In musical terminology, tempo is the speed or pace of a given piece. In classical music, tempo is indicated with an instruction at the start of a piece and is measured in beats per minute. In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will simply be stated in bpm. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic accelerando. In ensembles, the tempo is indicated by a conductor or by one of the instrumentalists, for instance the drummer. While tempo is described or indicated in many different ways, including with a range of words, it is measured in beats per minute.
For example, a tempo of 60 beats per minute signifies one beat per second, while a tempo of 120 beats per minute is twice as rapid, signifying one beat every 0.5 seconds. The note value of a beat will be that indicated by the denominator of the time signature. For instance, in 44 the beat will be a crotchet; this measurement and indication of tempo became popular during the first half of the 19th century, after Johann Nepomuk Maelzel invented the metronome. Beethoven was one of the first composers to use the metronome. Instead of beats per minute, some 20th-century classical composers specify the total playing time for a piece, from which the performer can derive tempo. With the advent of modern electronics, bpm became an precise measure. Music sequencers use the bpm system to denote tempo. In popular music genres such as electronic dance music, accurate knowledge of a tune's bpm is important to DJs for the purposes of beatmatching; the speed of a piece of music can be gauged according to measures per minute or bars per minute, the number of measures of the piece performed in one minute.
This measure is used in ballroom dance music. In different musical contexts, different instrumental musicians, conductors, music directors or other individuals will select the tempo of a song or piece. In a popular music or traditional music group or band, the bandleader or lead singer may select the tempo. In popular and traditional music, whoever is setting the tempo counts out one or two bars in tempo. In some songs or pieces in which a singer or solo instrumentalist begins the work with a solo introduction, the tempo they set will provide the tempo for the group. In an orchestra or concert band, the conductor sets the tempo. In a marching band, the drum major may set the tempo. In a sound recording, in some cases a record producer may set the tempo for a song. In classical music it is customary to describe the tempo of a piece by one or more words, most in Italian, in addition to or instead of a metronome mark in beats per minute. Italian is used because it was the language of most composers during the time these descriptions became commonplace.
Some well-known Italian tempo indications include "Allegro", "Andante" and "Presto". This practice developed during the baroque and classical periods. In the earlier Renaissance music, performers understood most music to flow at a tempo defined by the tactus; the mensural time signature indicated. In the Baroque period, pieces would be given an indication, which might be a tempo marking, or the name of a dance, the latter being an indication both of tempo and of metre. Any musician of the time was expected to know how to interpret these markings based on custom and experience. In some cases, these markings were omitted. For example, the first movement of Bach's Brandenburg Concerto No. 3 has no tempo or mood indication whatsoever. Despite the increasing number of explicit tempo markings, musicians still observe conventions, expecting a minuet to be at a stately tempo, slower than a Viennese waltz. Genres imply tempos. Thus, Ludwig van Beethoven wrote "In tempo d'un Menuetto" over the first movement of his Piano Sonata Op. 54, though that movement is not a minuet.
Many tempo markings indicate mood and expression. For example and allegro both indicate a speedy execution, but allegro connotes joy. Presto, on the other hand indicates speed. Additional Italian words indicate tempo and mood. For example, the "agitato" in the Allegro agitato of the last movement of George Gershwin's piano concerto in F has both a tempo indication and a mood indication. Composers name movements of compositions after their tempo marking. For instance, the second movement of Samuel Barber's first String Quartet is an Adagio. A particular musical form or genre implies its own tempo, so composers need place no further explanation in the score. Popular music charts use terms such as bossa nova, ballad
Contemporary R&B is a music genre that combines elements of rhythm and blues, soul, hip hop and electronic music. The genre features a distinctive record production style, drum machine-backed rhythms, pitch corrected vocals, a smooth, lush style of vocal arrangement. Electronic influences are becoming an increasing trend and the use of hip hop or dance-inspired beats are typical, although the roughness and grit inherent in hip hop may be reduced and smoothed out. Contemporary R&B vocalists are known for their use of melisma, popularized by vocalists such as Michael Jackson, R. Kelly, Craig David, Stevie Wonder, Whitney Houston and Mariah Carey. Contemporary R&B originated at the end of the disco era, in the late-1970s, when Michael Jackson and Quincy Jones added more electronic elements to the sound of the time to create a smoother dancefloor-friendly sound; the first result was Off the Wall, which—according to Stephen Thomas Erlewine from AllMusic—"was a visionary album, that found a way to break disco wide open into a new world where the beat was undeniable, but not the primary focus" and "was part of a colorful tapestry of lush ballads and strings, smooth soul and pop, soft rock, alluring funk".
