Beyoncé is stepping in to help support COVID-19 relief efforts by providing medical resources and increased access to mental health services in the country’s hardest hit areas. The 24-time GRAMMY winner's BeyGOOD foundation has announced a largescale plan of support to alleviate the impact of the coronavirus pandemic with the help of local organizations and non-profits.

In a statement on her website, the foundation wrote, "Communities of color are suffering by epic proportions due to COVID-19. Many families live in underserved areas with homes that make it harder to practice social distancing."

"Communities were already lacking funds for education, health and housing are now faced with alarming infection rates and fatalities. And these communities lack access to testing and equitable healthcare."

Considering these issues, the artist’s BeyGOOD foundation will support organizations working on-the-ground towards coronavirus relief initiatives, including providing necessities like food, water, cleaning supplies, medicines, face masks and personal hygiene products to some of the country’s hardest hit areas. Amongst the organizations involved are Matthew 25, No Kid Hungry, United Memorial Medical Center,  World Central Kitchen and others.

In addition to supporting community-based organizations, BeyGOOD is collaborating alongside Twitter co-founder and CEO Jack Dorsey’s Start Small Fund to donate $6M to mental health and wellness services in Houston, New York, Detroit and New Orleans through partnerships with UCLA and the National Alliance in Mental Illness. Dorsey’s Start Small fund put forth $1B to COVID-19 relief funds last month.

Closing out the statement, they wrote "These are unprecedented times and it will take our collective effort to make a difference."

You can find out more information about Beyoncé’s BeyGOOD foundation and see the statement at their website.

Together Jay-Z + Rihanna Donate $2M To COVID-19 Relief Efforts

It's been a turbulent five-year journey for Travis Scott bridging the worlds of ASTROWORLD to UTOPIA.

Since the 2018 GRAMMY-nominated album solidified Scott as part of rap's A-list, he's endured the highest of highs and the lowest of lows. Amid working on the album (which he began teasing in 2020), his 2021 iteration of Astroworld Festival resulted in a crowd crush that killed 10. 

Three months later, he welcomed his second child with Kylie Jenner. Earlier this year, the pair reportedly split; just weeks before UTOPIA's arrival, Scott was cleared of any criminal liability for the Astroworld Festival incident, but civil lawsuits remain to be sorted.  

Expectations were already sky-high for Scott to maintain luminary status with his ASTROWORLD follow-up. But after he experienced tragedy and heartbreak alongside triumphs and joy, Scott had all eyes on him as UTOPIA arrived on July 28. Yet, the pressure didn't seem to faze the Houston-born rapper — UTOPIA creates another euphoric world for his loyal fans.

In honor of La Flame's star-studded fourth studio LP — which is loaded with 18 features across 19 tracks — here are five early takeaways surrounding UTOPIA. 

CIRCUS MAXIMUS Is UTOPIA's Visual Companion

Fans didn't know what to expect with Scott's CIRCUS MAXIMUS, which hit select theaters mere hours prior to UTOPIA. The 76-minute film — which takes its name from a UTOPIA track — serves as more of a series of music videos centered around a conversation between the rapper and producer Rick Rubin.

"You've come a long way — is the house half empty or completely empty? How are the kids? I heard there was a tragedy," Rubin asks Scott at one point, but he takes the conversation in a different direction.

The Harmony Korine-directed movie features about half of the songs from UTOPIA and includes appearances from Sheck Wes, Yung Lean and James Blake. Scott goes from DJing a colorful dance party for "MODERN JAM" to smashing chairs and nearly burning down an ancient Italian racing stadium while "FE!N" rings off.

CIRCUS MAXIMUS also allows Scott to share his rather unexpected interpretation of what UTOPIA means inside his world. "UTOPIA is not all pretty," he says in the film. "It's how you balance the idea of confrontation."

Yeezus Rises Again

Scott and Kanye West have had a longstanding musical partnership, as Scott played an integral role behind-the-scenes of West's rebellious 2013 album, Yeezus. A decade later, West's fingerprints are all over UTOPIA — even without a vocal guest appearance.

West earned production credits on "MODERN JAM," "THANK GOD," "TELEKINESIS" and "GOD'S COUNTRY." The latter two were originally on the track list for 2021's Donda before Ye passed them off to Scott to bring across the finish line. 

Elsewhere, "CIRCUS MAXIMUS" is essentially a "Black Skinhead" part two; it interpolates the rugged Yeezus standout, and it was co-produced by Noah Goldstein, Ye's audio engineer for most of his career. 

Trav's most blunt pledge to Kanye came on "Skitzo," which calls back to West's alleged presidential bid for 2024. "I'm loyal, b—, I got Ye over Biden," Scott candidly raps.

Drake And Travis Scott Take Aim At Their Opps Once Again

Drake and Travis Scott have proven to be a winning combination in the past with diamond-certified smashes like "SICKO MODE," and they aimed to recreate that magic with "MELTDOWN."

Right out of the gate, Drake makes a fiery statement with bars seemingly addressing Pusha T — but he's really sniping his close friend Pharrell, mirroring his shots at Kanye West in his "SICKO MODE" verse.

"I melt down the chains that I bought from yo' boss," Drake raps in reference to a Skateboard P pendant he recently purchased at an auction from Pharrell. The 6 God goes on to diss Pharrell's new position as a creative director at Louis Vuitton and claims nobody's messing with the designer brand since the 2021 death of former head Virgil Abloh.

"Give a f— about all of that heritage s—/ Since V not around, the members done hung up the Louis/ They not even wearing that s—," he continues.

