Black filmmakers have long understood the power of infusing music into their narratives. Whether it’s the tapping of the hi-hat at the beginning of "Theme From Shaft" or the warbly opening synth before Prince’s spoken-word intro on "Let’s Go Crazy," these signature sounds evoke a cinematic image that deepens the sonic and visual elements of a film.  

As with most great innovations, the concept of working with a composer to create original sounds for film emerged from desperation. Trailblazing Black film auteur Melvin Van Peebles was eager to attract a larger audience for his 1971 Blaxploitation crime drama, Sweet Sweetback's Baadasssss Song, and hired Earth Wind & Fire to score his X-rated opus about a Black hustler on the run from the law. 

But instead of developing a string of new tracks reminiscent of their past work, the label-defying band created new sounds that served the narrative of Sweet Sweetback. Understanding that visibility is paramount for cinema, Van Peebles chose to release the soundtrack before the film to get people excited about the material — and his plan worked. 

The film's success — with Black and non-Black audiences — led to a revolutionary shift in the relationship between music and cinema. Other productions adopted the tactic, including the 1972 crime drama Super Fly, and promotional soundtracks eventually became the status quo in Hollywood.   

Prominent Black filmmakers continued the legacy of using music to drive and promote their narratives. In the '70s, some filmmakers gave the reins to a single artist, like Curtis Mayfield’s Super Fly and Stevie Wonder’s Jungle Fever. The late '80s and early '90s saw increasing popularity of compilations featuring notable and emerging acts, such as School Daze, Soul Food and Poetic Justice. 

The mid-to-late '90s saw a rise of musicians-turned-actors like Will Smith and Whitney Houston, who received dual billing in movies and soundtracks such as Men in Black, Wild, Wild West, The Bodyguard, Waiting to Exhale and The Preacher’s Wife. (However, blurring the lines between music and acting was nothing new for Smith; the "Fresh Prince of Bel-Air" theme song has stamped a place in television history.) 

And the tradition has continued into the new millennium. With its roster of G-Unit artists, 50 Cent's Get Rich or Die Tryin soundtrack is an East Coast descendant of 1994's Above the Rim, which features a lineup from the West Coast's Death Row Records. On the music-actor hybrid front, Beyoncé has carved out a lane similar to Whitney Houston, doing double duty for Austin Powers in Goldmember, The Fighting Temptations, Cadillac Records, Dreamgirls and 2019's The Lion King. 

Compilations remain prevalent and popular. The 2015 sports drama Creed is supercharged by hip-hop and R&B tracks from Meek Mill, Jhené Aiko, Donald Glover, Future and Vince Staples, while neo-soul grooves from Lucky Daye, H.E.R. and Robert Glasper reinforce the story of Black love on The Photograph's soundtrack. The soundtrack for Black Panther: Wakanda Forever spans genres, with songs by E-40, Burna Boy, and Rihanna that showcase the vast world of Wakanda. 

Scores of memorable Black film soundtracks have been released since Van Peebles inextricably linked film and soundtrack in the early ‘70s. The following selections are just a sample of the essential titles that have left an indelible mark on both Black music and cinema: 

Shaft

"My only responsibility was to make sure [director Gordon Parks] didn’t hand me my head on a platter," Isaac Hayes once said about this iconic 1971 theme song. "It was my first movie gig and I wanted to make sure I did it right." 

And the Oscar and GRAMMY Award-winning singer did just that. From the energetic clinking of the hi-hats to the exquisitely slow, nearly three-minute build toward the sound of Hayes’ silky-smooth baritone, the theme to Shaft delivers on all levels — both as a theme for the hippest, no-nonsense private detective in the game, as well as a stand-alone jam that went hard as hell at the disco.

The Shaft soundtrack — a double album by Hayes recorded specifically for the film — also features a mix of orchestrated instrumental tracks that have inspired generations of Black artists. The award-winning composition has been sampled hundreds of times since its release; Erykah Badu ("Bag Lady"), Dr. Dre ("Xxplosive") and Adina Howard ("If We Make Love Tonight") have all put their spin on "Bumpy’s Lament."