Richard J. Ripani wrote that Janet Jackson's Control was "important to the development of R&B for a number of reasons", as she and her producers, Jimmy Jam and Terry Lewis, "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, sound effects, a rap music sensibility." Ripani wrote that "the success of Control led to the incorporation of stylistic traits of rap over the next few years, Janet Jackson was to continue to be one of the leaders in that development." That same year, Teddy Riley began. This combination of R&B style and hip hop rhythms was termed new jack swing and was applied to artists such as Michael Jackson, Bobby Brown, Keith Sweat, Al B. Sure!, Guy and Bell Biv DeVoe. In contrast to the works of Boyz II Men and similar artists, other R&B artists and groups from this same period began adding more of a hip-hop sound to their work, like the innovative group Jodeci; the synthesizer-heavy rhythm tracks of new jack swing were replaced by grittier East Coast hip hop-inspired backing tracks, resulting in a genre labeled hip hop soul by Mary J. Blige and producer Sean Combs who had mentored group Jodeci in the beginning and helped them with their unique look.
The style became less popular by the end of the 1990s, but experienced a resurgence. In 1990, Mariah Carey released Vision of Love, it was immensely popular peaking at number 1 in many worldwide charts including the Billboard Hot 100, it propelled Mariah's career. The song is said to have popularized the use of melisma and brought it in to mainstream R&B. During the mid-1990s, Whitney Houston's The Bodyguard: Original Soundtrack Album sold over 40 million copies worldwide becoming the best-selling soundtrack of all time. Janet Jackson's self-titled fifth studio album janet. which came after her historic multimillion-dollar contract with Virgin Records, sold over twenty million copies worldwide. Boyz II Men and Mariah Carey recorded several Billboard Hot 100 No. 1 hits, including "One Sweet Day", a collaboration between both acts, which became the longest-running No. 1 hit in Hot 100 history. Carey released a remix of her 1995 single "Fantasy", with Ol' Dirty Bastard as a feature, a collaboration format, unheard of at this point.
Carey, Boyz II Men and TLC released albums in 1994 and 1995 -- II and CrazySexyCool. In the late 1990s, neo soul, which added 1970s soul influences to the hip hop soul blend, led by artists such as D'Angelo, Erykah Badu, Lauryn Hill and Maxwell. Hill and Missy Elliott further blurred the line between hip hop by recording both styles. Beginning in 1995, the Grammy Awards enacted the Grammy Award for Best R&B Album, with II by Boyz II Men becoming the first recipient; the award was received by TLC for CrazySexyCool in 1996, Tony Rich for Words in 1997, Erykah Badu for Baduizm in 1998 and Lauryn Hill for The Miseducation of Lauryn Hill in 1999. At the end of 1999, Billboard magazine ranked Mariah Carey and Janet Jackson as the first and second most successful artists of the 1990s. In the second half of the 1990s, The Neptunes and Timbaland set influential precedence on contemporary R&B and hip hop music. R&B acts such as Michael Jackson, Whitney Houston, Janet Jackson, Mariah Carey and Toni Braxton are some of the best-selling music artists of all time.
Following periods of fluctuating success, urban music attained commercial dominance during the early 2000s, which featured massive crossover success on the Billboard charts by R&B and hip hop artists. In 2001, Alicia Keys released "Fallin"', it peaking at number one on the Billboard Hot 100, Mainstream Top 40 and Hot R&B/Hip-Hop Songs charts. It won three Grammy Awards in 2002, including Song of the Year, Best R&B Song, Best Female R&B Vocal Performance, it was nominated for Record of the Year. Beyoncé's solo studio debut album Dangerously in Love has sold over 5 million copies in the United States and earned five Grammy Awards. Usher's Confessions sold 1.1 million copies in its first week and over 8 million copies in 2004, since it has been certified Diamond by the Recording Industry Association of America and, as of 2016, has sold over 10 million copies in the US and over 20 million copies worldwide. Confessions had four consecutive Billboard Hot 100 number one singles—"Yeah!", "Burn", "Confessions Part II" and "My Boo".