Scott joined Drake in the sinister "tensions rising" theme, subliminally dissing Wonka star Timothée Chalamet, who has reportedly been dating his ex Kylie Jenner. "Chocolate AP and chocolate the Vs (Vs), got the Willy Wonka factory/Burn a athlete like it's calories, find another flame hot as me, b—," Scott spits.

While "Meltdown" may not reach the same commercial heights as "SICKO MODE," it has certainly caused a stir on social media. "Drake went crazy… I love when dude starts gettin' chippy!" Hot 97's Ebro Darden wrote on Twitter. As another fan claimed, "Rap been boring. I gotta thank Drake honestly for wanting to get back in the ring."

Scott Finally Got His Dream Collab

Perhaps one of UTOPIA's buzziest cameos comes from Beyoncé, who appears on "DELRESTO (ECHOES)." It marks a full-circle moment for Scott, too, as he has long tried to manifest a collab with his fellow Houston native, publicly declaring his hopes for a Bey team-up to Complex in 2016. (Prior to UTOPIA's release, eagle-eyed fans noticed that the newspaper cover art for "DELRESTO (ECHOES)" had been incorporated as part of Bey's Renaissance Tour decor.)

As Bey continues to ride out her RENAISSANCE groove, Scott fits in well with his hypnotic flow. And in a rather surprising twist, Bon Iver's Justin Vernon rounds out the track by pouring in his ethereal vocals behind the triumphant Hit-Boy production.

While Bey does much of the heavy lifting on "DELRESTO (ECHOES)," Scott's verse still stands out as he declares he won't give up on a new love interest. "The starry nights, they start to fade (Come on)/ At times, for miles I see your face, yeah," Scott testifies, borrowing from Kanye's "Coldest Winter" flow.

"MODERN JAM" Is The Hit Fans Will Eventually Catch On To

Scott's Ragers normally rush to collide for a sweaty moshpit when his music comes on. But with the genre-bending UTOPIA track "MODERN JAM," La Flame's moving the crowd from the mosh pit to the dance floor.

According to Kanye West fan page Donda's Place, "MODERN JAM" is a 10-year-old alternate version of the raw beat that became Yeezus' "I Am A God." Travis expertly meshes the abrasiveness of Ye's hard-hitting 808s with a groovy baseline. And with production help from Daft Punk's Guy-Manuel de Homem-Christo, the Teezo Touchdown-assisted track is a good bet to slow-burn its way to major chart success — even if it has a different feel than what Scott's fans are used to.

Since the beginning of Scott's career, he has been a trendsetter pushing the boundaries of what's considered mainstream hip-hop. He knows how to introduce foreign sonics in such a digestible way that it allows him to take creative risks and still thrive as a commercial titan — and UTOPIA is proof that he hasn't lost his Midas touch.

12 Post Malone Songs That Showcase His History-Making Vision, From "White Iverson" To "Mourning"

According to the Spanish press, Beyoncé is a goddess, which, at this point in her 30 years career, is a rather irrefutable claim. Yet the artist is proving her status once again via her 56-date Renaissance World Tour, which arrives in the U.S. on July 12.

"Beyoncé isn't a human, isn't divine, she's something much more powerful," Spanish publication  El Confidencial proclaimed after her June 8 date in Barcelona, her eighth tour stop. 

I can't really argue with these claims, likely scribbled furiously by some of the men sitting near me inside Barcelona's Lluís Companys Olympic Stadium. There, the pop diva brought her GRAMMY-winning RENAISSANCE album — which celebrates queer Black culture, house music and disco — to life in a show that also samples from her rich catalog. 

Yet the humanity behind the most-decorated GRAMMY winner could be felt acutely throughout: when she'd shout out to the audience, or when she gave the floor to her daughter Blue Ivy or her incredible dance crew, and in the simple act of hearing her unparalleled voice in person. 

It's impossible to attend this stellar show — a two-and-a-half-hour work of art — and not attempt to calculate all the work and care that Beyoncé and her team put into executing a live celebration of RENAISSANCE and her wider catalog. One of the writers in my midst looked like he was performing calculus to determine how the hell Queen Bey brought so much magic on stage. 

Beyoncé will launch the North American leg of her tour in July in Toronto. If you are lucky enough to score a ticket, you’re in for a treat; the performance features a runway show of iconic looks (which change nightly), an energetic setlist brought to life by a large, stellar live band, and a ballroom performance. The show has been executed flawlessly of course, but by the time Queen Bey and her crew bring it to the U.S., they’ll have put in hours and hours of practice for what will undoubtedly make for a heavenly event.

Read on for a lowdown of what Beyoncé served up at her record-breaking Barcelona show (the sold-out crowd of 53,000 was the largest audience for a solo female artist in Spanish history) to get a taste of what you can anticipate when she brings the energy, glitz and glam to a city near you.

Expect Uninterrupted Dance Floor Ecstasy

"My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom," Bey wrote in her announcement of the RENAISSANCE album last summer. "I hope it inspires you to release the wiggle. Ha! And to feel as unique, strong, and sexy as you are." 

She’s brought that intention fully to life with the Renaissance tour,  creating collective moments to stadiums full of dancing, euphoric bodies.

The expert curation of seemingly endless looks, incredible choreography and seamless setlist filled with "remix" moments made it hard to sit down. The show is so action-packed, you'll be catching your breath if you try to track every single sample and gravity-defying dance move. Even when the queen left the stage for a costume change, her incredible dancers continued the energy and kept the eye-catching show going. 

