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imajicaentertainment · 7 months

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The Captivating Journey of Depeche Mode's "101" Live Album

The Captivating Journey of Depeche Mode's "101" Live Album

Music Night Experience - Depeche Mode: 101

Depeche Mode's live album and documentary "101" holds significant importance in the band's career and the history of electronic music. Released on 13 March 1989 under Mute Records, this masterpiece captures the final leg of Depeche Mode's highly successful "Music for the Masses Tour" and culminates with their final show on 18 June 1988 at the renowned Rose Bowl in Pasadena, California.

The title "101" holds a special meaning, credited to band member Alan Wilder. It represents both the number of the final performance of the tour and coincidentally matches the number of the famous highway in the area, the Hollywood Freeway. This synchronicity adds an intriguing layer to the album's overall concept.

Directed and produced by the acclaimed D. A. Pennebaker, the "101" documentary immerses viewers into the captivating world of Depeche Mode's live performances. Through Pennebaker's lens, fans are granted exclusive access to the band's electrifying stage presence, their passionate and devoted fan base, and intimate behind-the-scenes moments. The film authentically captures the essence of Depeche Mode's music and the energy they brought to their live shows.

What makes "101" truly special is its ability to transcend the typical live album experience. It serves as more than just a documentation of a band's tour; it becomes a cultural and musical time capsule. The album showcases Depeche Mode at the peak of their musical prowess, delivering electrifying renditions of their iconic hits such as "Enjoy the Silence," "Personal Jesus," and "Just Can't Get Enough." The raw energy and emotional depth of their performances are palpable, leaving a lasting impression on both die-hard fans and newcomers alike.

Furthermore, "101" provides a glimpse into the fervent dedication and loyalty of Depeche Mode's fanbase. The documentary features interviews with passionate fans, highlighting the band's impact on their lives and the sense of community that they share. This aspect further cements the importance of Depeche Mode as not just a band, but a cultural phenomenon that continues to inspire and connect people from all walks of life.

Ultimately, "101" remains a testament to the power of electronic music and Depeche Mode's enduring influence. It captures a milestone moment in the band's career, showcasing their musical prowess, stage presence, and the unwavering dedication of their fanbase. Whether you are a die-hard fan or a casual listener, "101" offers a captivating journey through the sonic and visual world of Depeche Mode, solidifying its place as a timeless piece of music history.

Depeche Mode

Depeche Mode: Shaping the Sound of Electronic Music

Formed in Basildon, England, in 1980, Depeche Mode quickly rose to prominence and became one of the most influential bands in the history of electronic music. Originally comprised of Dave Gahan, Martin Gore, Andy Fletcher, and Vince Clarke, their unique sound and captivating performances captivated audiences worldwide.

The band's debut album, "Speak & Spell," released in 1981, marked their entry into the British new wave scene. However, soon after, Vince Clarke decided to leave the band, and Alan Wilder joined as his replacement. This pivotal moment marked a turning point for Depeche Mode, as Martin Gore took over as the main songwriter, and the band embarked on a new musical journey.

With their second album, "A Broken Frame," released in 1982, Depeche Mode solidified their reputation as pioneers of electronic soundscapes. The album showcased a more mature and introspective side of the band, delving into themes of love, loss, and alienation. This trend continued with subsequent releases, including the critically acclaimed albums "Black Celebration" (1986) and "Music for the Masses" (1987), which firmly established Depeche Mode as a dominant force in the electronic and alternative music scenes.

Their music often combined dark, atmospheric melodies with introspective and poetic lyrics, creating a unique sonic experience. Depeche Mode's ability to connect emotionally with their audience resonated deeply, and their popularity soared to new heights. In fact, their concert at the Pasadena Rose Bowl in June 1988 drew a massive crowd of over 60,000 fans, solidifying their status as global icons.

In 1990, Depeche Mode released their seventh album, "Violator," which became a major international success. With hits like "Enjoy the Silence" and "Personal Jesus," the band reached new heights of commercial success and critical acclaim. Following the release of "Violator," Depeche Mode embarked on a groundbreaking worldwide tour, solidifying their reputation as an unparalleled live act.

However, the band faced internal struggles during the recording and touring of their next album, "Songs of Faith and Devotion" (1993). These challenges ultimately led to Alan Wilder's departure in 1995, leaving Depeche Mode as a trio consisting of Gahan, Gore, and Fletcher.

Despite the lineup change, Depeche Mode's artistic vision and musical ambition remained unwavering. They continued to release compelling music, experimenting with different styles and incorporating elements of rock and industrial music. Their influence on the electronic music genre and beyond continued to grow, inspiring countless artists in the process.

Throughout their career, Depeche Mode achieved remarkable chart success. They had an impressive 54 songs in the UK Singles Chart, with 17 albums reaching the Top 10. Their global impact was recognized by Q magazine, which included them in their list of the "50 Bands That Changed the World!" VH1 also acknowledged their significance, ranking them No. 98 on the "100 Greatest Artists of All Time." Billboard named Depeche Mode the 10th Greatest of All Time Top Dance Club Artists in 2016.

In 2020, Depeche Mode was finally inducted into the Rock and Roll Hall of Fame, cementing their enduring legacy. Their groundbreaking sound, thought-provoking lyrics, and mesmerizing stage presence continue to inspire generations of musicians and fans alike.

Depeche Mode's contribution to the evolution of electronic music cannot be overstated. With their daring experimentation, emotive performances, and timeless hits, they have shaped a genre and left an indelible mark on the history of music. As their music continues to resonate with listeners around the world, Depeche Mode remains a testament to the power of artistic vision and sonic innovation.

Viewing with Andrew Rogers of Depeche Mode: 101 is the following: The Critic, ‘Destroyer’, ‘Sentient, ‘Director Imajica Entertainment’, Detroit, ‘Destroyer’, ‘Sentient, ‘Director Imajica Entertainment’. Olivia Amber May ‘Mistress of Magic’, ‘Destroyer’, ‘Sentient, River Phoenix, ‘Destroyer’, ‘Sentient’, Heath ‘The Joker’ Ledger, ‘Destroyer’, ‘Sentient, Stan Lee ‘Comic Creator’, ‘Destroyer’, ‘Sentient, Ereshkigal ‘Sumerian Goddess of Kur’, ‘Destroyer’, Cronus ‘Titan God’, ‘Destroyer’, Empress, ‘Sentient’, ‘Destroyer’, Emperor, ‘Sentient’, ‘Destroyer’, Ronin ‘Destroyer’, ‘Samurai Sentient, plus additional representatives from otherworldly realm

Andrew Rogers: Destroyer Incarnate, Founder of Imajica Entertainment.

Review: Depeche Mode: 101 is the following: ‘The Critic’: Destroyer, Sentient, Director Imajica Entertainment

“A wonderous experience, but a shadow of darkness present” – ‘The Critic’: Destroyer, Sentient, Director Imajica Entertainment.