In 2004, all 12 songs that topped Billboard Hot 100 were
A CD single is a music single in the form of a compact disc. The standard in the Red Book for the term CD single is an 8cm CD, it now refers to any single recorded onto a CD of any size the CD5, or 5-inch CD single. The format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased. Commercially released CD singles can vary in length from two songs up to six songs like an EP; some contain multiple mixes of one or more songs, in the tradition of 12" vinyl singles, in some cases, they may contain a music video for the single itself as well as a collectible poster. Depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Dire Straits' "Brothers in Arms" is reported to have been the world's first CD single, issued in the UK in two separate singles as a promotional item, one distinguished with a logo for the tour, Live in'85, a second to commemorate the Australian leg of the tour marked Live in'86.
Containing four tracks, it had a limited print run. The first commercially released CD Single was Angeline by John Martyn released on 1 February 1986. CD singles were first made eligible for the UK Singles Chart in 1987, the first number 1 available on the format in that country was "I Wanna Dance with Somebody" by Whitney Houston in May 1987; the Mini CD single CD3 format was created for use for singles in the late 1980s, but met with limited success in the US. The smaller CDs were more successful in Japan and had a resurgence in Europe early this century, marketed as "Pock it" CDs, being small enough to fit in a shirt pocket. By 1989, the CD3 was in decline in the US, it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would release two CDs but these consisted of three tracks or more each. During the 1990s, CD single releases became less common in certain countries and were released in smaller editions, as the major record labels feared they were cannibalizing the sales of higher-profit-margin CD albums.
Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single being released. In the US, the Billboard Hot 100 made this change in December 1998, after which few songs were released in the CD single format in the US, but they remained popular in the UK and other countries, where charts were still based on single sales and not radio airplay. At the end of the 1990s, the CD was the biggest-selling single format in the UK, but in the US, the dominant single format was airplay. With the advent of digital music sales, the CD single has been replaced as a distribution format in most countries, most charts now include digital download counts as well as physical single sales. In Australia, the Herald Sun reported the CD single is "set to become extinct". In early July 2009, leading music store JB Hi-Fi ceased stocking CD singles because of declining sales, with copies of the week's No. 1 single selling as few as only 350 copies across all their stores nationwide.
While CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artist's albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most Delta Goodrem, whose then-recent singles were released on CD in limited quantities; the ARIA Singles Chart is now "predominantly compiled from legal downloads", ARIA stopped compiling their physical singles sales chart. "On a Mission" by Gabriella Cilmi was the last CD single to be stocked in Kmart and Big W, who concluded stocking newly released singles. Sanity Entertainment, having resisted the decline for longer than the other major outlets, has ceased selling CD singles. In China and South Korea, CD single releases have been rare since the format was introduced, due of the amount of infringement and illegal file sharing over the internet, most of the time singles have been album cuts chart based only on airplay, but with the advent of digital music the charts have occasionally included digital download counts.
In Greece and Cyprus, the term "CD single" is used to describe an extended play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles; the original CD single is a music single released on a mini Compact Disc that measures 8 cm in diameter, rather than the standard 12 cm. They are manufactured using the same methods as standard full-size CDs, can be played in most standard audio CD players and CD-ROM disc drives; the format was first released in the United States, United Kingdom, France, West Germany, Hong Kong in 1987 as the replacement for the 7-inch single. While mini CDs have fallen out of popularity among most major record labels, they remain a popular, low cost way for independent musicians and groups to release music. Capable of holding up to 20 minutes of music, most mini CD singles contain at least two tracks, ofte
Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid-1950s. The terms "popular music" and "pop music" are used interchangeably, although the former describes all music, popular and includes many diverse styles. "Pop" and "rock" were synonymous terms until the late 1960s, when they became differentiated from each other. Although much of the music that appears on record charts is seen as pop music, the genre is distinguished from chart music. Pop music is eclectic, borrows elements from other styles such as urban, rock and country. Identifying factors include short to medium-length songs written in a basic format, as well as common use of repeated choruses, melodic tunes, hooks. David Hatch and Stephen Millward define pop music as "a body of music, distinguishable from popular and folk musics". According to Pete Seeger, pop music is "professional music which draws upon both folk music and fine arts music". Although pop music is seen as just the singles charts, it is not the sum of all chart music.