Just as the album plays like a DJ set, with each track leading directly into a juicy teaser of the next track, the stacked setlist of 40 songs is just as lively, energetic and flowing. "Samples" from across her catalog and her influences were woven into every song, offering fresh renditions of her music and a non-stop delivery of groove. 

Beyoncé's voice was impeccable; her vocal range shined through the expansive set list. On tracks like "Heated," Beyoncé reminded us she’s a badass rapper who can throw down bars.

The Custom Designer Looks Are A Show In Itself

The show’s plentiful fashion moments channeled the sparkle and glam of the disco era through a Afrofuturistic, space age lens, to eye-catching effect. Expect more fresh variations of her Renaissance lookbook stateside to be revealed each night. 

In Europe, Bey rotated her looks for each show, an extra special treat for fans (and surely for the fashionista herself) as she debuted new ones. Her European tour was filled with outfits from established and smaller designers — including some local brands —  with Balmain, David Koma and Loewe designs aplenty.  To commemorate Juneteenth at her Amsterdam show, she exclusively wore outfits by Black designers. The coordinating accessories were on-point as well; apparently, the singer brought 41 pairs of custom Jimmy Choos on the trek. 

In a rather legendary moment in Barcelona, Ms. Carter returned from a costume change lounging on a gigantic golden shell as she sang "Plastic Off The Sofa." In her peak shimmery moment of the evening, she soon revealed her head-turning golden custom Loewe catsuit, covered in sparkling red-fingernailed hands. She rocked sparkly black red finger-nailed gloves and gold rhinestone booties to match. The dancers wore matte, mesh catsuits, each with their "hands" in different positions.

Other stunning ‘fits from her Barcelona show included a colorful psychedelic mesh dress by David Koma paired with rimless bedazzled space-age sunglasses. She donned a silver, red and black leather space suit from Fendi with matching thigh-high boots, silver gloves and an upcycled fur stole she added on later. 

During the jaw-dropping "Mind Control" act featuring "America Has A Problem," Queen Bey channeled her nickname in a futuristic killer queen space bee look from Mugler with thigh high patent high-heeled boots and antennaed helmet. She’s served up an artsy, buzz-worthy selection of bee-inspired couture during this segment (near the end) of the show.

The BeyHive also adorned themselves in rhinestones, sequins, silver-everything, and cowboy hats and boots to pay tribute to their queen. 

It’s Not Just Glitz & Glam, There’s Plenty Of Feels

Beyoncé’s 11-year-old daughter Blue Ivy also made headlines during the European tour. During the impactful The Lion King: The Gift cut "My Power," Blue stole the show and spotlight. She rocked the same red suit as the dancers, but stood out as she danced next to her mom, deftly hitting every move with power. 

Kendrick Lamar's social justice anthem "Alright" was powerfully woven in with "My Power" and brought into the sonic, visual conversation, expanding the two tracks to new heights. This led to Bey’s inspiring Juneteenth 2020 track, "Black Parade" and ended with everyone on stage holding up their fists in the Black power symbol as the stadium cheered.

It's been almost a year since RENAISSANCE lead single "Break My Soul" dropped, and much has gone on in the world since. The refrain "you won't break my soul" remains a pertinent mantra, a cold glass of lemonade when things feel unbearable. And hearing the echoes of tens of thousands of voices singing it in unison felt like we could harness at least a little of Beyoncé's history-making, era-defining superpowers.

During 4 opener, "Love On Top," Beyoncé turned her mic to the crowd to amplify their voices. It felt as if the entire, 53,000-person audience — probably some of the staff too — was singing along in a moment of collective love and unity. 

Bey Shares The Stage With A Collective Of Powerhouse Dancers & Musicians

Just as she brought in an impressive team of co-producers collaborators to craft RENAISSANCE, she assembled a stellar cast of dancers, singers and musicians to help bring it to life on stage. Yes, everyone doled out the big bucks to see Beyoncé perform, but she clearly and beautifully made space for everyone to shine.

According to her website, there are 23 dancers, including Blue Ivy and Les Twins — a twin brother duo and regular Bey guests who can contort into gravity-defying shapes. In addition to sharing the credits online, she also made sure to shout everyone out during her final song.

"Pure/Honey" featured a full-on ballroom moment where the dancers with real-life ball experience, including Honey Balenciaga, wowed the audience. Together, they offered full-on, tens-across-the-board-worthy ball with dips, duckwalks and so much more. 

During an epic rendition of Bey and Jay-Z’s "Crazy in Love," her band got a chance to shine. The horn players came out front for their moment, and the female saxophonist got down for her solo. During the show, they served up world-class sound from an elevated silver platform.

When the star left to change after "Crazy in Love," her backup singers flawlessly sang Diana Ross' 1976 disco classic, "Love Hangover." They were serving futuristic Supremes in matching holographic silver dresses and gloves as a giant disco ball moved towards them, as if magnetized by their disco realness. 

Patron Saint Beyoncé Took Us To Church 

Beyoncé and her angelic voice were raised in the church, and during the show, the "Annointed" act brought her vision of worship to life, where all are welcome.

To announce the segment, lasers spelled out "Annointed" on the screen, followed by a gold and green church. In yet another breath-taking style moment (one that’s seemingly consistent throughout the tour) Queen Bey appeared in a long all-white robe-like dress. As she held her arms out in cross-form under the UV light, it was transformed into stained glass rainbow print. Japanese fashion brand Anrealage made that miracle possible.

As if her mind-blowing technicolor dreamcoat wasn't enough, Bey threw it off to reveal a shimmering Balmain silver sequin and pearl bodysuit, complete with a silver rhinestone-encrusted church hat. Her choir’s robes were also transformed by the light, but they also revealed black mesh outfits (presumably much easier to twerk in). 

