. It was a fallacy that could only last so long.  

The way I see it, modern Black country was born on Dec. 10, 1927, when Bailey, descended from enslaved Tennesseans, lifted his harmonica to play “Pan American Blues” on the Nashville radio show Barn Dance. Fast forward to July 16, 1930, in Los Angeles, where Armstrong made country music history as the first Black woman to play on a hillbilly record that sold a million copies. And Lil didn’t just play on the session—her piano drove the session.

Country is not as many have posited: a genre with Black influence but without Black presence. Black women have been present since the earliest days of country’s existence as a recorded and commercially marketed music form. But a custom of cultural redlining has not only kept Black women out of country writing rooms, off country airwaves, off rodeo stages, off the country charts; it has also worked to keep the few Black women who managed to evade the gatekeepers off the entertainment pages, and out of the history books.

This would change. Nobody sitting in the room that night knew it, but there was a little girl toddling around a two-story house in Houston who would bring the long era of -erasing Black country sounds and stories to an abrupt end. The calculated erasure that began at one large public party with expensive tickets in 1983 ended during another, Super Bowl LVIII, when Beyoncé released “Texas Hold ’Em” and “16 Carriages.”

Along with “Daddy Lessons” off of 2016’s Lemonade, these songs have established Beyoncé as heir to a Black country musical tradition that dates back to the 17th century, when the first banjo was strummed by Black hands on American soil. Like DeFord Bailey’s, Beyoncé’s country songs are grounded in aural rural realities: the screech of the passing train, the sound from the local bar where folk are dancing. Like Lil, she understands the power of a costume and a trumpet. Like Ray Charles she brings a whiff of the Black cosmopolitan. Like Charley Pride she exudes a radiant Old Testament Song of Songs sexuality that is at once hot and holy. Like Herb Jeffries she embodies the cowboy who stays close to nature and guns.

The erasure did not end just because Beyoncé Knowles Carter became the first Black female artist to top the country charts, though she did that, on Feb. 24. And there are many others who have laid the groundwork for this catalytic moment: Linda Martell, the Pointer Sisters, Rissi Palmer, Rhiannon Giddens, Mickey Guyton, Brittney Spencer, Reyna Roberts, and O.N.E the Duo, to name just a few.

The erasure ended when she started a sustained national conversation, getting America to talk about and celebrate neglected Black country legacy. The question of “Who can be in country music?” often masks a deeper query about “Who can be a real American?” Beyoncé’s was a loud announcement of a reality long denied, that she was “We the People.” And so were people who looked like her.

I’ve often said that country music is three chords and four truths: life is hard, God is real, whiskey and roads and family provide worthy compensations, and the past is better than the present. That last truth is one of the places where country often experiences a racial split. In much of white country, the past that is better than the present exists in a longed-for and lost mythical Dixie. In Black country, the past that is better than the present exists in a longed-for and lost Africa before colonization.

Country music is commonly defined as American folk music with Celtic, African, and evangelical Christian influences. My ancestors come from Cameroon, Nigeria, and Mali, from Scotland, England, and Ireland. I am country music, embodied. I started songwriting sitting under a Motown cherry tree, about the age of 5, in 1964. I would eat candied cherries, watching a sea of cars flow by on the John C. Lodge Freeway, and let country songs—from my grandmother’s lips, my mother’s radio, my aunt’s -stereo—roll ’round my head. I started off singing other people’s words then one day I started singing my own, the auspicious beginnings of a career that would land me in the top spot on the country charts.

Read More: Black Artists Helped Build Country Music—And Then It Left Them Behind

My daddy hipped me to the fact that it was Lil Hardin on Jimmie Rodgers’ biggest hit, and that there were probably a lot more Black folks passing for white on country records. He would look at some sheet music or hymnal, then ask, “What you bet Traditional was a colored girl?” 

I write country music because it is a way to make what is too hard to bear somehow bearable. Beyoncé in “Texas Hold ’Em” does this same work, squaring off against tornadoes, heat waves, and lovers losing courage, as DeFord had squared off against a sense of being relentlessly pursued in “Fox Chase.” Both songs transform hardship into a particular flavor of playful and hopeful joy I recognize as country.   