Oracle: Andrew Rogers

Review: Depeche Mode: 101 is the following: Detroit: Destroyer, Sentient, Director Imajica Entertainment.

“Genuis music and band” – Detroit: Destroyer, Sentient, Director Imajica Entertainment.

Oracle: Andrew Rogers

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Olivia Amber May ‘Mistress of Magic, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: River Phoenix, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Heath ‘The Joker’ Ledger, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Stan Lee Comic Creator, Destroyer, Sentient

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Ereshkigal Sumerian Goddess of Kur, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Cronus Titan God, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Empress, Sentient, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Emperor, Sentient, Destroyer

Viewing Depeche Mode: 101 with Andrew Rogers on this ‘Music Night Experience’ is the following: Ronin Destroyer, ‘Samurai Sentient’.

World Shopping Centre will have Depeche Mode memorabilia and merchandise for sale in the centre and website.

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todayonglobe · 7 months

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Lil Nas X Toronto Film Festival Premiere Success After Bomb Scare

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regentstreetcinema · 1 year

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"This unflinching portrait of the prog rock band is like an episode of The Office but with huge drum kits, grizzled roadies and rapturous fans" - Guardian

In The Court Of The Crimson King delves into the mystique of King Crimson, a band unlike any other.

Book now!

#InTheCourtOfTheCrimsonKing #KingCrimson #Documentary #MusicDocumentary #70sMusic #ProgRock #RegentStreetCinema #RegentStreet #London #IndependentCinema

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indigo-girls-fan-talk · 1 year

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I’m getting lots of DMs (thank you!) asking where to stream the one-and-only Indigo Girls documentary “It’s Only Life After All”. The answer is: nowhere. Yet! While there are plans to make the film streamable at some point, it can only currently be seen at select film festivals. When there is news on where and when to stream, I’ll post it here! #indigogirls #amyray #emilysaliers #itsonlylifeafterall #documentary #musicdocumentary #multitudefilms #musicphotography #film #filmfests https://www.instagram.com/p/Cq4WyDbuFJe/?igshid=NGJjMDIxMWI=

#indigogirls #amyray #emilysaliers #itsonlylifeafterall #documentary #musicdocumentary #multitudefilms #musicphotography #film #filmfests

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radiotiger77 · 1 year

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💥What The Hell Happened To Blood, Sweat & Tears? (Abramorama Films, Written, Produced & Directed by John Scheinfeld): Thanks to United Stations Radio Networks PULSE Prep Service, producer/journalist Howie Edelson and Nights with Alice Cooper for creating and sharing online this coverage/feature including an exclusive interview with BS&T founding member and score co-composer Bobby Colomby! Official Omnivore Recordings Soundtrack will be available Friday, April 21 (on beloved Compact Disc and Digitally as noted). @abramorama @unitedstations @nightswithalicecooper #howieedelson @omnivorerecordings #bloodsweatandtears #musicdocumentary #politicalthriller https://www.instagram.com/p/CqLAAKmrfZw8v3MxrXRDdHbNMUsoSKN-kIJ9gY0/?igshid=NGJjMDIxMWI=

#howieedelson #bloodsweatandtears #musicdocumentary #politicalthriller

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theupstarters · 1 year

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Thanks @forevermooredoc & @drmaddvibe including me Angelo’s documentary and the signed poster and note! Check out our song with Fishbone soldier no. 1 called Bubble. #fishbone #fishbonesoldier #forevermoore #musicdocumentary #skadocumentary #ska #upstartersband #upstarters https://www.instagram.com/p/CpfkPMIuKwE/?igshid=NGJjMDIxMWI=

#fishbone #fishbonesoldier #forevermoore #musicdocumentary #skadocumentary #ska #upstartersband #upstarters

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trascapades · 1 year

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📽#ArtIsAWeapon "The Woodstock of House" is the opening night film at @ny_adiff #NYADIFF2022, November 25, 2022. Go to www.nyadiff.org for tickets and info about this and other films being screened. If you've ever been (or wanted to go) to the annual @chosenfewdjs Festival in Chicago, this may be a movie you want to see. Also, "this film is for this moment in time where we need to see positive stories about #Blacklife, #Blackculture, #Blackmusic." - Rodrick Wimberly, Director and Executive Producer, "The Woodstock of House." • VIA www.NYADIFF.org #TheWoodstockOfHouse #ADIFF2022 OPENING NIGHT FILM FRIDAY, NOV. 25, 2022 7:30pm Red Carpet 8:00pm Doors Open - Screening followed by Q&A with director Rodrick F. Wimberly Venue: Cinépolis Chelsea 260 W 23rd Street, New York, New York� "The Woodstock of House details the triumph of a genre of music that was attacked and seemingly destroyed by mainstream America in the late 1970s for being too black, too Latin, and too gay. 'Woodstock' explores the music's mutation, development, and re-birth as #HouseMusic by disaffected African American teenagers on the South Side of Chicago in an underground culture of marginalized, largely gay nightclub constituents. This is the untold story of the role of Chicago's Chosen Few DJs in the creation and popularization of the third-largest musical genre in the world. The documentary celebrates the 25th Anniversary of the annual Chosen Few Music Festival. Deemed the "Woodstock of House," this festival brings 50,000 people of different races, ages, sexual orientations, and class together in an environment of unity, peace, and love without conflict in one of the most violent cities in America, serving as an oasis of love in a sea of conflict... Tickets available now at the link in our bio or https://nyadiff2022.eventive.org/schedule/6329cfa089a1cf0037843b41 " • #HouseHeads #AfricanDiasporaFilmFest #Woodstock #ChosenFewChicago #ChicagoHouse #ForUsByUs #WillTravelForMusic #documentary #tellblackstories #HouseMusic #MusicDocumentary #BlackGirlFilmGeeks (at Cinépolis) https://www.instagram.com/p/Ck_P9fDOE4k/?igshid=NGJjMDIxMWI=

#artisaweapon #nyadiff2022 #blacklife #blackculture #blackmusic #thewoodstockofhouse #adiff2022 #housemusic #househeads #africandiasporafilmfest #woodstock #chosenfewchicago #chicagohouse #forusbyus #willtravelformusic #documentary #tellblackstories #musicdocumentary #blackgirlfilmgeeks