Music From the Motion Picture Purple Rain

Nearly 40 years after its release, the 1984 film that launched Prince into mega-stardom continues to attract new audiences — thanks in great part to its transcendent soundtrack. Created in collaboration with his backing band the Revolution, Prince’s game-changing studio album spent 24 weeks at the top of the Billboard charts. It birthed a string of Top 10 hits, including "Let’s Go Crazy," "I Would Die 4 U," "When Doves Cry," and the title track, "Purple Rain." 

Blending elements of funk, rock, synth pop, and R&B, the iconic album attracted a wide cross-section of fans and has become a hallmark of ‘80s music. And none of it would be possible without Prince’s desire to break from convention — he wanted the world’s attention. So he went to work forming a backing band of young musicians from different identities who could help him capture the rock 'n’ roll energy of ‘80s mainstream acts like Bob Seger. After carefully developing stage personas, rehearsing nonstop, and cultivating the right sound, Prince compiled their tracks — alongside a few songs from Apollonia 6 and the Time — and the rest is history. 

The high-energy, genre-blending album was met with acclaim and earned the singer three GRAMMYs and an Academy Award for Best Original Score Song. But perhaps most importantly, Prince’s willingness to experiment gave the green light to a host of artists from different genres who followed in his path, including Beck, Janet Jackson, Beyoncé, U2, Cyndi Lauper, Dave Grohl and more.

Music From Do the Right Thing

Throughout his successful decades-long career, renowned film director Spike Lee has seamlessly weaved music into his narratives to elevate and highlight emotional themes. Whether he’s deploying a rare acapella recording of Marvin Gaye’s "What’s Going On?" during a pivotal scene in Da 5 Bloods or using Sam Cooke’s 1963 song "A Change is Coming" in a montage before the civil rights leader’s assassination in Malcolm X, Lee understands the emotional power of music and how to leverage it in his work.  

And while it’s difficult to pick a true stand-out in a filmography bursting with memorable musical moments, the soundtrack for Lee's 1989 masterpiece Do the Right Thing is arguably among the most noteworthy because of Public Enemy’s "Fight the Power" — a head-bopping call to action that introduced the group into the mainstream.  

Back in the late ‘80s, when Lee was searching for an anthem for his upcoming indie film about racial tensions in a Brooklyn neighborhood, he reached out to Public Enemy to ask them to do a hip-hop-infused spin on the Black National Anthem, "Lift Every Voice and Sing." But they were not interested. 

"I opened the window and asked him to stick [his] head outside. ‘Man, what sounds do you hear? You’re not going to hear ‘Lift Every Voice and Sing’ in every car that drives by,’" Public Enemy co-founder Hank Shocklee told Rolling Stone. "We needed to make something that’s going to resonate on the street level. After going back and forth, he said, ‘All right, I’ll let you guys go in there and see what you guys come back with.’" 

So the influential hip-hop group hit the studio, first nailing down the name of the record — inspired by the Isley Brothers’ song of the same name — then working on the instrumentation and lyrics. After sending Lee a rough version of the track, he suggested that they add saxophone and jazz great Branford Marsalis was brought in. Public Enemy added three of his sax solos to the song, and Lee was so taken with the track that he used it in the movie 20 separate times.  

While the soundtrack also features high-energy party songs from ‘90s R&B staples like Guy and Teddy Riley, the Experience Underground (best known for "Da Butt") and a soul-searching ballad from Al Jarreau, Public Enemy’s groundbreaking protest track remains the perfect embodiment of the movie’s central message and energy. "Fight the Power" fused two traditional Black music forms, jazz and hip-hop, to create an empowering, thought-provoking song that highlights the socio-political issues that the Black community continues to face nearly 40 years later.  

Above the Rim (The Soundtrack)

Basketball and hip-hop go together like ice cream and cake. And this soundtrack for the 1994 sports drama about a New York high schooler caught between two worlds showcases the power of this perfect pairing. Off the strength and long-lasting impact of Warren G and Nate Dogg’s "Regulate" alone, this all-star compilation executive produced by Dr. Dre and Suge Knight has become a foundational Black movie soundtrack. 