This extravaganza led into "Church Girl," albeit a slowed down version, which added drama and showcased her heavenly vocals. When she went into "drop it like a thotty," the music sped up and the dancers started twerking. In a similar contrast of party-heater and soulful ballad, the 2007 Swizz Beatz-co-produced heater "Get Me Bodied" led to a stunning rendition of "Before I Let Go." The act ended with an a cappella moment where one of the dancers adorably looked at the real-life goddess with pure admiration.

On "Church Girl," Beyoncé preaches her vision of spirituality — you can be sexy and have fun as a child of God. And perhaps it's exactly the dancing with abandon, shaking your troubles away, that supports your path towards righteousness. 

The Flawless Production Will Leave Your Head Spinning – In A Good Way 

A massive, high-definition screen that ran the width of the stage with an archway in the middle provided extra context and visuals during the show, announcing each act and adding to the set with images of disco balls, robot legs, dancers, and more. The lighting and lasers were also amazing and added a dance club energy to the stadium. 

The stage itself was also large and unique, with an additional catwalk jutting from it, and a circle surrounding it. The stage brought Beyoncé  closer to the lucky fans at ground level, and allowed plenty of space to slay.

Stage props included a silver space tanker and disco horse, both of which Beyoncé rides on, along with robot arms that fan her off during "Heated." During that song — which she revealed is her favorite from RENAISSANCE —  a towering circle of mics surrounded her.

While it's quite hard to measure fabulous against fabulous, the Virgo queen progressively one-upped herself throughout the show. She saved the best for last, though, opening the jaw-dropping final act with Jim Morrison quote "Whoever controls the media controls the mind" flashed on screen, between "MIND" and "CONTROL," with Bey's face in the middle. It felt like a playful nod to the conspiracy theory that Bey and Jay are part of the Illuminati, as well as to the very real overload of information (and misinformation) we experience 24/7. The screen flashed images of fire, clocks, reCAPTCHA prompts, and more to a medley of Destiny's Child's songs.

This organized chaos set the tone for "America Has A Problem" during which a fake stock market ticker — with symbols like "HNY" that alluded to her song titles — inched along the edges of the screen. The supposed master puppeteer sat at an "on air" news desk, a la her RENAISSANCE photo shoot. 

And for the final moments of magic on stage, Beyoncé took us to heaven. She rode out on a disco horse a la the RENAISSANCE cover (and Bianca Jagger at Studio 54) to Donna Summers' disco hit "I Feel Love." She wore an impossibly long, blindingly shimmering disco cape, and wrapped the show with the "I Feel Love"-sampling track and RENAISSANCE closer, "Summer Renaissance." As silver confetti burst into the audience, she flew through the air high above the stage, her regal cape fluttering like angel wings.

Beyoncé Kicks Off Her Renaissance World Tour In Stockholm, Sweden: Watch Performance And Stage Videos, See Photos, View The Setlist & More

As Jay-Z declared in 2001's "Breathe Easy," few rappers stack up when it comes to his flow, consistency, stories, charisma, and trendsetting powers — and he's backed up his claims for three decades on.

The Brooklyn rapper has cranked out chart-topping hits and street anthems across classic albums like The Blueprint and The Black Album, and he's inspired generations of rappers to take on his pen-free approach to music. But long before becoming a hip-hop icon, the young Shawn Carter first honed his musical gifts by rapping over a boombox in his childhood home in Bed-Stuy's Marcy Projects.

Nicknamed "Jazzy" for his love of music, Jay-Z split his time between exploring his newfound passion and dealing crack cocaine as a teenager. After linking with childhood friend and then-mentor Jaz-O, he adopted the moniker "Jay-Z" in the late 1980s, and eventually captivated hip-hop fans on the posse cut "Show and Prove" from Big Daddy Kane's 1994 album Daddy's Home. That moment led to the eventual release of his own single, 1995's "In My Lifetime," and the years that followed served as the coronation of one of rap's biggest stars.

After being rejected from major record labels, Jay linked with fellow New Yorkers Damon "Dame" Dash and Kareem "Biggs" Burke to establish Roc-A-Fella Records in 1996. He soon went from being an up-and-coming artist selling burned CDs out of his car to producing multi-platinum singles and No. 1 albums. 

His greatness has earned him 24 GRAMMYs to date — tied with Kanye West for the most of any rapper — and a spot in the Rock & Roll Hall of Fame. And with a billion-dollar business empire to match his acclaimed discography, Jay-Z has long been declared one of the greatest MCs ever. 

As he continues his rap reign, revisit some of Hov's most illustrious career moments, from memorable performances to groundbreaking album releases and legacy-defining accolades. 

Listen to GRAMMY.com's official Songbook: An Essential Guide To Jay-Z playlist on Spotify, Apple Music, Amazon Music, and Pandora. Playlist powered by GRAMMY U.

THE RISE

"Hawaiian Sophie" (1989)

A fresh-faced, hi-top faded Jay made one of his earliest appearances on wax with "Hawaiian Sophie." The 1989 record was a modest and playful hit by childhood friend Jaz-O, who let Jay contribute a few lines on the island-themed track.

Though Jay's presence was minor, he put a face to a relatively unknown name by popping up throughout the song's luau-style video. Years later, he gained the attention of legendary Brooklyn rapper Big Daddy Kane, who brought Jay on as a hype man before he broke out as a solo act and formed a more calculated, sharp-tongued lyrical style. 