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justinsandler · 2 years

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Special screening of the re-release of #anvilthestoryofanvil #documentary followed by live performance from @anvil.metal. Incredible time. I first met #Anvil in 2009. I was playing drums for Beautiful Creatures at the #rocklahoma festival. We shared a connecting flight from Dallas & a shuttle to the hotel w/ them. Got to know them a bit back then. Great dudes. So happy to reconnect last night, especially w/ my #drummer brother #robbreiner. The #film is coming out again soon. You must see it. It’s a beautiful & hopeful story, very funny, & well done. Here’s a few frames from last night. Went w/ my good mate @jamesgoldingmusic. #metalonmetal 🤘🏻 @lipsanvil @steveo #metal #rockumentary #musicdocumentary #musicfilm #sabantheatre #beverlyhills #music #musician #musicians #concertphoto #musicislife #inspiration #musiclover #rockconcert #rockshow #filmscreening #heavymetalband #heavymetalpioneers #heavymetal #anvilband #rocknroll https://www.instagram.com/p/Ci4I1u_OfEp/?igshid=NGJjMDIxMWI=

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fleatreatment · 11 months

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🎶🎬 Are you a fan of movies about musicians? 🤔 If so, you may be interested in our list of the top flea musician movies. 🎸🎥 These films showcase the lives and careers of some of the greatest musicians of all time, from rock legends to classical virtuosos. 🎵🎞️ Our list includes a variety of genres and styles, from biopics to dramas and comedies. 🎭🎬 Some of the films on our list are based on true stories, while others are fictional tales inspired by the lives of famous musicians. 📚🎥 Whether you're a fan of jazz, rock, or classical music, there's a movie on our list that's sure to entertain and inspire. 🎶🎥 So grab some popcorn, sit back, and get ready to be transported into the world of music with our top flea musician movies. 🍿🎬 From the struggles and triumphs of famous musicians to the power of music to bring people together, these films are sure to leave you humming a tune and tapping your feet. 🎶👣1. Introduction to Top Flea Musician Movies🎵 Welcome to our guide on the top flea musician movies! 🎥 🎸 These films showcase the lives of talented musicians who happen to be fleas. 🐜 🎬 From animated classics to live-action dramas, there's something for everyone. 💯 🎥 One of the most beloved flea musician movies is "A Bug's Life" (1998). 🐛 🎞️ This Pixar film follows Flik, a young ant who recruits a group of circus bugs to save his colony. 🎭 🎵 The soundtrack features Randy Newman's catchy tunes, including "The Time of Your Life." 🎶 🐜 "James and the Giant Peach" (1996) is another must-see flea musician movie. 🍑 🎥 This stop-motion animated film tells the story of a boy who travels inside a giant peach with a group of insect friends. 🎞️ 🎵 The soundtrack, composed by Randy Newman and featuring the vocal talents of Paul Terry, is a delight. 🎶 🎬 For a more dramatic take on flea musicians, check out "The Fly" (1986). 🪰 🎥 This horror film stars Jeff Goldblum as a scientist who accidentally transforms into a human-fly hybrid. 🎭 🎵 The haunting score, composed by Howard Shore, adds to the film's eerie atmosphere. 🎶 🎞️ "Antz" (1998) is another great flea musician movie. 🐜 🎥 This DreamWorks animated film follows Z, an ant who rebels against his society's conformity. 🎭 🎵 The soundtrack, featuring songs by Paul Simon and Randy Newman, is a highlight. 🎶 🎵 Whether you're a fan of animated films or live-action dramas, these top flea musician movies are sure to entertain. 🎥 🎸 So grab some popcorn and get ready to tap your feet to the beat of these talented little insects. 🐜🍿2. The Rise of Flea as an Actor🎭 Flea, the bassist of the Red Hot Chili Peppers, has been making waves in the acting world. 🎬 He has appeared in over 50 films and TV shows, including "Back to the Future" and "The Big Lebowski." 🏆 Flea has been praised for his acting skills, earning critical acclaim for his roles in "Baby Driver" and "Boy Erased." 🌟 He has also been recognized for his work in theater, receiving a Drama Desk Award nomination for his performance in "The Wild Duck." 🎥 Flea's success as an actor can be attributed to his natural talent and dedication to his craft. 👨‍🎓 He studied acting at the Los Angeles Conservatory of Music and Arts and has worked with renowned acting coaches. 🎭 Flea approaches each role with a unique perspective, bringing his own experiences and emotions to the character. 👏 His ability to seamlessly transition between music and acting has also contributed to his success. 🌟 Flea's rise as an actor has not gone unnoticed, with many fans and critics eager to see what he will do next. 🎬 He is set to star in the upcoming film "Queenpins" alongside Kristen Bell and Vince Vaughn. 🏆 With his talent and dedication, there's no doubt that Flea will continue to make a name for himself in the acting world. 3. Top Flea Musician Movies of the 90s Empire Records (1995) A group of record store employees try to save their beloved store from being sold. Featuring music from Gin Blossoms, Better Than Ezra, and The Cranberries. 🎶🎸 Singles (1992) A romantic comedy set in Seattle's grunge music scene. Starring Matt Dillon and Bridget Fonda. Soundtrack includes Pearl Jam, Soundgarden, and Alice in Chains. 🎤🎶 That Thing You Do! (1996) A fictional band, The Wonders, rise to fame with their hit song "That Thing You Do!" Directed by Tom Hanks and featuring music by Fountains of Wayne. 🎵🎤 The Commitments (1991) A group of working-class Dubliners form a soul band. Based on the novel by Roddy Doyle. Featuring classic soul hits like "Mustang Sally" and "Try a Little Tenderness." 🎶🎷 Trainspotting (1996) A dark comedy-drama about a group of heroin addicts in Edinburgh. Featuring a memorable soundtrack with songs from Iggy Pop, Lou Reed, and Blur. 🎧🎶 4. Flea's Collaborations with Iconic DirectorsFlea, the renowned bassist of Red Hot Chili Peppers, has collaborated with several iconic directors throughout his career. These collaborations have resulted in some of the most memorable film scores of all time. 🎥 Spike Jonze: Flea worked with Jonze on the films "Being John Malkovich" and "Her." Their collaboration resulted in innovative and unique soundtracks that perfectly complemented the films' themes. 🎥 Quentin Tarantino: Flea contributed to the soundtrack of Tarantino's "Pulp Fiction" with the song "Jungle Boogie" by Kool & the Gang. He also appeared in Tarantino's film "Once Upon a Time in Hollywood." 🎥 Gus Van Sant: Flea worked with Van Sant on the films "Psycho," "Finding Forrester," and "Milk." Their collaborations resulted in emotionally charged and thought-provoking soundtracks. 🎥 Werner Herzog: Flea contributed to the soundtrack of Herzog's film "Bad Lieutenant: Port of Call New Orleans." His haunting bass lines added an eerie and unsettling atmosphere to the film. 🎥 Ridley Scott: Flea worked with Scott on the film "Black Hawk Down." His contributions to the soundtrack added a sense of urgency and intensity to the film's action sequences. Flea's collaborations with these iconic directors have left an indelible mark on the world of film. His unique style and innovative approach to music have resulted in some of the most memorable soundtracks in cinematic history.5. Flea's Most Memorable Movie Roles Donny in "The Big Lebowski" - Flea's portrayal of a nihilistic bowler in this cult classic earned him critical acclaim. Needles in "Back to the Future" - As Marty McFly's reckless friend, Flea's performance added a comedic edge to the sci-fi classic. Dr. Gonzo in "Fear and Loathing in Las Vegas" - Flea's wild and drug-addled character perfectly captured the essence of Hunter S. Thompson's novel. Douglas J. Needles in "Back to the Future Part II" - Flea reprised his role as Needles, this time as a successful businessman who tries to swindle Marty. Chad in "Baby Driver" - Flea's brief but memorable appearance as a bank robber in this action-packed heist film was a highlight. 🎥🎬 Flea has had a diverse career in film, from cult classics to modern blockbusters. His most memorable roles include Donny in "The Big Lebowski" and Needles in "Back to the Future." In "Fear and Loathing in Las Vegas," Flea perfectly captured the wild spirit of Hunter S. Thompson's novel. He also reprised his role as Needles in "Back to the Future Part II" and made a brief but memorable appearance in "Baby Driver" as a bank robber.6. Flea's Impact on the Film IndustryFlea, the bassist of the Red Hot Chili Peppers, has made a significant impact on the film industry. Here are some ways: He has acted in over 30 films, including cult classics such as "The Big Lebowski" and "Back to the Future Part II." Flea has also composed music for films, including "Baby Driver" and "Boy Erased." He has even produced films, such as "Low Down," a biopic about jazz pianist Joe Albany. But Flea's impact goes beyond his individual contributions. He has also inspired other musicians to pursue acting and film projects. For example, his Chili Peppers bandmate Anthony Kiedis has acted in several films, including "Point Break" and "The Chase." And musician-turned-actor Will Smith has cited Flea as an inspiration for his own acting career. Overall, Flea's versatility and creativity have made a lasting impact on the film industry, both through his own work and his influence on others.7. The Future of Flea's Acting CareerFlea's acting career has been on the rise, and it seems like it will continue to soar in the future. He has been cast in several upcoming movies, including "The Batman" and "The Unbearable Weight of Massive Talent." His performances in "Baby Driver" and "Boy Erased" have garnered critical acclaim and opened doors for him in Hollywood. With his unique energy and charisma, Flea is sure to bring something special to every role he takes on. As he continues to establish himself as a versatile and talented actor, it's exciting to think about the possibilities for Flea's future in the industry. He could potentially land leading roles or even be considered for awards in the future. His passion for acting and his willingness to take on challenging roles make him a valuable asset to any production. With his impressive range and dedication to his craft, Flea is sure to make a lasting impact on the world of film. Overall, the future looks bright for Flea's acting career, and fans can't wait to see what he will do next. 🎥🎬🤩 In conclusion, flea musician movies have been a staple in the film industry for decades. From the iconic performances in "Purple Rain" to the electrifying energy of "Almost Famous," these films have captured the essence of what it means to be a rockstar. Whether you're a fan of classic rock or modern pop, there's a flea musician movie out there for everyone. So grab some popcorn, turn up the volume, and get ready to be transported into the world of music. In the end, these movies remind us of the power of music to inspire, uplift, and connect us all. 🎸🎶🎬 https://fleatreatment.uk/top-flea-musician-movies/?_unique_id=645caf84dea14