And while the tale of Warren and Nate’s incredibly tense night out may be the album’s most successful track, it’s part of an elite roster of ‘90s hip-hop and R&B acts, including SWV, The Lady of Rage, Al B. Sure, Tha Dogg Pound (featuring rising star Snoop Dogg), H-Town and the film’s star Tupac Shakur. 

Released by Death Row Records and Interscope, the star-packed compilation hinted at the emerging rivalry between East and West Coast rappers. Yet audiences from both coasts fell in love with the record, which sold more than two million copies and ascended to the top of the Billboard R&B charts. The soundtrack’s success helped cement Death Row — and the gangsta rap genre — as a force to be reckoned with in the mainstream.

Waiting to Exhale: Original Soundtrack Album

Based on the best-selling Terry McMillan novel of the same name, Waiting to Exhale is a romantic drama that follows a close-knit group of Black women as they navigate challenging relationships, careers and family issues. Starring Whitney Houston, Loretta Divine, Angela Bassett and Lela Rochon, the film is among the most revered in the Black movie canon due to its authentic portrayals of Black sisterhood, relatable relationship issues and empowering themes. So when it was time to develop the film’s sound, it was important that the music uplift the story — but it did so much more than that thanks to the golden ears of Houston and GRAMMY-winning songwriter and producer Babyface.  

In a recent appearance on the "The Kelly Clarkson Show," Babyface revealed that Waiting to Exhale director Forest Whitaker had originally asked Quincy Jones to write and produce the soundtrack. However, Jones declined and told the actor-turned-director to reach out to Babyface, who he thought was a better fit for the project. 

In collaboration with Whitaker, Babyface and Clive Davis, Houston — who had final approval on the roster of featured artists — helped select an inspired mix of emerging stars, established acts and legendary songstresses: SWV, CeCe Winans, Toni Braxton, Faith Evans, For Real, Sonja Marie, Brandy, Shanna, Chanté Moore, Aretha Franklin, Chaka Khan, Patti LaBelle, Mary J. Blige, and of course, Houston, who was featured on three tracks: "Exhale (Shoop Shoop)" "Count on Me" and "Why Does It Hurt So Bad?"  

Much like the film, the timeless compilation — which topped the charts and scored multiple top-10 hits along with a GRAMMY and an American Music Award — is a highly celebrated work of art created by Black women that continues to resonate with music fans everywhere.  

The Soundtrack Hit Makes A Comeback: How 'Encanto,' 'Top Gun' & ‘Black Panther’ Went From Chart-Toppers To GRAMMY Nominations

For Baby Keem and Kendrick Lamar, The Melodic Blue was a family affair. The two cousins collaborated on three tracks from Keem's 2021 debut LP, "Range Brothers," "Vent," and "Family Ties." And in 2022, the latter helped the pair celebrate a GRAMMY victory.

In this episode of GRAMMY Rewind, turn the clock back to the night Baby Keem accepted Best Rap Performance for "Family Ties," marking the first GRAMMY win of his career.

"Wow, nothing could prepare me for this moment," Baby Keem said at the start of his speech.

He began listing praise for his "supporting system," including his family and "the women that raised me and shaped me to become the man I am."

Before heading off the stage, he acknowledged his team, who "helped shape everything we have going on behind the scenes," including Lamar. "Thank you everybody. This is a dream."

Baby Keem received four nominations in total at the 2022 GRAMMYs. He was also up for Best New Artist, Best Rap Song, and Album Of The Year as a featured artist on Kanye West's Donda.

Press play on the video above to watch Baby Keem's complete acceptance speech for Best Rap Performance at the 2022 GRAMMYs, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

How The 2024 GRAMMYs Saw The Return Of Music Heroes & Birthed New Icons

The celebration isn't over after the 2024 GRAMMYs. In recognition of Black History Month, the GRAMMY Museum proudly honors the indelible impact of Black music on America and the fabric of global pop culture. 