Reasonable Doubt (1996)

Taking inspiration from classic films like The Godfather and Goodfellas, Jay-Z showcased his lyrical potency and storytelling ability on his critically acclaimed debut, Reasonable Doubt, in mafioso fashion. The album was the manifesto of a 26-year-old street hustler, who looked to shed the deadly perils of the drug underworld to bask in the caviar and champagne lifestyle.

He shifted from the colorful, bombastic rap style of his early career to a snappier and grounded delivery on "Coming of Age," and the Biggie Smalls-assisted "Brooklyn's Finest," while still offering a slice of mainstream appeal on "Ain't No N—" featuring Foxy Brown. Legendary producers DJ Premier ("Fried or Foe"), DJ Clark Kent ("Cashmere Thoughts"), and Ski ("Dead Presidents II") helped lay the canvas for Jay-Z to illustrate his past experiences and impending accolades and riches. 

The album was among his best releases in the '90s, and helped establish his foothold in the industry through the new millennium. While Reasonable Doubt didn't reach platinum status until six years after its 1996 release, the project elevated Jay's profile as an emerging MC with a penchant for vivid street tales and mainstream edge. 

Vol. 2... Hard Knock Life (1998)

Jay-Z's third album is possibly the most impactful in his career. Not only did it notch his first GRAMMY (for Best Rap Album at the 1999 GRAMMYs), but it remains his best-selling album with more than 5 million copies sold. It also started an 11-album streak of No. 1 releases.

The project was a medley of pop-oriented singles such as "Can I Get A…" and club records like the piano-laced hit "Money, Cash, Hoes." It also offered street classics like "Hard Knock Life (Ghetto Anthem)," which showcased his musical versatility and mainstream appeal. 

Aside from the Stevie J-produced "Ride Or Die," Jay veered away from the Bad Boy production style of Vol. 2's predecessor, In My Lifetime, Vol. 1. He enlisted Ruff Ryders producer Swizz Beatz for "Coming of Age (Da Sequel)," and producers Timbaland, Jermaine Dupri, Irv Gotti, and Kid Capri were also tapped for the project, creating a lush palette of club bangers and records indicative of the shiny-suit era of late '90s hip-hop. 

THE ANTHEMS

"Imaginary Players" (1997)

If it wasn't for Hov, rappers may still be drinking beer over champagne, rocking silver charms over platinum, and driving Range Rover 4.0 SEs instead of 4.6 HSEs. Not only did Jay shift the motor and champagne industry with his second album, but he altered the rap game, too. And "Imaginary Players" was proof.

The In My Life, Vol. 1 cut was a collective side-eye to frauds masked as street hustlers, and signaled Jay-Z's early trendsetting powers. The song didn't graze the Billboard charts as high as singles "Who You Wit," "The City Is Mine" and "(Always Be My) Sunshine," but it grew into a street anthem and blueprint for the real go-getters to shine among the fakes. 

"Big Pimpin'" (1999)

For years, "Big Pimpin'" was the ultimate summer anthem. The single from Vol 3… Life and Times of S. Carter showcased Jay's ability to produce hit records with artists from other regions. It also laid the ground for future collaborations between Jay-Z and Timbaland, who went on to produce tracks like "Dirt Off Your Shoulder," "The Bounce," "Tom Ford," and others.

Music aside, the song's video is reflective of the flashy, big-budget era of the late 1990s and early 2000s. Shot during the Trinidad and Tobago Carnival, the video's yacht views, sand-filled beaches, and cigar smoke complimented the song's tropical sound and inspired listeners to wrap themselves in linen garments, kick back and enjoy the Caribbean breeze. 

The Blueprint (2001)

Regarded as the best album in his catalog, 2001's The Blueprint encapsulated all of the elements that made Jay-Z a lyrical titan and fixture in music. Between the boundless braggadocio on "The Rules Back," the tales of chaotic romance on "Girls. Girls, Girls," and a snapshot of his uprising on "Blueprint ("Momma Loves Me"), the album captured it all.

While "The Takeover" sparked one of the era's most contentious rap beefs, and forced Queens rapper Nas to snap back with a poignant blow of his own in "Ether," the album was riddled with some of Jay's biggest records during the 2000s. Street anthems like "Izzo (H.O.V.A.)" had rap fans of all ages spelling out the song's title, and soul-stirring album cuts like "Song Cry" had listeners barely holding onto their tears. 

The Black Album (2003)

Jay's eighth studio effort was pegged as the final one by the Brooklyn MC. And while he eventually returned for Kingdom Come three years later, 2003's The Black Album would've been the perfect end to an already historic rap career.

On "December 4th," Jay kicked off the album with a call back to his origins. "They say they never really miss you 'til you dead or you gone/ So on that note I'm leaving after this song/ See you ain't got to feel no way about Jay so long/ At least let me tell you why I'm this way, hold on." 

Jay goes on to outline his successes on "What More Can I Say," then incites fans to level up their sexy on "Change Clothes." Between experimental records like the DJ Quik-produced "Justify My Thug" and the soulful "Lucifer," The Black Album is also filled with stadium-rocking anthems. 

On "99 Problems," Jay raps over zingy guitar riffs for a bold track that's reminiscent of Run DMC and Aerosmith's 1986 smash "Walk This Way." Both songs were produced by Rick Rubin, who provided the rock-induced, bare-bones beat for Hov to unleash on snarky law enforcers and uninformed rap critics. 

The Timbaland-produced "Dirt Off Your Shoulder" is a middle finger to the dream killers envious of others' success. The platinum-selling record even inspired Barack Obama to use a shoulder-brushing motion when running against then-rival Hillary Clinton during his 2008 Democratic nomination campaign. 