#Uncategorised #bestmoviesaboutmusicians #Fleamusicianmovies #iconicmusicianfilms #musicdocumentaries #topmusicbiopics #aiomatic_0

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jnkmamma · 1 year

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The Story of When House Music Went Global (Music Documentary)

#youtube #housemusic chicago musicdocumentary globalfamilysupport

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90363462 · 1 year

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Inside the Unstoppable Rise of Verzuz

Swizz Beatz, Timbaland, Alicia Keys, Ludacris, Lil Jon, Brandy, Monica, Patti LaBelle, and more tell the true story of the Instagram battle show that has become appointment viewing for the culture.

The multiplatinum Verzuz brain trust: Timbaland (left), at home in Miami, and Swizz Beatz (right), at home in San Diego.Timbaland: photograph by Devin Christopher; Swizz Beatz: photograph by Alissa Ashley

From GQ’s November 2020 issue, The Big Pivotexplores how nimble businesspeople in companies large and small—from an Austin, TX drive-in to an abstract painter to an Atlanta bookseller dedicated to Black literature—created communities and gave us hope in the middle of the pandemic. See all the stories here.

“Tim, this is a good time to call J.T.”

I’m on a Zoom call with Swizz Beatz and Timbaland, the multiplatinum super-producers and creators of Verzuz, when Swizz casually throws the suggestion out there. For those unfamiliar with early-aughts pop music, that’s “J.T.” as in “Justin Timberlake,” and Timbaland is flashing a mischievous grin. “I’m already on it,” he says, reaching for his phone to shoot a text to his friend and collaborator.

That’s how a lot of Verzuz matchups begin. As happy accidents. The original Verzuz got its start back in March, when stay-at-home orders effectively shut down clubs everywhere and we found ourselves scrolling through Instagram to see who was on Live doing what. One night, Timbaland popped up on his account, dancing and teasing the records that he’d been making while holed up in his studio. Suddenly, he called out for his brother Swizz: “Where you at?!”

The invitation led to them going Live together the following night for an epic five-hour soundclash in which they took turns playing their biggest hits and swapping stories. The format felt novel—part night out at the club, part Behind the Musicdocumentary—and it apparently had some legs: Over 20,000 fans tuned in, and by spring Verzuz was trademarked as a stand-alone brand.

The Instagram show quickly became one of the pandemic’s biggest success stories, as Swizz and Tim leveraged their connections to put together increasingly preposterous dream battles across R&B, hip-hop, gospel, and dancehall. Legends like Jill Scott vs. Erykah Badu. Nelly vs. Ludacris. Snoop Dogg vs. DMX. Gladys Knight vs. Patti LaBelle, in a firecracker showcase that Twitter users affectionately dubbed #AuntieChella. In a world where nightlife isn’t viable, folks are planning Verzuz watch parties online, filling out brackets to rank their favorite songs, and openly fantasizing on Twitter about the period-appropriate cosplay they would wear if they were to leave their living rooms (NBA jerseys and fitted caps for Fabolous vs. Jadakiss, Steve Madden platforms for Brandy vs. Monica).

But the real magic of Verzuz is the spontaneity, the sense that anything can happen. When Bounty Killer went up against Beenie Man for an in-person battle in Jamaica, for instance, their performance was so lit that the police showed up and tried to shut it down. “Come oooonnnn officer,” Rihanna pleaded in the comments as half a million viewers watched in suspense. “Tell the police go hooommeeee.”

The police soon relented, and the party continued.

Here, GQ talked to the artists and people behind Verzuz about how it became appointment viewing for the culture.