This programming is a testament to the rich heritage and profound influence of Black artists, whose creativity and resilience have shaped the foundation of American music. Through a series of thoughtfully curated events — including educational workshops, family programs, special screenings, and intimate conversations — the Museum aims to illuminate the vibrant legacy and ongoing evolution of Black music. 

From a workshop on the rhythmic storytelling of hip-hop following its 50th anniversary and the soulful echoes of Bill Withers' classics, to the groundbreaking contributions of James Brown and the visionary reimagination of "The Wiz," these GRAMMY Museum programs encapsulate the enduring legacy and dynamic future of Black music.

The GRAMMY Museum invites audiences to delve into the stories, sounds, and souls that have woven Black music into the tapestry of our shared human experience. Through this journey, the Museum and the Recording Academy honor the artists, visionaries, and pioneers whose talents have forever altered the landscape of music and culture. 

Read on for additional information on the GRAMMY Museum's month-long tribute that explores, appreciates and celebrates the invaluable contributions of Black music to our world.

Thurs., Feb. 8

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Sat., Feb. 10

Family Time: Grandma’s Hands

WHAT: Join us for a very special family program celebrating the recently released children’s book Grandma’s Hands based on one of Bill Withers’ most beloved songs. Bill’s wife, Marcia, and daughter, Kori, will participate in a book reading, conversation, audience Q&A, and performance, followed by a book signing. The program is free (4 tickets per household.)

WHEN: 11 a.m. – 12:30 p.m. 

REGISTER: Click here.

Mon., Feb. 12

Celebrating James Brown: Say It Loud

WHAT: The GRAMMY Museum hosts a special evening on the life and music of the late "Godfather of Soul" James Brown. The program features exclusive clips from A&E's forthcoming documentary James Brown: Say It Loud, produced in association with Polygram Entertainment, Mick Jagger’s Jagged Films and Ahmir “Questlove” Thompson’s Two One Five Entertainment, followed by a conversation with Director Deborah Riley Draper, superstar Producer Jimmy Jam, and some surprises.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sat., Feb. 17

Backstage Pass: "The Wiz"

WHAT: Presented in partnership with the African American Film Critics Association, join us for an afternoon spotlighting the famed Broadway Musical, "The Wiz," with the producers and creative team responsible for the Broadway bound reboot. The program will feature a lively conversation, followed by an audience Q&A in the Museum’s Clive Davis Theater, and will be hosted by AAFCA President, Gil Robertson, and GRAMMY Museum Education & Community Engagement Manager, Schyler O’Neal. The program is free (four tickets per household).

WHEN: 1 p.m.

REGISTER: Click here.

Thurs., Feb. 22

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Reel To Reel: A Hip Hop Story

WHAT: In conjunction with the GRAMMY Museum's exhibit, Hip-Hop America: The Mixtape Exhibit, the GRAMMY Museum is thrilled to host a special screening of A Hip Hop Story with a post-screening conversation featuring Affion Crockett to follow.

WHEN: 7:00 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sun., Feb. 25

Lunar New Year Celebration

WHAT: Join us for a special program celebrating Lunar New Year as we usher in the Year of the Dragon with a performance by the South Coast Chinese Orchestra. The orchestra is from Orange County and uses both traditional Chinese instruments and western string instruments. It is led by Music Director, Jiangli Yu, Conductor, Bin He, and Executive Director, Yulan Chung. The program will take place in the Clive Davis Theater. This program is made possible by the generous support of Preferred Bank. The program is free (four tickets per household).

WHEN: 1:30 p.m.

REGISTER: Click here.

Tues., Feb. 27

A Conversation With Nicole Avant

WHAT: The GRAMMY Museum is thrilled to welcome best-selling author, award-winning film producer, entrepreneur and philanthropist, Ambassador Nicole Avant to the museum’s intimate 200-seat Clive Davis Theater for a conversation moderated by Jimmy Jam about her new memoir Think You’ll Be Happy – Moving Through Grief with Grit, Grace and Gratitude. All ticket buyers will receive a signed copy of the book.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

GRAMMY.com’s 50th Anniversary Of Hip-Hop Coverage: A Recap

In 1998, the landscape for R&B music was stacked with releases: Lauryn Hill, Brandy, Whitney Houston, Faith Evans, Deborah Cox, Maxwell and Dru Hill, among others, all dropped albums during those 12 fabled months. It was also the year that a four-piece girl group from Houston, Texas by the name of Destiny’s Child released their self-titled debut album. 