To close out the CMA anniversary show, Ray Charles sang “America the Beautiful.” Listening to the man behind what has been called the greatest country album, 1962’s Modern Sounds in Country and Western Music, it struck me how entwined he was in the legacy of Black country. This was Armstrong and Bailey’s genius child. Next to him was country-as-corn-bread Pride, a spiritual love child to Bailey. On the other side of the family tree, Herb Jeffries, who wasn’t present in the auditorium but should have been, was Armstrong’s stepchild. 

Among a sea of white people, including the President and Vice President of the U.S. and the presidents of every major country-music label, I had an inkling I was the only person in that room worried about singing Black cowboys, worried about Jeffries, wondering why he wasn’t there.

Now Beyoncé has changed that room entirely. Cowboy Carter is poised to be a brilliant new beginning and a culmination. As I see it, Beyoncé is the genius child of Ray Charles. The daughter who eclipses the father. The reflected light of her triumph makes visible both the lineage from which she aesthetically descends and the reality that Black country is a big tent with many entry points: from banjos, harmonicas, and cowboy songs to movies and Motown cherry trees. Beyoncé raises this question: If country owes a significant debt to Black culture, what in America doesn’t?

Adapted from My Black Country: A Journey Through Country Music’s Black Past, Present, and Future . Copyright © 2024 by Alice Randall. Reprinted by permission of Black Privilege Publishing, an imprint of Simon & Schuster, LLC.

More Must-Reads From TIME

• Jane Fonda Champions Climate Action for Every Generation
• Passengers Are Flying up to 30 Hours to See Four Minutes of the Eclipse
• Biden’s Campaign Is In Trouble. Will the Turnaround Plan Work?
• Essay: The Complicated Dread of Early Spring
• Why Walking Isn’t Enough When It Comes to Exercise
• The Financial Influencers Women Actually Want to Listen To
• The Best TV Shows to Watch on Peacock
• Want Weekly Recs on What to Watch, Read, and More? Sign Up for Worth Your Time

Contact us at [email protected]

Song Lyrics Have Become Angrier, Simpler and More Repetitive, Scientists Find

An analysis of more than 12,000 rap, pop, country, rock and R&B songs from the past 50 years shows more emotional and straightforward lyrics

Christian Thorsberg

Daily Correspondent

In recent years, the growing availability of  personalized music data has made many listeners more perceptive of their own tastes and tendencies. But measuring how music itself has changed—across genres and decades—is an arguably more daunting task. Now, scientists have tried to do just that.

A new study published last week in the journal Scientific Reports  analyzed thousands of English-language songs released between 1970 and 2020 to better understand how music’s content, construction and tone are evolving. The team of European scientists examined five of the Western world’s most popular music genres: rap, pop, country, rock and R&B.

In all, the team found that lyrics over the past 50 years have generally become more personal, straightforward and charged with negative emotions—a trend, the researchers hypothesize, that reflects both society’s mood and the changing landscape of how music is enjoyed.

Scientists began by building a music database using the online platform last.fm , with lyrics pulled in from genius.com . From an initial pool of 582,759 full songs to choose from, they narrowed their data set to 353,320—then analyzed the lyrics for traits like complexity, readability, structure, rhyme and emotion. Next, artificial intelligence models created and studied a representative sample of 12,000 songs, which included a more balanced mix of release years and genres.

Overall, the analysis revealed that songs now use more rhyming words and choruses. “Across all genres, lyrics had a tendency to become more simple and more repetitive,” Eva Zangerle , the study’s senior author and a computer science professor at the University of Innsbruck in Austria, tells the Agence France-Presse (AFP).

Songs have also become more personal, with pronouns such as “mine” and “me” increasing in frequency across nearly all genres, except for country. They are growing more emotional, too—all genres increased the use of words tied to negative emotions, with rap showing the biggest rise in anger.

Alongside the general trends, different genres told their own stories. “Among the evaluated musical genres, rap is the one in which lyrics play the most prominent role,” the researchers write. Listeners viewed rap lyrics online most often, but the “richness” of the genre’s vocabulary—described as the number of unique words used—was seen to decrease with time. Researchers attributed this trend to rap songs’ tendency to repeat lines and rhymes.