The music charts contain songs from a variety of sources, including classical, jazz and novelty songs. As a genre, pop music is seen to develop separately. Therefore, the term "pop music" may be used to describe a distinct genre, designed to appeal to all characterized as "instant singles-based music aimed at teenagers" in contrast to rock music as "album-based music for adults". Pop music continuously evolves along with the term's definition. According to music writer Bill Lamb, popular music is defined as "the music since industrialization in the 1800s, most in line with the tastes and interests of the urban middle class." The term "pop song" was first used in 1926, in the sense of a piece of music "having popular appeal". Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country and hillbilly music. According to the website of The New Grove Dictionary of Music and Musicians, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced".
The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience since the late 1950s, pop has had the special meaning of non-classical mus in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online states that " in the early 1960s,'pop music' competed terminologically with beat music, while in the US its coverage overlapped with that of'rock and roll'". From about 1967, the term “pop music” was used in opposition to the term rock music, a division that gave generic significance to both terms. While rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial and accessible. According to British musicologist Simon Frith, pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" but "doesn't come from any particular place or mark off any particular taste". Frith adds that it is "not driven by any significant ambition except profit and commercial reward and, in musical terms, it is conservative".
It is, "provided from on high rather than being made from below... Pop is not a do-it-yourself music but is professionally produced and packaged". According to Frith, characteristics of pop music include an aim of appealing to a general audience, rather than to a particular sub-culture or ideology, an emphasis on craftsmanship rather than formal "artistic" qualities. Music scholar Timothy Warner said it has an emphasis on recording and technology, rather than live performance; the main medium of pop music is the song between two and a half and three and a half minutes in length marked by a consistent and noticeable rhythmic element, a mainstream style and a simple traditional structure. Common variants include the verse-chorus form and the thirty-two-bar form, with a focus on melodies and catchy hooks, a chorus that contrasts melodically and harmonically with the verse; the beat and the melodies tend to be simple, with limited harmonic accompaniment. The lyrics of modern pop songs focus on simple themes – love and romantic relationships – although there are notable exceptions.
Harmony and chord progressions in pop music are "that of classical European tonality, only more simple-minded." Clichés include the barbershop quartet-style blues scale-influenced harmony. There was a lessening of the influence of traditional views of the circle of fifths between the mid-1950s and the late 1970s, including less predominance for the dominant function. Throughout its development, pop music has absorbed influences from other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, spoken passages from rap. In the 1960s, the majority of mainstream pop music fell in two categories: guitar and bass groups or singers
The Platinum's on the Wall
The Platinum's on the Wall is a 2001 DVD that features Destiny's Child's Greatest Hits Videos from the albums Destiny's Child and The Writing's on the Wall. The Recording Industry Association of America has certified the DVD gold, denoting shipments of over 50,000 copies. "No, No, No Part 1" "No, No, No Part 2" "Bills, Bills" "Bug a Boo" "Say My Name" "Jumpin', Jumpin'" Bonus Track "Independent Women Part 1" Notes A 40-second intro featuring the Destiny's Child tracks "Hey Ladies" and "Bug a Boo" from "The Writing's On The Wall" in the DVD is not mentioned on the track listing but is featured. Track 7 is featured on the Australian, UK versions of the DVD. Destiny's Child page Rotten Tomatoes description —New York Times
Doesn't Really Matter
"Doesn't Really Matter" is a song recorded by American singer Janet Jackson for soundtrack to the 2000 film Nutty Professor II: The Klumps. The song was released as a single in May 2000, after an unfinished version leaked to radio. "Doesn't Really Matter" is a contemporary R&B and electropop song that speaks about loving a person for who they are and disregarding their physical appearance. It was based on an incomplete poem Jackson had written, applied to her character in the film; the song was a contrast from the bleak tone of prior album The Velvet Rope, returning to a brighter and more contemporary sound. "Doesn't Really Matter" received positive reception, called "impossibly catchy" and "classic pop". It became Jackson's ninth number-one single in the United States and stayed atop the chart for three weeks, it was Jackson's twenty-first single to be certified, which ranked her as the second female artist with the most certified singles. The single fared well internationally, reaching number five in the United Kingdom, peaking within the top-ten in Italy and Denmark.