The 13-track album arrived on Feb. 17 and largely featured earthy, quiet storm grooves and bluesy sensibilities. Destiny's Child bore a markedly different style than their later works, and its reception was a far cry from the group's subsequent blockbusters. Yet audiences were intrigued, and the debut peaked at No. 67 on the Billboard 200 and No. 14 on its concurrent Top R&B/Hip-Hop Albums chart, pushing enough units to warrant a RIAA platinum certification. Destiny's Child took home three trophies at 1998's Soul Train Lady of Soul Awards, including Best R&B/Soul Album Of The Year.

By the time Destiny’s Child were climbing the charts, they had already traversed quite a lengthy road to stardom. Initially formed in 1990 as Girls Tyme — a six-member group that included Beyoncé Knowles, LaTavia Roberson and Kelly Rowland, organized by initial manager Andretta Tillman — the pre-teen artists performed on "Star Search" in 1992 and lost. Following their defeat, Beyoncé’s father Mathew Knowles came on board as Tilman’s co-manager, dismissing the other three girls and bringing in LeToya Luckett to form a refreshed quartet.

A few years later, they signed a production deal with Darryl Simmons’ Silent Partner imprint (Simmons was then known working with Babyface and LA Reid on hits for Boyz II Men, Toni Braxton and Tevin Campbell). Simmons connected Girls Tyme with Sylvia Rhone at Elektra Records, who dropped the Darryl's company and Girls Tyme several months later. "Sylvia dropped Darryl’s company because he was too busy writing hit songs for everyone in the industry. He didn't have the time to give to his own artists," Knowles recalls, adding that Rhone was already working with En Vogue and "didn’t really need another girl group." 

Destiny's Child circa 1996, Columbia Records audition day | Courtesy of LaTavia Roberson

In 1996, the girls eventually secured a deal with Columbia Records and a complementary deal with D’Wayne Wiggins's own production company. Taking the girls — then 14 to 15 years old — under his wing, Destiny’s Child and their chaperones spent several months in a rented home in Oakland, California, working on an album deemed by Beyoncé as "a rebirth of music from the '70s."

"D’Wayne’s ear was very influential on the sound of the album," original member LaTavia Roberson remembers. By this point in his career, Wiggins had just come off making Tony! Toni! Toné!’s final albums Sons Of Soul and House of Music, which are now considered foundational to the development of neo-soul. Together, Wiggins and Destiny's Child created contemporary Black music that unabashedly embraced its past.

"Live instrumentation was a big part of the thought process [of] going back to a kind of urbane sound that was similar to neo-soul," Knowles explains. Tracks like "Second Nature" and "Bridges" featured potent use of the fender rhodes, bass, trumpet and saxophone.

While Wiggins was undoubtedly the album’s chief creative anchor, Destiny's Child also featured notable contributions from some of the era's key hitmakers; Tim & Bob, Jermaine Dupri, Wyclef Jean, Vincent Herbert, Mark Morales and Cory Rooney. "Mathew always just made us listen to the tracks, emphasizing it shouldn’t matter if the producer has a name. What was most important is that we felt the music," Roberson recalls.

As finishing touches were being put on the album, Columbia Records began strategizing ways to build buzz around their new signees. It just so happened that they were curating the soundtrack for the upcoming film Men In Black. Taking advantage of the opportunity to promote their own act, the soundtrack would house the rootsy and pensive ballad "Killing Time" — Destiny's Child's first official release.

The group also scored slots opening for SWV and the O’Jays, and were guest vocalists on "Can’t Stop," a regional hit by Houston rapper Lil’ O. All this preliminary visibility would ultimately set the scene for the arrival of their debut single "No, No, No'' in October 1997. The original version, branded as "No, No, No Pt 1," was a slow jam produced by Vincent Herbert and Rob Fusari; Wyclef Jean later remixed the single, which became "No, No, No Pt 2." The two versions were strategically given a dual release, allowing the song to compete on the charts as one track.