Country music fans were more likely to search and view the lyrics of newer songs, and conversely, rock listeners were more likely to view the lyrics of older songs—a reflection, the researchers posit, of the ages of the genres’ audiences.

Listeners of R&B, a category that also included soul music, viewed lyrics the second most often, reports Forbes ’ Arianna Johnson. But for pop, rock and country, “lyrics might not be a very meaningful indicator” of how the genres have evolved over the last five decades, the authors write.

With more music than ever being listened to on apps and streaming platforms, capturing listeners’ attention has moved to the forefront of many artists’ consideration—and the trends revealed in the new study may reflect that.

“When people are faced with lots and lots of choices, they tend to prefer things that are easier to process and more straightforward,” Michael Varnum , a cultural psychologist at Arizona State University who did not participate in the research, tells Scientific American ’s Lauren Leffer.

Analysis from Paul Lamere of Echo Nest, a music data platform owned by Spotify, shows that almost 50 percent of Spotify listeners will skip a song before it ends, and nearly one-quarter will skip it in the first five seconds.

“The first 10 to 15 seconds are highly decisive for whether we skip the song or not,” Zangerle tells AFP. So maybe, in the race to grab listeners’ interest, more repetitive songs have an edge. “Lyrics should stick easier nowadays, simply because they are easier to memorize.”

Get the latest stories in your inbox every weekday.

Christian Thorsberg | READ MORE

Christian Thorsberg is an environmental writer and photographer from Chicago. His work, which often centers on freshwater issues, climate change and subsistence, has appeared in Circle of Blue , Sierra  magazine, Discover  magazine and Alaska Sporting Journal .

Find anything you save across the site in your account

Beyoncé, The Rapper

By Sheldon Pearce

Whenever Beyoncé raps, she’s flexing. It isn’t just that verses are pure braggadocio, which they often are. The act itself is a display—a reminder that she can, that she’s great at another thing. When Jay-Z became the first rapper inducted into the Songwriters Hall of Fame, he tweeted a list of all the rappers who inspired him and emphatically added, “ B a rapper too! ” B has been for some time now, too. But her recent remix of J Balvin and Willy William’s “ Mi Gente ,” surging this week to No. 3 on the Hot 100 chart, is the glorious culmination of all the rapping she’s ever done.

Spiritually, Beyoncé has been rap royalty—before she duet-dated Jay, eventually married him, and spawned at least one kid who seems to carry the gene . Her hip-hop fluency gave her an advantage in the pop-star arms race, helping her to become the presiding voice in an increasingly rap-dominated musical landscape. Her evolution, from rap-adjacent R&B star (appearing as early as 1998 in a Geto Boys video ) to reluctant hip-hop shareholder to full-blown rapper, played a role in slowly shifting the sound of pop radio.

Technically, Beyoncé was introduced to America as a member of a rap group. In 1992, early Destiny’s Child iteration Girls Tyme competed in the rap category on “Star Search.” A clip of host Ed McMahon introducing them as “the hip-hop rappin’ Girls Tyme” can be heard on Bey’s 2014 self-titled album ; indeed the girls did perform a rap , as well as sing.

It wasn’t until 2001, when Beyoncé made her acting debut as the lead in MTV’s rap take on Georges Bizet’s 1875 opera Carmen , that her flow potential came into focus. For much of the part, Bey exchanged semi-forced rapped dialogue with Mekhi Phifer, who led a cast including Yasiin Bey (then Mos Def), Wyclef Jean, Jermaine Dupri, and Da Brat. Her big moment came on the Mos Def duet “If Looks Could Kill (You Would Be Dead),” where she offered up tongue-twisting lines like, “Sweetness flowing like a faucet, body banging, no corset/Brothers wanna toss it but they lost cause my game made ‘em forfeit/Slicker than a porpoise and thicker than a horse is.” The flows were a bit rusty and contrived, but you can hear the talent working.

