Beats and harmonies flowed through my brain at all times for as long as I can remember. In fact, I can recall my first DJ set being a tiny, red Blue’s Clues contraption with a turntable in the middle and buttons for noises in the corners. I have memories of carrying it around everywhere and getting super excited each time I felt like I had created a new sound that didn’t already exist in the universe. I tried to mimic my dad by scratching the imaginary record at the right time and nodding my head to the tempo. Since then, my love for music has guided me to other avenues like dance. As a dancer, I’ve been working on mastering my own mixes for performances. I have also helped friends and colleagues write scripts and edit audio for podcast specials and other audio projects. My current job as a writer doesn’t allow for as much time for audio projects as I would like nowadays, but that’s the main reason I’m back at school as a graduate student in the music business program. When asked why I chose the music business track, I often tell people it’s because of how much I’m in music spaces constantly now as a dancer and creative, despite it not being my full-time job. But the real reason is I wanted to take one final bet on myself to try to do what I love for a living (as corny as that may sound). Nonetheless, I know my success means just as much for my family and other people in my life as it does for me. I started this essay recalling my experience growing up with my dad as a local hip-hop DJ, but it goes back even further than that. My grandfather’s juke joint in the deep south was a mainstay for my family and other Black people in the area to let loose for 50 years. Even in the early 2000s, when I was a child, I was inspired by the ability of music to make people lose themselves. In that juke joint, I fell in love with soul and R&B, the building blocks to the hip-hop music I work hard to advocate for and preserve the history of today. My grandfather stopped his education at the 4th grade. My dad and aunt were the first in our family to graduate from college. I paid for my undergraduate education at NYU by working multiple part-time jobs and applying for scholarships 24/7 all four years. My goal is to follow in the footsteps of being the past generation’s wildest dream. I think of my own struggles with being in a predominantly white institution for the first time as a college student and how my background shaped the challenges. Upon graduation, my goal is to fight for financial transparency and mental health support for hip-hop and soul artists who are thrust into a music industry that solely values them as a commodity. This experience has historically and continues to be especially traumatizing for Black artists. I want artists to feel supported by someone who understands the creative process and what it takes to create work that can shape a whole generation.

This fall, I will be pursuing a master’s degree in music business at New York University. My goal is to increase inclusivity and make live show experiences more accessible to marginalized communities that are currently being priced out of the live show experience. Eventually, I hope to manage female R&B and hip-hop artists to advocate for their mental well-being and ensure they feel supported in an overwhelmingly male-dominated business. Currently, I am a digital content writer for a telehealth platform. I started this role with the intention of making healthcare and nutritional support more accessible for a wider audience. In everything I do, my goal is to help others make a positive change in their everyday lives. While music is my passion, I have always been interested in supporting the livelihood of artists who shape our cultural and social world. An artist’s team is key to their success in the music business. It’s important for artists to have people on their team that they trust and feel supported by. However, a part of being trusted on someone’s team is being well-versed in how to handle the business of a person’s music career trajectory as well. I don’t want to develop the trust of clients purely from my credentials on paper. As an artist myself, I have witnessed how difficult it can be to feel like those around you don’t see you as a human being, as well as a business. I feel this gives me a unique perspective for managing artists and helping them to do what’s best for their long-term career. I chose NYU’s music business program because I believe this program can help me be innovative in my approach to music business, instead of purely following the existing model for working with artists in the music industry. While in graduate school, I look forward to the opportunity to harness the skills I learn in and out of the classroom. I’ve learned from my experiences as a dancer in the New York City scene and a writer how integral networking is to your success. These perspectives help to form a more well-rounded team capable of holding each other accountable and ensuring the mental well-being of everyone involved. Starting this program is me taking a chance on myself to make a difference in a constantly evolving industry. Any aspect of business involves having the hope that you can bring something valuable to the field. Thank you so much for the opportunity to apply for this scholarship.

Recently, I watched a documentary about a famous comedian who passed in recent years. One comedian described how laughter is a serotonin boost for comedians. In the film, he goes on to say how laughter is what keeps many comedians alive. For me, “a sense of community” is what has always kept me going. Whether it was working for a teen newspaper as a kid or dancing in House clubs as an adult in New York City, I have always thrived in environments that value fellowship. My tight-knit community growing up was the first to let me know I was worth the dreams I aspired to achieve. As a young girl, my community was what allowed me to dare to dream. My dad and the teachers who guided me throughout my life never told me that my dreams were too big. My grandfather was never able to finish school beyond the fourth grade, but was a successful entrepreneur in the small town where he grew up. My dad balanced his love for music and education, being both a DJ and high school teacher, while raising me. I was blessed to (from a very early age) know there was no ceiling to the things I wanted to do. Before moving to New York to start college, I worked as a volunteer at the non-profit organization VOX ATL in my hometown of Atlanta, Georgia. At VOX, I taught local high school students journalistic skills and developed programming during partnerships with other non-profits in the Metro Atlanta area. The experience allowed me to have conversations with different kids all over the city. What united us all was the curiosity surrounding dreams and making it possible. It’s through volunteering that I learned very early on that not every kid had the same support I did growing up. At the time, I didn’t know if my dreams of being a writer would come true. But I made a promise to myself to return to my neighborhood and give back, no matter what magnitude of success I found later in life. This fall, I will be pursuing a master’s degree in music business at New York University. My goal is to increase inclusivity and make live show experiences more accessible to marginalized communities that are currently being priced out of the live show experience. Eventually, I hope to manage female R&B and hip-hop artists to advocate for their mental well-being and ensure they feel supported in an overwhelmingly male-dominated business. In everything I do, my goal is to open a door for someone else and come away from experiencing learning something new. I know I am worth my dreams because I want so badly for everyone I meet to feel the same about their own.