The song peaked at No. 3 on the Billboard Hot 100, becoming the ninth best-selling song of 1998. Promos prioritized "Pt. 2," making it easy to assume that the remix drove the album's success. However, "the remix didn’t save the day," Knowles notes. "Different markets actually played the ballad more than the up-tempo version. In America, it was almost 50/50 — especially across the East Coast and Midwest."

The Jermaine Dupri-helmed "With Me Pt 1," an answer to Usher's "You Make Me Wanna," was released as the album’s second single. Despite reaching the Top 20 in Canada and Britain, it struggled to match the success of "No, No, No" in the States. Like it's predecessor, two versions of the song were also recorded; "With Me Pt 2" featured Master P, who at the time was making historic strides with his independent label No Limit Records. 

"With Me Pt 1"’ would be the final single released from the album, and the girls were tasked with going back into the studio to record what would become The Writing’s On The Wall. Interviews done around this time revealed that there were intentions for "Illusion" — a jazz-rap reworking of "Just An Illusion," a 1982 hit by British R&B trio Imagination, featuring Jean and Fugees alum Pras — to be issued as Destiny's Child's third single. A clear attempt to rehash the formula used with "No, No, No," Columbia even commissioned a club remix produced by house music royalty Maurice Joshua with new vocals.

"It’s not that we didn't love 'Illusion,' but we were minors and it’s the executives who make the decisions," Roberson says, who had a rare vocal lead on the track. "The label wanted us to move on and create more age-appropriate music."

The ballad-heavy and traditional R&B style present on Destiny's Child was considered adult-oriented, its messaging and audience more aligned with what Mary J. Blige was doing on 1997's Share My World and 1999's Mary. In a 2006 interview with the Guardian, Beyoncé said the album was "way too mature for us. It was a neo-soul record and we were 15 years old." Roberson echoed, "A lot of people thought we were older than we were because of how sophisticated the album sounded."

While Destiny’s Child had unintentionally aged themselves out of the market, their peers NSYNC, Britney Spears and Christina Aguilera were nearing full omnipresence as leaders of the teen pop revival. At the same time, mainstream R&B was adopting the futuristic sound and aesthetic spearheaded by Missy Elliott and Timbaland’s pioneering work with Aaliyah. This direction greatly shaped the output of competing girl groups TLC, 702 and Blaque, and ultimately kept Destiny's Child from being as pop-facing or radio friendly as Columbia had intended.

"We wanted to brand these girls as fresh hot teenagers. Though the album had some phenomenal songs, it didn’t fit into the direction we were heading into," Knowles says.

Despite its middling commercial success, the debut album generally holds up well: The Mary Jane Girls-esque "Show Me The Way," the sensuous "Birthday," and the funky b-side "You’re The Only One" all deserve contemporary re-examination. Contrasting these hidden gems is a needless cover of the Commodores’ "Sail On," which fails to leave an impression despite some well-crafted vocal arrangements. Likewise, "My Time Has Come", dedicated to their first manager, the late Andretta Tillman, had its heart in the right place but lacked the conviction and soul needed to justify its inclusion.

Nonetheless, the album remains an artifact of the elements central to Destiny's Child's musical persona. The syncopated, rapid vocal style that Beyoncé innovated on "No, No, No Pt 2," and lyrical themes of romantic equity, mutual respect, self-confidence and autonomy, would govern the band's career-defining hits and influence many of their contemporaries. Destiny's Child’s prematurely "grown and sexy" vibe can be seen as the prototype for their final album, 2004 Destiny Fulfilled . 

"The beauty of creativity is that there has to be a starting point. The hope is that you grow from that starting point. Destiny's Child’s first album was a great example of that," Mathew imparts.

Twenty-five years ago, it would’ve been tempting to write off Destiny’s Child as no more than one-hit wonders who were, according to John Bush at AllMusic, "indistinguishable from all the other female groups out there." Few would have predicted that in just two years, Destiny's Child would become one of the definitive acts of the 2000s and, eventually, one of the most important girl groups of all time.