THE COLLABS

"Numb/Encore" (2004)

After dropping a live album with The Roots and releasing two critically panned collaborations with R. Kelly, Jay made a creative pivot with Collision Course (EP). The rapper teamed up with Linkin Park for a hip-rock project that was inspired by Danger Mouse's The Grey Album, and mashed hits like "Jigga What, Jigga Who," "Dirt Off Your Shoulder," "Big Pimpin'" and with songs from Linkin Park's Meteora and Hybrid Theory releases.

The album received mixed reviews, but the project's lone single "Numb/Encore" won Best Rap/Sung Collaboration at the 48th GRAMMY Awards and helped the EP land a No. 1 spot on the Billboard 200. 

"Empire State of Mind" (2009)

Fifteen years after Nas' "N.Y. State of Mind," Jay made his own dedication to New York City with "Empire State of Mind." The record is an ode to the city that shaped him, and the millions of other natives who, like him, hustled in various boroughs to get by (and have a closet full of New York Yankees hats).

The Alicia Keys-assisted track touched the hearts of New Yorkers everywhere, including Harlem and Brooklyn native Lil Mama, who notoriously hopped on stage with Keys and Jay during their performance at the 2009 MTV Video Music Awards. The Blueprint 3 single took home two gramophones at the 53rd GRAMMY Awards for Best Rap-Sung Collaboration and Best Rap Song. 

Watch the Throne (2011)

After teaming up on classic songs like "Never Let Me Down" and "Diamonds From Sierra Leone (Remix)," Jay and Kanye West came together for a full-length project in 2011. The two rap giants combined their musical genius for Watch the Throne, an explorative and enthralling body of work filled with genre-melding hits coated with top-tier production and memorable features.

Watch the Throne was an exercise in musical cohesion and set the bar for collab projects to follow, given the commercial success and critical reception it received upon its release. Jay served as the lyrical orator, while West was the sonic architect and more animated showman. 

Between glossy trap songs like "H.A.M." and "N—s In Paris, and the pop-extravagance of "Lift Off," Jay and Kanye tell fervent tales of their ghetto origins on "Murder To Excellence," visions of their children's lives on "New Day," and give listeners soul-stirring jams like "The Joy" and "Otis." Each track was nourished from the well of Jay and Kanye's artistry, and done without either rapper leaving the other to dry. 

"Holy Grail" (2013)

The same year Jay-Z and Justin Timberlake came together for the hit "Suit & Tie," the pair delivered another smash with "Holy Grail." The song's origins began in the sessions for Watch the Throne, but Hov feared it would get lost in the shuffle — so he decided to build 2013's Magna Carta… Holy Grail around the enthralling record.

An explosive track about the allure and destruction of fame, it became the lead single for MCHG, selling over 3 million copies and winning Best Rap/Sung Collaboration at the 2014 GRAMMYs. A year after its release, Billboard placed the record at No. 25 on the publication's Top 100 Hot Rap Songs of all-time list. 

EVERYTHING IS LOVE (2018)

Prior to 2018, Jay-Z and his wife, Beyoncé, blessed fans with culture-shifting collaborations like "Crazy in Love," "03 Bonnie and Clyde," and "Drunk in Love." These songs prompted fans to call for a full-length project from the power duo, and after years of anticipation, the power couple delivered 2018's EVERYTHING IS LOVE.

The album came as a surprise to fans, with many jarred by the rumors surrounding Jay and Beyoncé's marriage following the release of Bey's searing 2016 project Lemonade (as well as Jay's honest response with 4:44 — more on that later). While the speculations and alleged drama continue to swirl online, the two stars came together for a nine-track album that gave listeners a behind-the-scenes look at life at the Carter residence. 

Announced in the middle of their second On The Run stadium tour, EVERYTHING IS LOVE celebrated the power of black love and family life while exploring unadulterated extravagance. Like their past collaborations, Beyoncé's soothing, high-powered vocals helped elevate Jay's bars and artistry. 

Together, they combined their collective powers for stories about rowdy tour stops and endless shopping sprees on "APES—" and "BOSS," and Beyoncé adorned the album with emotion-filled love ballads like "SUMMER." The couple even exchanged braggadocious rhymes about the strength of their union on "LOVEHAPPY," and the fun they have together outside the lines of celebrity on "HEARD ABOUT US" — proving they had not only weathered the storm, but came out stronger together.

THE LEGACY

4:44 (2017)

Arguably one of Jay's most complete and honest bodies of work, 4:44 is a vivid look at the artist's triumphs and failures as Shawn Carter the man. On the opening track "Kill Jay Z," he sheds his ego-fueled moniker to reveal his early upbringing in Bed-Stuy on "Marcy Me," the discovery of his mother's sexuality on "Smile" and the issues surrounding his marriage on the title track.

While the late-career album was largely viewed as a response to Beyoncé's Lemonade album,  4:44 also painted a portrait of Black America, unveiled the pathway to generational wealth on "The Story of O.J.," and the value of shared successes on "Family Feud" and "Legacy."  

The rapper veered from the commercial sound of Blueprint 3, and the gumbo of trap and luxury-soaked beats on Magna Carta… Holy Grail, to deliver deeply personal messages over No I.D.'s grounded, sample-heavy production. 

The artist hasn't released another solo project since 4:44, but if it is in fact his last album, it's certainly a stellar way to close the door on a legendary music career. The 2017 release was praised by critics and garnered three nominations at the 60th GRAMMY Awards, including Song Of The Year and Album Of The Year. 