Swizz BeatzPhotograph by Alissa Ashley

While Verzuz seemingly began as counterprogramming for our lockdown lives, its origins can be traced back to 2007, when Swizz and Kanye West squared off in a beat battle at Hot 97’s Summer Jam concert—a tradition Swizz would continue with Just Blaze and, of course, Timbaland. Swizz and Tim’s 2018 Summer Jam battle sparked an idea for a tour that never had a chance to materialize. And then the pandemic hit.

Lena Waithe (Emmy-winning writer, producer of forthcoming Verzuz documentary): Like a lot of people, I didn't realize I was watching something that was about to evolve into something. I was just on my phone, like everybody else bullshitting on Instagram. And I saw Swizz was live with Timbaland. I didn't know what they were doing—I just thought they were talking. And they're going back and forth with beats and stuff. Of course, you kind of get sucked in because you forget how big their libraries are. I was just captivated like everybody else.

Johntá Austin (singer-songwriter, producer): They've been talking about [Verzuz] for a couple of years.

Alicia Keys (singer-songwriter, married to Swizz Beatz): I was with the kids and I was doing something, and I checked on Swizz. He has this area downstairs where he'll DJ and hang out and play music, and he'll work on whatever. He seemed like he was kind of up to something. I wasn't really sure what... I was just trying to get the kids to the bed. And then I went looking for him and I couldn't find him. I was like, "Man, I wonder, where ishe?"

Swizz Beatz: Without an announcement, 30,000 people were paying attention. That's with no flyer, that's with nothing. That's just us up there just going. Engagement [on Instagram Live] is usually 30, 40 seconds—not four hours, five hours. People stuck around with me losing Wi-Fi and taking it to the car and going up the hill and doing it from the car.

Keys: Swizz came back hours later. Kids asleep, tired. And he's like, "Yooo. We didn't have good reception at the house. I had to drive all the way up to the top of wherever so that I could get reception because me and Tim, just out of nowhere, started battling." And I'm saying, "What?" I didn't even know none of this was going on. And he's like, serious: “We've been on a thing for hours. It was crazy."

It was like three in the morning. I was like, wow, I missed it. I missed the whole thing. It was just amazing to know that this moment, this spontaneous moment—which my husband happens to be really good at—created this phenomenon.

Swizz Beatz: We knew we had something. We started getting phone calls, and then me and Tim was like, "Let's just keep this thing going and celebrate the writers and producers and the musicians."

TimbalandPhotograph by Devin Christopher

After Swizz and Tim’s epic soundclash, battles between hip-hop and R&B hitmakers Boi-1da and Hit-Boy, The-Dream and Sean Garrett, and Ne-Yo and Johntá Austin helped get the Verzuz brand off the ground.

Timbaland: Other people started to gravitate to it. The first one was Hit-Boy and Boi-1da.

Hit-Boy (rapper, producer): I was already hype on it from just watching Swizz and Tim. We were obviously on lockdown, so everybody was just super tuned in, and that was the moment for me to watch, like, as a producer, two people I looked up to go head-to-head. Next thing I know, I [see] a tweet from [rapper] Joe Budden. He basically subtweeted me, saying that he wanted to see a battle with me and 1da.

Timbaland: People was talking about it heavy on the timelines. Then I started seeing other people start to create their own battles.

Austin: You know what was crazy is I saw Joe Budden tweet, like, "Man what about Ne-Yo and Johntá Austin? What about that?" I'm a huge fan of Ne-Yo, just as a songwriter, as a creative, as a person. And so I reached out through the back channels, and within an hour I got a call back. His people were like, "Yeah, he's in. Let's figure out how we're going to do it."

Timbaland: We already knew it could be big, but it just clicked in. We just didn't think it would be in the digital form. We wasn't thinking digital...

Austin: [Ne-Yo] and I started talking about it and we were going to do it just on our own, but then Swizz and Tim got wind of it, and Swizz reached out and graciously offered their platform. He was like, "Man, let us bring it up under Verzuz and give it the real curation, the real attention and promotion that it needs."

Scott Storch (producer): We all have a lot of pride in our catalogs and our life's work. I look up to Timbaland and Swizz, and I would never say no to anything. These guys are incredible, and they're doing something great...so I wanted to be part of it.

T-Pain (singer, producer, rapper, writer): I was supposed to go up against Scott Storch first. And then once they made the announcement, everybody was like, "Well, that's stupid. That's not even the same thing," because it was a known singer against the producer. When people hear T-Pain, they don't normally think singer-producer-rapper-writer, all that bullshit. They just felt like it was a singer or rapper against a producer.

Storch: At the last second, moments before the battle, I was told it was going to be me against Mannie Fresh. I felt that he and I, our catalogs live much further away from each other—and in different time periods as well. So it was an odd match.

Swizz Beatz: I think that was an unfair Verzuz, to be honest. I think we owe Scott Storch a rematch, and I think we owe Mannie Fresh a better match. I think that one was a little bit off with the curation.

Lil Jon (rapper, producer): I called Swizz to be like, "Yo, why T-Pain didn't battle Scott Storch?" He was like, "Well, blah, blah, blah." And then he was like, "But we want you to battle T-Pain!"

I was like, "Shit, that's the homie!” It was somebody I know and somebody I respect, and we both silly, so I was like, "Yeah, it'll be fun."

Austin: So the first three [Verzuz matchups] didn't have the format. Ne-Yo and I actually were the first to go with 20 songs, 90 seconds [each round]. It was some rules that he and I had come up with. We had watched Sean Garrett and The-Dream the night before, and it went on for a good while. It was entertaining, but we wanted to do it with a little more structure. At first, it was going to be 25 songs, but we wanted it to move [fast].

And then when we spoke to Swizz, he said that he felt that 20 was a good mark. We set the tone for what the format is now.

Swizz Beatz: It definitely starts with a vision with myself and Tim. We see the analytics of what people are asking for, who people want to see. We know what the people want, and so we try our best to bring those to fruition, although it's a lot of work. We reach out to the teams. I might have a lead, Tim might have a lead. We'll watch out for the little things like, "Okay, this person did an interview and they got asked [about Verzuz]." That's enough for us to make the phone calls. It's about us keeping the pulse on the culture and the people and curating, because we can't just put any Verzuz out there.

We have to curate as much as possible as musicians. A lot of people put a lot of big names together, but their sounds don't go together. Their vibes don't go together. We try not to do Verzuz where people have negative energy towards each other.

Initially, the combination of tension between The-Dream and Sean Garrett, and the boast-filled slog between Scott Storch and Mannie Fresh, was enough to scare away would-be competitors, many of whom weren’t interested in the shit-talking inherent to battling. But Lil Jon and T-Pain changed everything when they turned their Verzuz into one big party.