Achieving a level of international and cross-cultural appeal as Black women that eluded their competitors and some of their forebears, Destiny's Child is demonstrative of the axiom that it’s not about how you start, but how you finish.

 For The Record: Kendrick Lamar’s 'Good Kid, M.A.A.d City' Launched A New Era In Storytelling & West Coast Rap

Music is a vital part of Black history, and the roots of jazz, pop, R&B, punk and soul (among many other genres) can be traced to Black musicians. Black artists have consistently charted and changed the course of music history, inspiring popular genres and musicians, while influencing long-lasting trends.

In the spirit of celebrating the Black roots of multiple genres, GRAMMY.com reveals lesser-known facts about influential Black musicians — many of whom put their stamp on projects that you may be surprised to learn about.

Muddy Waters Inspired The Rolling Stones’ Name

McKinley Morganfield — popularly known as Muddy Waters — influenced a generation of rock musicians, including Eric Clapton, Bob Dylan, Led Zeppelin and many more. The American blues singer grew up on Stovall Plantation in Clarksdale, Miss. and began playing guitar and harmonica at a very young age. Waters was first recorded for the Library of Congress in 1941. After moving to Chicago, Muddy recorded his first songs for Aristocrat and Columbia Records in 1946.

Muddy Waters and his band were famous for their ability to make blues standards catchy and contemporary, as evidenced by songs such as “You Need Love,” “You Shook Me,” “I Just Want to Make Love to You,” “Got My Mojo Working,” and “Baby Please Don’t Go.”

Muddy toured England in 1958, and helped propel the resurgence of blues music in the country. His prolific lyricism inspired at least one group of British rockers: the Rolling Stones (originally the Blues Boys) allegedly took their name from Muddy’s 1950 hit “Rollin’ Stone.” Other groups followed, with Led Zeppelin covering “You Shook Me” and reworking Muddy’s “You Need Love” into “Whole Lotta Love.” AC/DC’s hit “You Shook Me All Night Long” is similarly inspired by Muddy’s 1962 song. 

Muddy won GRAMMY Awards for Best Ethnic or Traditional Folk Recording in 1972, 1973, 1976, 1978, 1979 and 1980.

Mamie Smith Was The First Black Woman To Make A Record

Also known as “the queen of blues,” Mamie Smith’s success was pivotal to the classic female blues era of the 1920s, which typically featured a singer accompanied by pianists or a small group of musicians. 

She was also the first female African-American performer to make a phonograph record. Okeh Records, the company Smith recorded for, received death threats for pressing records from a Black artist. Against all odds, the record became a commercial success and paved the way for all Black musicians to record. 

Smith recorded many tracks in 1920, which became her famous hits. In less than a year, “Crazy Blues” and “It’s Right Here for You (If You Don’t Get It, ‘Tain’t No Fault of Mine)” sold more than a million copies. In 1994, “Crazy Blues” was inducted into the GRAMMY Hall of Fame.

Nina Simone Wrote “Mississippi Goddam” In Less Than 1 Hour

The provocative and insightful work of Nina Simone (born Eunice Kathleen) spans genres, touching classical, jazz, blues, folk, R&B, gospel and pop. A child prodigy, Simone was turned down from classical music school because she was Black — though she wasn’t deterred  from achieving her dream as a singer.

Simone’s career is marked for her refusal to be pigeonholed by style or subject matter. Among Simone’s many notable tracks are “Ain’t Got No, I Got Life,” “I Put a Spell on You, Don’t Let Me Be Misunderstood,” “I Wish I Knew (How It Would Feel To Be Free),” and “Feeling Good.”

Her 1964 Civil Rights anthem “Mississippi Goddam” took just 20 minutes to an hour to write — but it made an impact that still stands the test of time. (“Oh but this country is full of lies/ You’re all gonna die like flies/I don’t trust you anymore…Just give me my equality,” she sings.)