It attained a silver certification in the United Kingdom, allowed Jam and Lewis to receive a Grammy nomination for Producer of the Year. The song is featured in the fifth edition of the American Now! Compilation album series Now That's What I Call Music! 5 and was included in two of Jackson's greatest hits collections, Number Ones and Icon: Number Ones. The music video, directed by Joseph Kahn, resembles an abstract, futuristic environment based on Japanese culture. In addition to clips from the movie, it features advanced technology, morphing clothes, a dance sequence on a levitating platform; the video had a reported cost of over $2.5 million, being one of the most expensive music videos of all time. Its accolades include "Outstanding Music Video" and "Most Stylish Music Video" at the VH1 Fashion Awards; the song was performed on Top of the Pops and the MTV Video Music Awards, the latter regarded as one of the leading performances of Jackson's career. A modified version of the song appeared on Jackson's seventh album All for You.
"Doesn't Really Matter" was considered to influence music videos from Britney Spears, Mariah Carey, Jessica Simpson and Cassie. The video was the first by director Joseph Kahn to feature Japanese themes and imagery, which he used following its popularity. Actress Jenna Dewan made one of her debut appearances in the video, crediting Jackson for the experience and platform to star in the dance film Step Up. Rihanna's "Watch n' Learn" was likened to the song, it was covered by Japanese singer Hitomi Shimatani as "Papillon". "Doesn't Really Matter" was written and produced by Jackson and Jam & Lewis as the theme for the Universal Pictures film Nutty Professor II: The Klumps, starring Jackson and actor Eddie Murphy. Jackson portrays Professor Denise Gaines in the film, the love interest of Sherman Klump, one of many characters portrayed by Murphy. Jackson received a minimum upfront payment of three million dollars for accepting the role, an additional one million to record the movie's theme; the song's initial concept was based on a lyric draft Jackson had written and discovered, which she thought would be suitable for the film's theme.
Jackson stated "it tells you about the movie and how it doesn't matter what is on the exterior, but the interior. His heart, his soul, that matters to me. That's what I'm in love with, that's what matters to me the most, it doesn't matter what other people say." Following its release, Jackson stated "I liked that song a lot," adding it was "fun" and "a good summer song". Jackson was pleased with its success. An unmastered version leaked and received airplay ahead of its scheduled release, followed by a positive response from critics and fans. Several radio stations created their own edits until the official version was released, prompting producer Jimmy Jam to exclaim "That's wonderful, because it means radio is excited about it." The song's success was likened to Jackson's return to a more positive and upbeat style in comparison to the bleak aura of The Velvet Rope, saying "In the history of Janet, the records that are the happy records, that make people smile, have always traditionally been the more successful records, going back as far to songs like'When I Think of You' to'Doesn't Really Matter.'"The decision to release the single was considered "the pop star's latest savvy step in a career that's a study in smart moves," continuing to "keep her youthful fans on the dance floor" while devoting time to her film career.
Broadcast Music, Inc. stated "music lovers continue to be mesmerized by the talented "Miss Janet", being an "impressive demonstration of her enduring appeal." "Doesn't Really Matter" was ineligible for an Academy Award nomination due to being used throughout the film and during its credits released when emphasis was placed on songs used in animated films. The song was included on compilations such as Now That's What I Call Music! 5, featured on Jackson's hits album Number Ones. Several years after receiving favorable reception in Poetic Justice, Jackson decided to attempt a romantic comedy. Jackson had been offered leading roles in The Matrix, X-Men, Jerry Maguire, but was unable to accept each due to touring. After auditioning, Jackson was cast as Professor Denise Gaines opposite Eddie Murphy; when asked to contribute a single, Jackson said she would consider the idea if she found an appropriate song. The film's producers were eager for Jackson's contribution, but had not approached her regarding fears of rejection, leading Jackson to initiate.
Director Peter Segal brought a rough cut of the film to Flyte Tyme Studios in April, where Jackson had b
Kelendria Trene Rowland is an American singer, songwriter and television personality. Rowland rose to fame in the late 1990s as a member of Destiny's Child, one of the world's best-selling girl groups of all time. During their hiatus, Rowland released her debut solo album Simply Deep, which sold 2.5 million copies worldwide and included the number-one single "Dilemma" with Nelly, as well as the UK top-ten singles "Stole" and "Can't Nobody". Rowland ventured into acting, with guest appearances in television shows and starring roles in successful films, Freddy vs. Jason and The Seat Filler. Following the disbandment of Destiny's Child in 2006, she released her second album Ms. Kelly, which produced the international hits "Like This" and "Work". In 2009, Rowland hosted the first season of The Fashion Show, was featured on David Guetta's number-one dance hit "When Love Takes Over"; the song's global success influenced Rowland to explore dance music on her third album Here I Am, which spawned the international top-ten hit "Commander" and the US R&B/Hip-Hop number-one "Motivation".