Swizz Beatz: Sean Garrett and Dream made us be extra, extra conscious of the energy that we put together.

Scott Storch: [Mannie] kept throwing jabs at me. I went through a drug addiction for a while in my life, and I’m five, almost six years out of that, and for him to kind of throw that jab was uncool. So, I came back at him a couple of times because, you know, I got stuff that's still popping right now. I’m contributing to making new superstars.

Hit-Boy: Now it's more like a celebration, which is dope. Ours was as well, but it was more competitive.

Lil Jon: I just knew that going against T-Pain was going to be fun. It wasn’t going to be so, "I’ve got to win this round...or else." It wasn’t going to be a confrontational kind of battle.

T-Pain: When you get two people that are as successful as myself and Lil Jon together on the same platform, it's like, "How could you not celebrate this? This is obviously a fucking party." Especially when you got the energy of T-Pain and Lil Jon.

Reframing Verzuz as a celebration helped convince shy, reclusive veteran acts like Kenneth “Babyface” Edmonds to sign on, and the new emphasis on positivity helped secure the participation of female artists, who have historically been pitted against one another by the public.

Ludacris (rapper, went against Nelly): [Nelly and I] knew it would be all love. And we knew that we were trying to figure out what was the best way to present and try to have at least some sort of common theme going on, because at the same time, one of the things about Verzuz is the ones that have done it pretty much had a good appreciation for the other artists. And I think it always should be good energy going into it.

Jill Scott (singer, went against Erykah Badu): At first I said no, because I thought it was going to be mandatory that there'd be a battle. I didn't want to battle. Not with music. I love music. But when I talked to Erykah, she was like, "Yeah, let's love each other. Let's celebrate each other."

Swizz Beatz: The biggest challenge was having more ladies. We're very understanding, and we're cool with letting all the women take their time to do Verzuz. Just like Brandy and Monica. We had to wait for that. Me and Tim was just tired of it just being all the guys getting the flowers. Women run this music shit too.

Timbaland: We got to treat our queens extra. We got to wait on them. We don't force them.

Keys: I didn't think I was going to do a Verzuz [against John Legend]. I figured I was just going to kind of be the one on the side, just cheering and shouting and watching and being all excited about it.

Jill Scott: There's the myth that Black women can't get along so well; that we don't like each other. That there's always this ugly, wild rivalry between two women. Particularly Black women. And I wanted to share that I actually have a great deal of love and respect for Erykah Badu. There have been so many moments when I've called her to ask her questions about the industry. When I've asked her what to give my son when he wasn't feeling well and I needed to clear his chest.

That was the biggest part for me. Just squelching the negativity, because we've had our history but it's never been ugly. But the world will paint things in such a way that I wanted to defeat that negativity.

Brandy and Monica—two artists who peaked during the Clinton administration and collaborated on “The Boy Is Mine”—would finally reunite after a yearslong feud that allegedly involved the latter punching the former. Both of them wanted to use their Verzuz to bury the hatchet. (Their appearance, however, wasn’t without some spiciness: “There was a time,” Monica recalled on the broadcast, “when I was kicking in doors and smacking chicks—” Which prompted Brandy to interrupt her: “You sure was!”)

Swizz Beatz: Brandy and Monica—we knew that they was going to have a conversation before they hit that main stage. That was very important to us because of the history of them not really getting along or agreeing with things from the past. We would hate for those two queens to get up there, holding all these book bags, and then let it out on the platform, which does nobody no service.

They got 30 records in the top 40 of R&B. They got 10 reentries and their albums in the top 20. Had they not kept it about music and made it about drama, they would have never even seen that greatness. So we have to keep it about the music, the compositions, and the unity—and still keep it spicy at the same time.

Monica (singer): She and I hadn't spoken in eight years, until the day of the Verzuz.

Brandy (singer): We really wanted to see each other face-to-face. So we both can understand that the authenticity was there, that genuine energy was there. There was a time where I felt like my behavior in the media regarding her...and just not respecting her in the media in different experiences…I felt like I needed to apologize for that.

And I was able to do that. And when you own your stuff, and when you are genuine, and you really want to see something happen that can really touch and inspire people? We were able to have the conversation that helped us get to that place. And I was so thankful for that conversation. It was so needed, and it was well overdue.

Monica: We had a lot to discuss because a lot transpired in the eight years, more so the conversations about us and a couple of incidents on Instagram. Very small, minute things that with the time and distance became slightly a bigger deal than they should have been. And all it took was two adult women having a conversation. But what people don't realize is that what you saw was two people in each other's space for the first time in eight years.

Brandy: We wanted it to be a celebration, because people have really put us against each other in so many different ways. We had a very controversial song. There was real beef at one point between us, and we just didn't want that to be the highlight of what the Verzuz was. Once we were sure that that wasn't going to be the case—and we were really going to be able to come together and celebrate each other—that was the tipping point.

Monica: I have so desperately wanted to put to bed the unnecessary comparisons—the idea that you have to choose one. I feel like Brandy is one of the greatest of all time. Her tone is unmatched, and she paved a way for herself. And I, too, paved a way for myself with a very different sense of motivation, coming from a very different place. But our differences is what made "The Boy Is Mine" so great. And I didn't want to do anything that was a stir-up. I always wanted to do something else with her. I just wanted it to be something else positive.

Jill Scott: There is some kind of monster lurking under the sofa when it comes to R&B music—and when it comes to Black women in music. It's like there can't be more than one or two at a time, which is absolutely ridiculous. And I'm really over that. I look at Patti LaBelle and Gladys Knight, that camaraderie and that humor—that easiness after all of these years. They both have been exceptionally successful in their own way and enjoyed their ride and had a whole heap of life in the middle of it.

Patti LaBelle (singer): Most people were calling it a battle. There's never a battle with friends who have the same reach to people. Whenever people meet me and say how much they really love me, the second person they say is, “We love Gladys Knight also.” People love both of us, and we're not trying to outdo each other. We just do what we do.

Brandy: For us to come together and to be this powerful together, it just spoke volumes as women, as Black women coming together. I felt like we really were able to seize the moment, and I think it was a sign that we should work together more. We should do more things together. And not to take away from what we do individually, because she's a force all by herself, but it's something about when we come together. I wanted her to feel that, and I just wanted her to feel celebrated from me. And I wanted her fans and I wanted my fans and everyone to know that this was a real thing between the two of us. I didn't want it to end.

Celebrations aside, song selections were takenvery seriously. Strategies for winning rounds differed, but everyone came to the table with a plan. Jadakiss (rapper, went against Fabolous): I went in with a strategy to go more street-driven records and to stick to that, no matter what. I had the girly songs and the R&B features in case [Fabolous] was to go first and come that way. But once I knew that I was going to go first, I just wanted to come out the gate with a lot of street records and stick to the script.