The song was later banned — some say it is because “goddam” was in the title; others argue that the subject matter was what caused the ban.

Frankie Knuckles Nearly Wasn’t The “Godfather” Of House Music

Francis Nicholls Jr. — or Frankie Knuckles to his fans — helped pioneer the development of house music as a DJ at Chicago nightclub the Warehouse. The term house music, as we understand today, originated as the music you would hear at the Warehouse.

Born in New York, Frankie spent much of the ‘70s DJing at nightclubs with his friend and longtime Paradise Lounge resident Larry Levan. Frankie’s first DJ residency was at New York’s legendary Continental Baths, an epicenter of gay culture and disco, in the early ‘70s. 

Frankie moved to Chicago with Levan in 1977 and began DJing at the Warehouse. Over the course of his five-year residency, Frankie was regarded as “The Godfather of House Music” due to his unique records and skillful mixes.

Yet Frankie wasn’t the first choice DJ for the Warehouse — Levan was. Larry declined the gig but recommended Frankie, and the rest is history. Frankie won the inaugural GRAMMY Award for Best Remixed Recording (Non-Classical) at the 40th annual GRAMMY Awards.

Marvin Gaye Spent His Early Years At Motown As A Drummer

Marvin Pentz Gay Jr., popularly known as Marvin Gaye, was influential to the R&B genre. As a musician and songwriter, his gifts helped put the Motown sound on the map and earned him the moniker “prince of Motown” and “prince of soul.”

Marvin Gaye spent his early years at Motown as a drummer for in-house band, the Funk Brothers. While you can hear Gaye’s resonant, iconic voice on dozens of Motown tunes, his drumming appears on songs for Smokey Robinson and the Miracles, the Supremes, Stevie Wonder, the Marvelettes and others.

Nile Rodgers Went from Chic to “Material Girl”

Guitarist Nile Rodgers began his career in New York, touring with the Sesame Street band. When Rodgers met bassist Bernard Edwards in 1970, they formed The Big Apple Band — which would later be renamed Chic. The group became one of few successful disco bands in a genre dominated by producers.

When Chic temporarily split, Rodgers became an in-demand (and multiple GRAMMY-winning) producer for the likes of David Bowe, Duran Duran, Mick Jagger and Grace Jones. Rodgers worked with Madonna as a producer and arranger on her Like A Virgin album, although he originally did not like the hook for its titular song. His 2013 collaboration with Daft Punk further set Rodgers apart as one of the most prolific Black artists of all time.

Rodgers also owns Sumthing Else MusicWorks, a music distribution company, which is prominent in the distribution of video game soundtracks.

Bob Marley Was A Palm Reader Before He Became A Singer

The man everyone knows as Bob Marley was born Robert Nesta Marley in St. Ann Parish, Jamaica. Marley began his professional career in 1963, releasing The Wailing Wailers two years later as the Wailers with Peter Tosh, and Neville O'Riley Livingston. The debut album featured the original, ska version of “One Love/People Get Ready,” which would later become a reggae hit. 

But before he became a musician, Marley was a palm reader. Marley began reading palms as a child and, according to his close friend and confidant Allan “Skill” Cole, most of his predictions came true (at least in part). The singer moved to Kingston’s Trench Town neighborhood, and stopped reading palms after he was introduced to Rastafarian way of life.

Ray Charles Broke Ground By Gaining Artistic Control

Ray Charles’ music spanned R&B, jazz and funk, and is regarded as a founding father of soul. He preferred that fellow musicians and friends call him “Brother Ray,” while others often referred him to as “the Genius.” 

Among Charles’s genius was demanding artistic control over his music and recordings. While he obtained creative license with several labels, including Atlantic Records, Charles penned a deal with ABC Records that gave him full control over his master recordings and those from his own Tangerine record label. The groundbreaking deal enabled Ray Charles to become one of very few artists afforded such freedoms, and coincided with the groundbreaking Modern Sounds in Country and Western albums (themselves barrier-breakers for the way they integrated country and pop music).

From Aretha Franklin To Public Enemy, Here's How Artists Have Amplified Social Justice Movements Through Music