Beyoncé’s earliest and most successful flirtations with hip-hop would come as only modest departures from her R&B safehaven: mostly melody-driven verses toying with rap cadences. After the success of 50 Cent’s breakout single “In Da Club” in 2003, Beyoncé released a cover of the song called “Sexy Lil Thug,” which closely followed the song’s structure and 50’s stresses, employing sung raps.

Over time, she would develop a style all her own: big gestures, freewheeling rhyme schemes, all swagger, slow-flowing her way through line readings of her impressive resumé. And suddenly her raps had a clear use: to give her pristine persona a much needed edge. In public, Beyoncé is humble and guarded. As a pop singer, her image is carefully curated, to the point of projecting perfection. For Beyoncé, rap provides a venue to be a little petty, or to show that she knows what she’s got. This is sport for her.

By Eric Torres

By Jazz Monroe

Beyoncé’s albums (whether with Destiny’s Child or solo) didn’t really start to reflect her rap savvy until 2006’s B’Day , the sophomore LP crafted with help from rap producers like the Neptunes and Swizz Beatz. “ Upgrade U ” moves and punches like a rap song, and she even stunts in her half-rapped verses (“Come harder, this won’t be easy/Don’t doubt yourself, trust me you need me”). On “ Kitty Kat ,” which she co-wrote with Jay and Pharrell, she whisper-raps the hook, and the song’s outro oozes with Houston rap flavor.

With 2008’s I Am… Sasha Fierce , Beyoncé had her first true rap song—a world-conquering flex anthem in “Diva.” The 808-heavy Bangladesh boomer instantly drew comparisons to Lil Wayne’s “A Milli,” released earlier in 2008, but while “A Milli” was an all-out assault, “Diva” was methodical, with careful emphasis punching up compact phrases. Even so, “Diva” didn’t catch listeners off-guard. Bey’s early rap songs seemed like a distinct costume change she could try on, as part of the endless reinvention cycle expected of pop stars.

The big revamp came in early 2013, when she inauspiciously released the weird, screwed “Bow Down/I Been On” on her SoundCloud page, and into an unsuspecting world. After about a minute of strutting and two minutes of pitched-down raps, Beyoncé shouts out UGK legend Pimp C, reps the H-town, and boasts about standing side by side with rapper Willie D in the Geto Boys video, all but flashing her G Pass. The song was a dramatic change of pace from even her hardest rap-leaning songs, playing up her Houston hip-hop lineage. And the remix featured a Who’s Who of H-town rap greats: Willie, Bun B, Scarface, Z-Ro, Slim Thug, and Lil’ Keke.

As it turned out, the demo was a sign of things to come. Though “I Been On” didn’t make the final cut, “Bow Down” became the opening half of Beyoncé ’s “***Flawless.” On “Yonce,” the prelude to “Partition,” she showed off the same efficiency indicative of those in the Houston rap scene. The deluxe version of the album contained even more rap treasures . The OG Bobby Johnson–produced “ 7/11 ” seemed to be a byproduct of the melodic trap wave, a boozy club rap record. On the Nicki Minaj–assisted “ ***Flawless Remix ,” Bey fleshed out her delivery and casually brushed off her biggest controversy: “Of course sometimes shit go down when it’s a billion dollars on an elevator.” With each performance, she seemed to grow more and more confident—and versatile.

This effective turn laid the groundwork for Lemonade closer “ Formation ,” one of the best rap songs of 2016. The flossy diva summoner was the first Beyoncé rap with real purpose, a statement of Southern heritage, black power, and pride. The song highlights a trend across her rap verses: They’re all extremely quotable. The Black Bill Gates and Red Lobster lines stick in the mind for the immediate imagery they conjure (and because they’re the most fun to shout), but there’s even more striking phonetic stuff happening elsewhere that makes many of the lyrics satisfying to recite. It’s all hard-cracking consonant sounds and precisely-measured alliteration. She purposefully enunciates each syllable, which seem to snap out of her lips: “Y’all haters corny with that illuminati mess/Paparazzi catch my fly and my cocky fresh/I’m so reckless when I rock my Givenchy dress/I’m so possessive so I rock his Roc necklaces.”