In 2011, she returned to television as a judge on the eighth season of The X Factor UK, in 2013, became a judge on the third and final season of The X Factor USA. Following the release of Rowland's fourth album Talk a Good Game, she married her manager, Tim Weatherspoon, gave birth to their son, Titan Jewell Weatherspoon, in 2014. Since Rowland has continued her television career by hosting Chasing Destiny in 2016 and starring as a coach on The Voice Australia since 2017. Throughout her career, Rowland has sold over 30 million records as a solo artist, a further 60 million records with Destiny's Child, her work has earned her several awards and nominations, including four Grammy Awards, one Billboard Music Awards, two Soul Train Music Awards. Rowland has received a star on the Hollywood Walk of Fame as part of Destiny's Child, as a solo artist she has been honored by the American Society of Composers and Publishers and Essence for her contributions to music. In 2014, Fuse ranked Rowland in their "100 Most Award-Winning Artists" list at number 20.
Kelendria Trene Rowland was born on February 1981, in Atlanta, Georgia. She is the daughter of Doris Rowland Christopher Lovett. Kelly has an older brother named Orlando; when she was six, her mother left her father, an abusive alcoholic due to PTSD from Vietnam and Rowland went with her. At the age of eight, she relocated to Houston. In 1992, Rowland joined a girl group named Girl's Tyme. Rowland's addition made it a six-member group. West coast R&B producer, Arne Frager, flew to Houston to see them and brought them to his studio, The Plant Recording Studio, in Northern California; as part of efforts to sign Girl's Tyme to a major label record deal, Frager's strategy was to debut them on Star Search, the biggest talent show on national TV at that time. They lost the competition to Skeleton Crew. In 1995, Rowland moved in with best friend Beyoncé's family. Not long after the inclusion of Rowland, Beyoncé's father, cut the original lineup from six to four with LeToya Luckett joining in 1993; the group continued performing as an opening act for other established R&B groups of the time, such as SWV, Dru Hill, Immature.
They auditioned before record labels and were signed to Elektra Records, only to be dropped months before they could release an album. Taken from a passage in the Biblical Book of Isaiah, the group changed their name to Destiny's Child in 1993. Together, they performed in local events and, after four years on the road, the group was signed to Columbia Records in late 1997; that same year, Destiny's Child recorded their major label debut song "Killing Time", for the soundtrack to the 1997 film, Men in Black. The following year, the group released their self-titled debut album, spawning hits such as "No, No, No"; the album established the group as a viable act in the music industry, amassing moderate sales and winning the group three Soul Train Lady of Soul Awards. The group rose to fame after releasing their multi-platinum second album The Writing's on the Wall in 1999; the album featured some of the group's most known songs such as "Bills, Bills", "Jumpin' Jumpin'" and "Say My Name", which became their most-successful song at the time, would remain as one of their signature songs.
"Say My Name" won Best R&B Performance by a Duo or Group with Vocals and Best R&B Song at the 43rd Annual Grammy Awards. The Writing's on the Wall sold more than 15 million copies worldwide becoming their breakthrough album. Along with their commercial successes, the group became entangled in much-publicized turmoil involving the filing of a lawsuit by Luckett and Roberson for breach of contract; the issue was heightened after Michelle Williams and Farrah Franklin appeared in the video of "Say My Name", implying that Luckett and Roberson had been replaced. Luckett and Roberson left the group. Franklin would fade from the group after five months, as evidenced by her absences during promotional appearances and concerts, she attributed her departure to negative vibes in the group resulting from the departure. After settling on their final lineup, the trio recorded "Independent Women Part I", which appeared on the soundtrack to the 2000 film, Charlie's Angels, it became topping the Billboard Hot 100 for eleven consecutive weeks.
The success skyrocketed them to fame. That year and Roberson withdrew their case against their now-former bandmates, while maintaining the suit ag