Hit-Boy: I kind of was on some, like, [Floyd] Mayweather type shit. I just kind of danced around the ring for the first however many rounds, let him get his shit off. And then I started firing off at the end.

Storch: I just played the records that I liked the most. I had at least four or five Grammy-nominated songs that I didn't even play. There was a moment where it was like a backlash where people were saying, “Oh, you shouldn't have played this record because you did this with somebody else” or whatever. That made no sense, because in the real world of hitmaking there's a lot of collaboration. Now, I would never play a record that was something that I was a small part of. But if I'm the nucleus of the record and I happen to collaborate, and somebody else did the drums on it or played on it or whatever? That, to me, is still fair game.

Austin: People hadn't heard of me, so everyone was like, "I don't know who this guy is, but he's about to get killed. I've never heard of this guy, and Ne-Yo's getting ready to kill this guy." So I had to play a couple of songs early for people to at least be like, "Okay…wait.”

Swizz Beatz: When [Austin] played that Aaliyah, I thought that was a turning point, because a lot of people was questioning why we matched up Johntá Austin with Ne-Yo instead of doing Ne-Yo with The-Dream. That night they learned.

T-Pain: It's literally the same strategy of how you win tic-tac-toe. You just don't go first. You'll know every move if you just don't go first, and this asshole talked enough to make me go first. I had no choice. [laughs] Once I went, and I kind of played a real quick joint and I started seeing what his strategy was, I started knowing what to come with. Then we started talking like we were friends again, and I didn't pay attention to this still being a battle in a war.

LaBelle: My son Zuri, DJ Aktive, and I sat for, like, four hours trying to pick out 20 songs. In the 20 songs, of course, they're only 90 seconds. So to get the meat of the song, we had to go from the beginning verse, and then almost into the bridge, and then the end was right there. So that was a hard process, because I had about 51 songs that I would have chosen, but they didn't make the grade.

Monica: Us as the artist, we're going to have our own favorites. But the key with the Verzuz is to pool fan favorites and favorites of your supporters. I had to be realistic with myself. I knew that I could not choose those on my own. I did not want to mess the song selection up at all.

What started as casual, lo-fi affairs with artists playing tracks from their laptops or phones while praying that the Wi-Fi holds up (Babyface and Teddy Riley’s connection was so bad they had to reschedule) has evolved into full-on productions. Participants now perform together in person against a lavish backdrop of DJs and surprise guests like Kamala Harris.

Swizz Beatz: [Early on] the sound was a challenge. We realized that being in the room together helped, and we haven't had a sound issue since.

Ludacris: You got all these people waiting. The anticipation is through the roof. All that kept on going through my mind is: “I so don't want to reschedule this like Babyface and Teddy Riley had to...”

Swizz Beatz: Babyface and Teddy was a turning point for Verzuz. We were still at a [point] where people could count us out, or say this was just something for COVID. Dr. Dre even pulled out of doing Verzuz because of the quality. So that's when Tim and myself had to sit down to regroup and take the sound thing seriously.

Lil Jon: And everybody in those fucking comments, man. That's one of the greatest things about Verzuz, that you can see Michelle Obama, whoever it is. Everybody and anybody in pop culture, sports, fashion, politics is in those Verzuzes and commenting. I think that's one reason why the average person connects to Verzuz so well. They're basically in the VIP room in the conversation.

LaBelle: We saw that Michelle Obama was watching it. And Oprah. And Mariah [Carey] and all the folks watching, and I'm saying, “Well, God, if they're all watching, a lot of other people are watching too.” Not thinking about the football game or whatever else [was on TV]. It was like a birthday gift to me. Knowing that all these folks, they have their eyes on Gladys and Patti right now. I have a flip phone and I don't have social media or nothing like that, but my son and my assistant kept me abreast of what people were saying and all that wonderful stuff.

While artists are allowed to display their own sponsors—i.e., Rick Ross kept some of his Luc Belaire rosé on ice during his battle with 2 Chainz—Diddy’s Cîroc became an official sponsor of Verzuz in May. Apple Music has also signed on to help produce and broadcast the battles.

Swizz Beatz: Diddy is our brother. He believed in Verzuz very early. Verzuz is a celebration, and we felt that drinks [like Cîroc] fit the occasion.

We've turned down endless millions of dollars from sponsors, but we also let artists continue to have their sponsors and we don't touch any of that. Whoever has a sponsor, we ask them to do it tastefully, as we want to keep curating this platform in a classic way. I think everybody's been displaying the sponsors super well to the point where it's not ridiculous.

T-Pain: Hell, yeah, I did this shit for free. Not everything has to be a fucking benefit. What the fuck are you going to tell your grandkids? "I'm glad I made a bunch of money," or you're going to fucking sit them around the fire and tell them about the time that you had a goddamn three-hour party with Lil Jon over the phone?

Verzuz hit a new milestone when over six million people tuned in across Instagram and Apple Music to watch Brandy and Monica reunite. It’s the kind of viewership that awards shows would kill for, pandemic or not. And with the boon to catalog streams and social engagement that follows each match—known as “the Verzuz Effect”—the show has emerged in the streaming era as the most potent platform for artists that’s not actually selling any music.

Michael Keith (112): We felt like Verzuz was a validation for [fellow 112 member] Slim and myself, because for years we felt like 112 had been shunned, if you will.

When it came to Bad Boy and when it came to R&B music, we were always an afterthought. Like, “Oh, don’t forget 112,” as opposed to being one of the premier groups that you think about when you think about R&B music from the late ’90s to the early 2000s. I feel like the music we created helped create the sound you hear now. And Verzuz validated that.

T-Pain: A lot of old songs that I played on the Verzuz battle are starting to get more streams than my new songs. It's turned into a numbers game to where I'm like, "Shit, which one of my old joints is going to be the one on top now?" The Verzuz Effect is exactly what it is: It's a Verzuz effect, and it's not so much a moment.

Now that they're getting the support from Apple and we're getting a bigger platform and things like that, I was glad to be a part of the beginnings of it. It's the same thing as getting involved with a Kickstarter, or being an early investor in anything. You want to take pride in being one of the pioneers.

Scott Storch: At a moment where it was very grim at the beginning of the pandemic, it brightened up a lot and gave me a lot of inspiration to create. A lot of things happened after that. I made a hit record with Megan Thee Stallion (“Girls in the Hood”) right after that, and a lot of good things happened. I’m thankful for that.

Jill Scott: My catalog jumped up, and people were going through and buying the records all over again. And that was good. We sold an amazing amount of T-shirts and sweatshirts—that was dope—and this beautiful bond between Erykah and I was secured. I love her for life. I've always loved her as an artist. I've always thought she was just phenomenal, stunningly beautiful, and really open. She's been very open with me and I with her, and it just solidified those things for me. There's been a lot of artists that come and go, and I'm very grateful to have been able to still perform and still write. I'm just in a spirit of gratitude, ridiculous gratitude.