Post-“Formation,” Beyoncé has been far more casual and fluid with her raps. There was DJ Khaled’s Grammy after-party surprise “ Shining ,” where she again shares space with Jay, returning to the half-rapped inflections that were hallmarks of early showings. Her verse brims with slick talk, adding in a Hov-sponsored D’ussé name-drop. She tends to see rap the same way he does: Each verse is a myth-building exercise, using past victories to forge new ones.

On “Mi Gente,” she ups the ante. Beyoncé has never flowed this effortlessly before, rapping as fiercely in Spanish as she does English (with a bit of French thrown in). She leans into the hashtag flow, and once again draws from her public life for source material: “I been giving birth on these haters ‘cause I‘m fertile/See these double Cs on this bag, murda/Want my double Ds in his bed, Serta/If you really love me make an album about me, word up.” The verses are the result of everything Beyoncé has tested out in her rapping to date, the perfecting of her formula.

If tracing back Beyoncé’s rap catalog has highlighted anything, it’s that the transition has been relatively easy for her. Few would be shocked to learn of the existence of a Beyoncé rap mixtape, where she would shit-talk a little, sing her own hooks, and show off her ear’s usual tuning to what’s hot . In fact, Beyoncé almost makes rapping look as effortless as Hov does. The main difference is that for her, it’s strictly recreational. And maybe that’s half the fun for us: When Beyoncé raps, it feels like a party favor.

By signing up you agree to our User Agreement (including the class action waiver and arbitration provisions ), our Privacy Policy & Cookie Statement and to receive marketing and account-related emails from Pitchfork. You can unsubscribe at any time. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

By Pitchfork

By Madison Bloom

By Matthew Strauss

By Alphonse Pierre

Essay on Music for Students and Children

500+ words essay on music.

Music is a vital part of different moments of human life. It spreads happiness and joy in a person’s life. Music is the soul of life and gives immense peace to us. In the words of William Shakespeare, “If music is the food of love, play on, Give me excess of it; that surfeiting, The appetite may sicken, and so die.” Thus, Music helps us in connecting with our souls or real self.

What is Music?

Music is a pleasant sound which is a combination of melodies and harmony and which soothes you. Music may also refer to the art of composing such pleasant sounds with the help of the various musical instruments. A person who knows music is a Musician.

The music consists of Sargam, Ragas, Taals, etc. Music is not only what is composed of men but also which exists in nature. Have you ever heard the sound of a waterfall or a flowing river ? Could you hear music there? Thus, everything in harmony has music. Here, I would like to quote a line by Wolfgang Amadeus Mozart, one of the greatest musicians, “The music is not in the notes, but in the silence between.”

Importance of Music:

Music has great qualities of healing a person emotionally and mentally. Music is a form of meditation. While composing or listening music ones tends to forget all his worries, sorrows and pains. But, in order to appreciate good music, we need to cultivate our musical taste. It can be cited that in the Dwapar Yug, the Gopis would get mesmerized with the music that flowed from Lord Krishna’s flute. They would surrender themselves to Him. Also, the research has proved that the plants which hear the Music grow at a faster rate in comparison to the others.

Get the huge list of more than 500 Essay Topics and Ideas

Magical Powers of Music:

It has the power to cure diseases such as anxiety, depression, insomnia, etc. The power of Music can be testified by the legends about Tansen of his bringing the rains by singing Raag Megh Malhar and lighting lamps by Raga Deepak. It also helps in improving the concentration and is thus of great help to the students.

Conclusion:

Music is the essence of life. Everything that has rhythm has music. Our breathing also has a rhythm. Thus, we can say that there is music in every human being or a living creature. Music has the ability to convey all sorts of emotions to people. Music is also a very powerful means to connect with God. We can conclude that Music is the purest form of worship of God and to connect with our soul.

FAQs on Essay on Music:

Q.1. Why is Music known as the Universal Language?

Ans.1. Music is known as the Universal language because it knows no boundaries. It flows freely beyond the barriers of language, religion, country, etc. Anybody can enjoy music irrespective of his age.

Q.2. What are the various styles of Music in India?