"GOD DID" (2022)

The GRAMMY-nominated song had plenty of star power thanks to John Legend, Lil Wayne, Rick Ross, Fridayy and producer DJ Khaled — but Jay-Z's verse tilted the hip-hop world on its axis. 

On "GOD DID," Jay spit one of the best verses in his catalog. "I be speaking to the souls of men/ Those of them willing to die for the existence that this cold world has chose for them/ Kicking snow off a frozen Timb (woo)/ Back and forth on this turnpike, really took a toll on them." The MC detailed his journey across state lines to live out his street dreams, the drama and misfortunes that followed his tracks, and how he leveraged his powers to become one of the first rappers to reach billionaire status.

He encapsulated it all within a four-minute verse, closing out the track touching on his legacy — and proclaiming that he is in fact one of rap's all-time greats. "I just got a million off a sync/ Without risking a million years tryna get it out the sink (woo)/ Hov big/ They said they don't know me internationally, n—s on the road did/ I see a lot of Hov in Giggs/ Me and Meek could never beef, I freed that n—a from a whole bid/ Hov did/ Next time we have a discussion who the GOAT, you donkeys know this."

Killer Mike Says His New Album, 'Michael,' Is "Like A Prodigal Son Coming Home"

"GAY RIGHTS!!!!!" Betty Who captioned a cheeky photo earlier this month. Yes, it was a well-known inside joke among the LGBTQIA+ community, but the all-caps message held some serious meaning. The queer pop star's photo was from the White House's 2023 Pride Celebration, where President Biden formally announced the New Actions to Protect the LGBTQIA+ Community plan — and Betty Who was the star performer.

Music has always been a safe haven for gay and trans people of all kinds — from the closeted kids in Middle America finding sanctuary in the songs of their favorite pop stars, to the out-and-proud artists forming the soundtrack for the next generation of LGBTQIA+ fans. And Pride has always been a special time of the year to celebrate visibility and inclusion in the music industry — a place where everyone deserves to show up and be seen (and heard!) as their authentic self, and where every proverbial note, melody and harmony make up a beautiful and unique soundtrack that can only be yours.

Recently, queer musicians and allies who use their platforms to stand up for the LGBTQIA+ community has felt more important than ever. A rash of anti-LGBTQIA+ legislation has swept through state legislatures across the country, from so-called "Don't Say Gay" bills to blatant legal attacks on drag queens, trans kids and LGBTQIA+ history as a whole —  but those who stand for the community are fighting even harder.

As Pride month carries on, GRAMMY.com has rounded up a list of nine LGBTQIA+ artists, allies and bonafide gay icons who've made advocating for the community a central tenet of their music, their words and their actions. Of course, there are dozens to highlight, but take a look at how queer artists like Kim Petras and Troye Sivan and allies like Taylor Swift and Madonna have helped fans shine as their authentic selves.

ARTISTS

Kim Petras

Petras cemented her place as a rising star in the pop music echelon in February, when she became the first trans woman to win the GRAMMY for Best Pop Duo/Group collaboration with Sam Smith for their subversive collaboration "Unholy." (Smith, who identifies as non-binary, also made history with the win, though they graciously ceded the floor for Petras to give her awestruck acceptance speech on the GRAMMYs stage.)

As the cover star of Out's 2023 Pride issue, the German pop princess spoke out about the rash of anti-trans rhetoric taking root in legislatures across the country and harming vulnerable trans youth. "I literally was very suicidal as a kid, and I just wouldn't still be here had my parents not believed me," she told the magazine. "I hate that another generation is going through this, and I hate that young kids are going through the same s–t I was going through, and that apparently just isn't changing. I think it's sad. I just never understood why people were so obsessed with what people do to be happy. Just focus on what you can do to be happy."

Lil Nas X

Lil Nas X has never been shy when it comes to sticking up for the queer community — and he usually does so with a healthy dose of snarky humor on social media. He's cheerfully clapped back about everything from the explicit queerness of his music videos to his place in the modern pantheon of hip-hop; mostly recently, he hopped on Twitter to hilariously take down conservative outrage over Pride-themed merchandise at Target.

"Can't believe target is supporting this nonsense, im never shopping there again, my son is not 'too cool for school' these shirts are ridiculous. He is going to school and he WILL learn," the GRAMMY winner wrote in a since-deleted tweet, mockingly referencing the anti-LGBTQIA+ crusaders upset with inclusive and trans-friendly apparel being sold at the popular retailer. 

In another instance from late April, Montero made his stance hysterically clear when he tweeted, "I want to clear all the straight rumors. i have many straight friends and i support their community, but that is NOT me!"

Troye Sivan

Years before releasing his debut album Blue Neighborhood in 2015, Troye Sivan came out publicly via YouTube. Since then, he's been consistently outspoken about his experiences as a gay artist in the music industry.

The Australia native, who announced his long-awaited follow-up to 2018's Bloom earlier this month, has made a consistent point in his career to turn his visuals into unapologetic examples of queer art — from the lusty defiance of 2018's "My My My!" to the "gushy juicy doting adoring power b^tt^m gay ballad" perfection that was 2021's "Angel Baby."

Perhaps most powerful of all, though, was his video for early single "Heaven" featuring Betty Who, which depicted historic moments in the LGBTQIA+ rights movement including some of the earliest Pride parades on record. "We have always been here. we will always be here. this video is dedicated to all those who've come before me and fought for our cause and those who now continue the fight," he wrote in the video's description. "in dark and light times, let's love forever. love, troye x."