Waithe: I really do think this moment is our Woodstock in a way, and it's documenting Black music and giving artists their due in a way—and giving them their flowers and putting some money on the books.

Ludacris: I don't care who you ask. Any artists who’s been in the game for whatever amount of time, they are all going to say that they are appreciative of getting a boost. Of people reigniting their catalog and listening to their [music].

I can honestly say the best thing about the Verzuz Effect for me is…because I'm humorous, and like a lot of people that have comedy and lightheartedness in their music and in their lyrics, it's hard to try to put those artists into their top 10 and top 15 lists. But I feel like Verzuz made it a lot easier for people to put me in those top MC categories, when people were able to listen to the catalog within a two-hour period. I loved that it solidified me for people.

Brandy: I feel like because of Verzuz…opportunities are coming in and I'm just reinspired. After Verzuz, I just felt like I need to do what I'm born to do.

Jadakiss: We got a few liquor deals. A few liquor brands called. We got some things on the table—a few podcast opportunities, made some nice money off the #JADADRUNK merch [and] a couple of commercials, and a few scripts came in.

Keys: It's just not another vehicle. Name any television show, name any late-night, name any daytime, name any special...anything. It just doesn't have that same effect. It's so powerful to recognize the power of a global community coming together to recognize the greatness of these individuals.

Swizz Beatz: Now we be beating VMA and Grammy numbers.

On any given night, Verzuz would end up dominating the conversation on other social platforms—including, but not limited to, Twitter.

Austin: My brother showed me a text from my best friend. He was like, "I know you're in the middle of this, but you are trending worldwide on Twitter right now." And then when I'm playing an Aaliyah song, you see Drake commenting. I'm like, "Okay, not only are 70,000 people in here, but some really heavy hitters. Some real hitmakers and cultural icons are in this, watching Ne-Yo and I have this back-and-forth."

Monica: There was a really special feeling in the room, and [then] Kamala Harris dialed in. That was the first surprise. Our forever First Lady dialed in, and she was saying that she was watching and supporting us. Those were the moments when I started to realize this is a big deal. That this is something special.

Austin: There's a meme of me holding a [wine] glass. People sent me this, like, "You've made it. You’ve become a meme. You became a quarantine meme!"

LaBelle: I saw the dancing meme with me dancing to hip-hop and other types of music. I thought that was so funny, and so cool! When I'm on stage, I have my trunk with my shoes on. I have my mirror, my fan, my perfume, and my drink of choice. I pretended I was doing a concert that night, and when I kicked off my shoe, which I do on stage every night, this time, since I was sitting down, the shoe heel went into my knee and it's still a scab mark. That heel hit so hard, but it was worth it. To end my show, I have to kick off a shoe!

Monica: You have to be able to laugh at yourself. I mean, we knew that there would be some memes somewhere, especially after what transpired with all the Verzuz before ours.

But the reality is that people were still celebrating the music. You didn't see the memes without the music coming up. I have laughed hysterically at a lot of what I’ve seen. And I think that's a part of the joy, because the real key in this is that during the pandemic, we're all having to learn a different way of life.

Even though its creators see Verzuz as an “educational celebration” of the Black music diaspora, they plan on expanding beyond hip-hop and R&B and into other genres of music, like Latin and pop, soon enough. It’s an endlessly repeatable formula.

Timbaland: I feel Verzuz is like the new Soul Train, and maybe bigger. It's the new everything when it comes to culture and moving culture. I remember TRL used to move culture. Now, it's a Black-owned business by two Black men that's running the culture. We just got to watch it grow. Maybe it's a monster.

Swizz Beatz: For me it was showing creatives that we can build something and own it 100 percent. This is a blueprint of showing our power. People are calling us the next Live Nation. People are calling us the next BET. People are calling us to make [a new] Viacom. I like those names, but we got a chance to be bigger than all of those. Why? Because our culture made all of those. If we have the culture, then we can be bigger than all of those companies, and respected as those companies are and were. Our goal is to just take our time and not get caught up into the hype.

Austin: I'm hoping that the legacy will be a kind of renewed interest. Or really not even renewed interest, because I think people have always, at least on the R&B side, always loved R&B. But my hope is for labels and radio stations and influencers to see that if you have an artist and a great song, for labels to get back to artist development, and not base their signings on how many streams a person already has or how many followers they already have.

Swizz Beatz: Those labels weren't thinking about Monica and Brandy like they’re thinking about them today. Those companies just wasn't thinking about them like that. They was thinking about somebody new and they felt like these artists had their time, and now look. Everybody—the agencies, everybody—got to rethink it and stop being lazy and get out there and put greatness in front of the people.

Keith: When you look at the other genres, they don't have an age limit. Thank God for platforms like Verzuz. Other than getting chosen to perform at the Super Bowl, you're not getting that type of worldwide feel where an older artist can get the same type of look as a younger artist.

And I refuse to think that, just because we get to a certain age, that we're not fans of ourselves anymore as far as music is concerned.

Austin: I feel like Verzuz has really solidified Black music as popular music. We drive the culture. Black music drives and influences and touches all other forms of music. When you see Michelle Obama checking in to a chat with John Legend and Alicia Keys and Jill Scott and Erykah Badu, or when you see the kind of show that Bounty Killer and Beenie Man put on…my goodness, these amazing moments in culture!

I have no doubts that when we look back 25 years from now, that Verzuz will still be in the top five of things that we remember about 2020.

Hit-Boy: It really is a time stamp. I'm sure when we go back and watch these, it's going to be something crazy to see. Like, "Damn. How they get all these people in a room together?"

Scott Storch: When the world was literally in jail, we had the arts to enjoy and we got a chance to be reintroduced to something incredible. The legacy is honestly a major contribution to music culture.

Brandy: I'm looking for a way to do part two. Can we do the virtual concert tour on Verzuz?

T-Pain: I would like to see this turn into a Verzuz festival. If that turns into a yearly thing, a Verzuz festival? It's over.

Hit-Boy: They should do a rematch of everybody live, in front of a crowd. That shit would be epic.

Timbaland: Something Swizz always said to me, “The sky is just a view.” Something like that, right, Swizz?

Swizz Beatz: Yeah, the sky is not the limit, it's just a view.

Timbaland: Exactly. It's so big that I can't say what I hope for. I just know what it is going to be. We're just taking the journey as it comes, being organic, being true to the culture. Just taking a ride, taking the gift that God gave us. I'm just blessed to see that something that started from IG... If you go back and watch all the battles all the way up, people are watching this grow in front of their eyes. Do you know how big that is?

Gerrick D. Kennedy is a Los Angeles–based journalist who profiled Travis Scott in the September issue of GQ. His next book, ‘Exhale,’ about the life of Whitney Houston, will be published in 2022.

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