Ans.2. India is a country of diversities. Thus, it has numerous styles of music. Some of them are Classical, Pop, Ghazals, Bhajans, Carnatic, Folk, Khyal, Thumri, Qawwali, Bhangra, Drupad, Dadra, Dhamar, Bandish, Baithak Gana, Sufi, Indo Jazz, Odissi, Tarana, Sugama Sangeet, Bhavageet, etc.

Customize your course in 30 seconds

Which class are you in.

• Travelling Essay
• Picnic Essay
• Our Country Essay
• My Parents Essay
• Essay on Favourite Personality
• Essay on Memorable Day of My Life
• Essay on Knowledge is Power
• Essay on Gurpurab
• Essay on My Favourite Season
• Essay on Types of Sports

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Download the App

• Skip to main content
• Keyboard shortcuts for audio player

Tyla is the new face of African pop. She's aiming to take over the whole world

Sidney Madden

Besides charting the course of her own pop stardom, Tyla's goals are to spread the pride of her country and keep the people who created amapiano at the forefront of the movement. Jeremy Soma/Epic Records hide caption

Besides charting the course of her own pop stardom, Tyla's goals are to spread the pride of her country and keep the people who created amapiano at the forefront of the movement.

Tyla's mission is clear. She's setting out to change the geography of pop stardom.

"It's something I feel like the industry is lacking," the singer declares. "An African pop star."

Davido: Tiny Desk (Home) Concert

Burna Boy: Tiny Desk Concert

Tems: Tiny Desk (Home) Concert

Fresh off a year of social media virality with her breakout single, a fashion campaign with Gap and her first Grammy win in the inaugural presentation of the best African Music Performance category, Tyla has just released her self-titled debut album. It's a 14-track stunner that positions the 22-year-old as the African pop star she's always wanted to see and be.

For many listeners, Tyla's 2023 hit song "Water" was their first taste of the sound of her homeland that's now taking over the music world. Amapiano is a new musical movement that started in the townships of South Africa in the 2010s. Roughly translated from Zulu to mean "the pianos" or "piano people," amapiano is a mash-up of a few different genres: deep house, jazz, kwaito and log drum percussives. Together it all creates entrancing, mid-tempo music that's a cultural staple of South Africa's party scene.

"Amapiano is a lifestyle. You're not supposed to sweat," says DJ Moma, a Sudanese-American DJ. "That's why amapiano is at this cool tempo. You can bust out a dance move or two .... But you're not constantly chasing a 125 bpm tempo."

Moma first got put on to amapiano in 2016 when he hopped in a Johannesburg taxi. Moma tipped his driver 50 U.S. dollars to let him download the music playing on the car's stereo from a jump stick straight to his laptop and took the sounds back to the states to start playing them at Everyday People , a recurring day party he co-created for the Black diaspora.

As the music started to move, South African DJs and producers like Kabza De Small, Kelvin Momo and Uncle Waffles emerged as leaders.

But the richness of the music goes beyond the party. "It's so much deeper than music, you know," Tyla says. "It's not just a cool sound. It's culture. It's struggle music. It's music that brought us through a lot." The slowed tempo of amapiano — elements borne from the kwaito and house lineage in its sonic DNA — connect the music to the country's historical periods of political uprisings and change in 1990s South Africa post-apartheid.

"As far as struggle music that's related to history," DJ Moma explains, "I'm not South African, you know, but what it does have is these ... really dark, melancholic, minor chords that, when you put them together, there's this mood of melancholy that permeates the music. That's something that has been [part of] South African music throughout the years. There's a lot of minor chords. There's a sadness to it. But in a weird way, it's also uplifting because minor chords, when you put them together, they're the most beautiful."

While DJs were moving the sound of amapiano around the world in the 2010s, Tyla was perfecting her own version of it back home in Johannesburg. She started off singing covers on TikTok and dropped her first song, "Getting Late" in 2019, to show her parents she was serious about pursuing a career in music after high school. Based on the track, they agreed to give her one year to make it happen.

The timing wasn't great.

"And it was actually worse because COVID happened in that year so I was like really, out of all years, it had to happen in this year," Tyla says.

Because of pandemic lockdowns, it took a year for Tyla and her team to shoot the video for "Getting Late," with "no backing, no budget." But when they finally dropped it in early 2021, labels noticed.