Betty Who

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Speaking of Betty Who, the indie pop star received an invitation directly from President Biden to perform at the White House's official 2023 Pride Celebration, where the commander in chief formally announced his administration's plan titled New Actions to Protect the LGBTQIA+ Community. The three-point roll-out promises to focus on "Strengthening Physical Safety," "Addressing Civil Rights Violations" and "Strengthening Mental Health and other Support Resources."

"Today was the biggest pride celebration ever held at the white house and i got to be a part of it!!!!!!!!" Betty, who identifies as both queer and bisexual, wrote afterwards on social media. "So many things i want to say! What an honour it is, how proud i am to be part of the lgbtqia+ [community], how special today's event was and how grateful i am to @potus, @drbiden and the amazing white house staff for hosting us. queer joy spouting everywhere!!! very grateful for this incredible experience."

Big Freedia

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Earlier this year, Big Freedia was honored by PFLAG — the nation's longest-running LGBTQIA+ organization — with its first-ever National Breaking Barriers Award. The new honor, which she received at PGFLAG's 50th anniversary gala in March, is meant to shine the spotlight on "an individual who uses their platform to help remove obstacles to LGBTQIA+ and intersectional equality in pursuit of a more just, equitable and inclusive world."

Upon receiving the award, the bounce music trailblazer (and 2023 GRAMMY winner) took to Instagram with a determined message, writing, "There's still so much work to do to fight discrimination and I will continue to work on behalf of our whole community to spread love, acceptance, inclusion and everyone's right TO BE FREE."

ALLIES

Taylor Swift

While she'd slyly referenced her support for the LGBTQIA+ community in the past on songs like "Welcome to New York," Taylor Swift took a public stand in 2019 with her Lover era single "You Need to Calm Down." The gay anthem's celebratory music video issued a call to action for her fans to support the as-yet-unpassed Equality Act with her very own Change.org petition.

During her Eras Tour stop in Chicago earlier this month, the superstar spoke specifically to her LGBTQIA+ fans, promising them that her concerts would always be a "safe space" for them to celebrate who they are. 

"I wish that every place was safe and beautiful for people in the LGBTQ community, I really wish that. We can't talk about Pride Month without talking about pain," she told the sold-out crowd of Swifties at Soldier Field. "There have been so many harmful pieces of legislation that have put people in the LGBTQ and queer community at risk. It's painful for everyone — every ally, every loved one, every person in these communities. And that's why I'm always posting, 'This is when the midterms are. This is when these important, key primaries are.'

"'Cause we can support as much as we want during Pride Month," the 12-time GRAMMY winner continued. "But if we're not doing our research on these elected officials — Are they advocates? Are they allies? Are they protectors of equality? Do I want to vote for them? — I love you guys so much and happy Pride Month."

Madonna

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What hasn't Madonna done in her iconic career to lift up the LGBTQIA+ community? In fact, there's an entire Wikipedia page dedicated solely to her status as a living gay icon.

Famously, Her Madgesty's love for the gay community started with her early mentor and dance teacher Christopher Flynn. Early in her career, she became one of the first artists to speak out about the HIV/AIDS crisis and decry the stigmatization of gay people at the time.

She's been recognized by the GLAAD Media Awards multiple times, including in 1991 with the Raising Gay Awareness award and in 2019 with the Advocate for Change award. (At the latter ceremony, GLAAD president Sarah Kate Ellis stated, "Madonna always has and always will be the LGBTQ community's greatest ally.")

More recently, Madge added multiple dates to her upcoming Celebration Tour, including a special stop in Nashville to stand in solidarity with the state's queer, trans and drag communities as they've been bombarded by a string of anti-LGBTQIA+ legislation from the state's Capitol.

"The oppression of the LGBTQIA+ is not only unacceptable and inhumane; it's creating an unsafe environment; making America a dangerous place for our most vulnerable citizens, especially trans women of color," she wrote on Instagram alongside the announcement. "Also, these so-called laws to protect our children are unfounded and pathetic. Anyone with half a brain knows not to f— with a drag queen. Bob and I will see you from the stage in Nashville where we will celebrate the beauty that is the queer community!"

Beyoncé

Long considered a gay icon in her own right, Beyoncé paid reverential honor to the LGBTQIA+ community and her late uncle Johnny with 2022's Renaissance, an undulating magnum opus inspired by the underground ballroom scene sparked by Black, trans and gay pioneers of the 1970s, '80s, '90s, and beyond.

Queen Bey also holds space for queer artists throughout Renaissance's sprawling, hour-long track list, collaborating with TS Madison and Big Freedia, sampling Kevin Aviance and late drag star Moi Renee, working with Honey Dijon behind the boards and more. "Thank you to all of the pioneers who originate culture, to all of the fallen angels whose contributions have gone unrecognized for far too long," the living legend wrote in a note posted to her personal website upon the album's release. "This is a celebration for you."

Dan Reynolds of Imagine Dragons

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Imagine Dragons frontman Dan Reynolds has emerged as a powerful advocate for the LGBTQIA+ community through his nonprofit organization Loveloud and its popular Utah festival, which he launched in 2017 to support LGBTQIA+ teens in the state's overwhelmingly conservative (and outspokenly anti-LGBTQIA+) Mormon community. 

This year, though, Reynolds and the Loveloud board — which includes out and proud musicians like Tyler Glenn of Neon Trees, Vincint, Wrabel and Parson James — have expanded Loveloud's mission beyond the Mormonism of the Wasatch front. In early March, Loveloud announced it would be transforming into a traveling festival for its sixth year with stops in Austin, Texas, where dozens of anti-LGBTQIA+ laws have been pursued by the state legislature and Gov. Greg Abbott, and Washington D.C.

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