Years after her first video, Tyla's taken the building blocks of Amapiano and added elements of pop made by stars she grew up idolizing like Rihanna (to whom critics and fans are now comparing her) and Justin Bieber. Her signature sound has been dubbed "pop-iano."

In 2023, her formula finally got noticed on a global scale thanks to TikTok. After dropping "Water" in July 2023 and noticing it had become a piece of trending audio on the app, Tyla and her choreographer, Litchi, created a dance challenge. Tyla's performance of the challenge in August really made a splash on the app and introduced her to a wider audience than she ever imagined. "It literally changed my life."

@tyla_ Dc @Litchi #tyla ♬ Water - Tyla

"The pop and R&B mainly sits in the melody choices, you know, and song structure. And then obviously the beat is where home really shows," she notes.

It's a formula that's working. On her debut, Tyla's star quality shines. Simmered acoustics on tracks like "On and On" and "Butterflies" let her vocals hypnotize. The signature sound that she developed is flexible enough to allow her to show off next to stars from the Latin, reggae and hip-hop worlds: Features on the album include South African stalwart Kelvin Momo, Latin pop star Becky G, Atlanta rapper Gunna and Jamaican dancehall finesser Skillibeng. One of the most powerful tracks is "No. 1," featuring Nigerian R&B star Tems. Tyla even pushed back the deadline to turn in the album so she could lock in the collab.

"Of our generation, she's like the example," Tyla says of Tems. "She's been killing it and she's been opening so many doors for us."

With the recent attempts to ban TikTok in the U.S. — the same platform that's opened doors for Tyla and many other artists on the continent — the South African singer does wonder about the future of other African artists being able to break through. "People are making amazing music right now and it's not getting the same recognition."

But DJ Moma isn't too worried yet. Even if the virality of a song isn't at the level of Tyla's tracks, the options for discovery are only a few low-data clicks away. "WhatsApp is probably the number one medium for sharing amapiano music that's fresh off the press."

More breakthroughs, less crossover: Afrobeats is here to stay, on its own terms

House music is alive and well in south africa.

Tyla, along with her fellow African music Grammy nominees Davido , Musa Keys, Ayra Starr, Burna Boy, Asake and Olamide represent a Pan-African musical takeover for a new generation. Besides charting the course of her own pop stardom, Tyla's goals are to spread the pride of her country and keep the people who created amapiano at the forefront of the movement.

"We've obviously had African artists that have pushed boundaries, but I feel like now is a time when people are actually paying attention to us properly and actually latching on to the music and the culture and showing interest beyond the trends," she says. "And we have African artists leading it."

Thanks to her strong debut, Tyla has proven that she is one of those leaders.

• Manage Account

Muni Long Is ‘Made for’ No. 1 on R&B/Hip-Hop Airplay Chart

The Grammy winner's second radio champ wraps one of the two longest climbs to No. 1 in the last decade.

By Trevor Anderson

Trevor Anderson

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Pinit
• + additional share options added
• Share this article on Reddit
• Share this article on Linkedin
• Share this article on Whatsapp
• Share this article on Email
• Print this article
• Share this article on Comment
• Share this article on Tumblr

Muni Long ’s “Made for Me” asserts its place atop the R&B radio game as it rises to No. 1 on Billboard ’s R&B/Hip-Hop Airplay chart dated April 6.

Future, Metro Boomin & Kendrick Lamar's 'Like That' Launches at No. 1 on Billboard Global 200

See latest videos, charts and news

Trending on Billboard

Here’s a review of the songs that needed the most weeks to top the R&B/Hip-Hop Airplay chart, dating to its 1992 launch:

Weeks to No. 1, Song Title, Artist, Date Reached No. 1 35, “Step in the Name of Love,” R. Kelly, Dec. 6, 2003 33, “Free Mind,” Tems, Nov. 12, 2022 31, “You,” Lloyd featuring Lil Wayne, Feb. 17, 2007 29, “There Goes My Baby,” Aug. 14, 2010 29, “Snap Yo Fingers,” Lil Jon featuring E-40 & Sean Paul of the YoungBloodz, July 29, 2006 29, “I Wanna Know,” Joe, April 1, 2000 26, “Made for Me,” Muni Long, April 6, 2024

“Made for Me” takes the throne from SZA’s “Snooze,” which pauses its No. 1 domination after a record-breaking 36 nonconsecutive weeks on charge, but remains virtually even in radio airplay compared to the prior week. But don’t count the juggernaut out just yet: During its historic run, “Snooze” was bounced twice from the top spot – two weeks each for Usher, Summer Walker and 21 Savage’s “Good Good” and Victoria Monet’s “On My Mama” – but recovered each time.

Elsewhere, the tune climbs on Rhythmic Airplay , with a 10-7 boost after a 22% surge in weekly plays at the format. Coupled with strong results on the R&B/hip-hop side, the gains help “Made for Me” push 18-14 on the all-genre Radio Songs chart. There, the hit added 10% in audience to reach 33.5 million for the week across all genre formats.

Get weekly rundowns straight to your inbox

Want to know what everyone in the music business is talking about?

Get in the know on.

Billboard is a part of Penske Media Corporation. © 2024 Billboard Media, LLC. All Rights Reserved.

optional screen reader

Charts expand charts menu.

• Billboard Hot 100™
• Billboard 200™
• Hits Of The World™
• TikTok Billboard Top 50
• Song Breaker
• Year-End Charts
• Decade-End Charts

Music Expand music menu

• R&B/Hip-Hop

Culture Expand culture menu

Media expand media menu, business expand business menu.

• Business News
• Record Labels
• View All Pro

Pro Tools Expand pro-tools menu

• Songwriters & Producers
• Artist Index
• Royalty Calculator
• Market Watch
• Industry Events Calendar

Billboard Español Expand billboard-espanol menu

• Cultura y Entretenimiento

Honda Music Expand honda-music menu

site categories

Sza secures four wins at 2024 iheartradio music awards.

The Grammy winner was named R&B Artist of the Year for the second year in a row.

By Mya Abraham

Mya Abraham

R&B Reporter

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Pinit
• + additional share options added
• Print this article
• Share this article on Print

SZA scored four of her eight potential wins at the 2024 iHeartRadio Music Awards on Monday (Apr. 1).

The New Jersey native took home Best R&B Song for her hit single, “ Snooze ,” R&B Album Of The Year for SOS , R&B Artist of the Year, and Song Of The Year for “ Kill Bill .” She was also crowned as R&B Artist of the Year in 2023.

“THANK YOU SO MUCH @iheartradio for playing my music and turning this normal girl into a legit RADIO ARTIST ,” wrote the Grammy winner in a condensed version of her acceptance speech on Instagram. “For so long everyone told me I just didn’t make radio records and had no radio history so they couldn’t take the risk on me . THANK YOU TO EVERYONE THAT TOOK A RISK AND BELIEVED IN THIS ALBUM AND THESE SONGS . I love and appreciate everyone.”

View this post on Instagram A post shared by SZA (@sza)

SZA Updates Fans On 'SOS (Deluxe)' and 'Lana'

When presented by T-Pain and Meghan Trainor with the “triple crown”— R&B Artist, Song, and Album of the Year—SZA recalled being once afraid of songwriting . “That’s been really frustrating. I just want to knock everything over the table and start from scratch,” she voiced in the narration of a video montage.

Her biggest goal now is to “ enjoy myself and be happy.”

In regards to the triple crown win, SZA teased, “I always saw other people winning these awards and I was like, ‘Man, that’s that big stuff . That’s that radio stuff.’ And I never had a radio record. I wasn’t a ‘radio artist.’ I’m honored to be here […] I got here with everyone that I started with, doing it our own way. We didn’t succumb to the pressure and that’s a blessing.”

Watch her full speech below.

Get weekly rundowns straight to your inbox

Vibe is a part of Penske Media Corporation. © 2024 Vibe Media, LLC. All Rights Reserved.

optional screen reader

News expand news menu.

• Movies & TV
• Entertainment

Music Expand music menu

• Music Premieres

Features Expand features menu

• Digital Covers

Lifestyle Expand lifestyle menu