Growing up in Atlanta, service was interwoven into my community. I had the pleasure of growing up with plenty of mentors and educators who looked like me, including my father and aunt. It wasn’t until I left home that I realized the significance of this. It intrinsically influenced my belief that I could do anything I set my mind to. There was no such thing as a ceiling because I was constantly exposed to Black women who were successful in various fields. While in high school, I became passionate about writing. VOX ATL is a non-profit organization in Atlanta that offers training in journalistic skills and publishing for teenagers. The adults in the VOX office taught me the importance of giving back in whatever passion project you pursue. They were not only there to teach us skills, but they also regularly lent a listening ear and support throughout my college admission process. They exposed me to the majority of the scholarship opportunities I used to afford my undergraduate degree at New York University. I have a passion for making live music and the music business overall more equitable for Black artists. The music business continues to profit off of Black culture and artists. Black music executives only make up around 4% of top executive positions in music, despite top music charts being composed mostly of people of color. Still, my goal is to do more than just increase Black representation in the music industry. I want to be a safe space for changemakers in our community who continue to keep the essence of Black culture in music and fashion alive. This fall, I will be starting graduate studies in the NYU music business program to fulfill this goal. I want to study music business to help bridge the disconnect between Black artists from marginalized communities and what happens to them when they become a part of the music industry machine. I have a goal of advocating for the artist in the best way I can as someone who has experienced what it's like to see people who don't look like you profit from your art and your influence. Live music is a key component of the music business that has gradually priced out middle- and lower-class Black artists from getting to experience live music. It’s more than just a concert. In the grand scheme of things, reduced access to safe, organized activities for the average person can be detrimental to younger generations in the community who need outlets for expression and community with others their age. For me, seeing my favorite artists for affordable prices growing up is what furthered my passion for helping to curate and write about live music experiences while in college and beyond. I see pursuing my graduate degree as another opportunity to give back and help the next person coming up behind me know that their dreams are a possibility.

As a child, I wanted to be a curator (without really having the word for what that would look like just yet). Overall, I just knew that I loved immersing myself in music. This led to consistent training in dance and diving into music journalism while in high school and college. In Atlanta, where I grew up, music was the fabric of the community. I carried this admiration for music's ability to bring people together during my childhood into adulthood. During my undergraduate years at New York University, I spent my time outside of class finding community in the New York City hip-hop music scene. This experience taught me the beauty, resilience, and strength of my own culture as someone who grew up in Atlanta—a city where hip-hop and social activism worked in tandem as major pillars in the community. While I am not a professional dancer or music artist today, I am pursuing a graduate degree in music business to be a part of bringing the community aspect back to the live music experience. I am choosing to take this leap of faith despite the financial burden to be a safe space for the changemakers in our community who continue to keep the essence of Black culture in music, fashion, and art alive. I want to use my degree to focus specifically on improving artist relations and the music experience for listeners in hip-hop and R&B spaces. I want to study music business to help bridge the disconnect between Black artists from marginalized communities and what happens to them when they become a part of the music industry machine. Despite top music charts being composed of mostly people of color, Black executives only make up around 4% of top executive positions in music. Still, my goal is to do more than just increase Black female representation in the field. I want to be a safe space for the changemakers in our community who continue to keep the essence of Black culture in music, fashion, and art alive. One of the ultimate goals I have is to be an advocate for the artist in the best way I can as someone who has experienced what it's like to see people who don't look like you profit from your art and your influence. I see pursuing my graduate degree as another opportunity to give back and help the next person coming up behind me to know that their dreams are a possibility despite the trials and tribulations they may experience along the way.

Through the desire to create content that connects to the everyday person, I have had the pleasure of being a writer and editor for various publications including Health Magazine, City & State NY, and Exron Music. Having a diverse array of experiences in editorial has helped me to have a clearer understanding of what I want my work to look like going forward. Outside of being a writer, I have always been passionate about music and culture. The New York City hip-hop and street dance community continues to be a safe space for me. Through music and fashion, I have also found ways to express myself and create art that tells the stories of people in my community. As someone who initially had trouble opening up, it was a blessing to have friends in the house and street style dance community to lean in. It has made me want to do my part to use my talents outside of dance to open up more doors for them. Being an artist (especially in dance or music) is a career that doesn't always give back as much as it takes from creators in the industry. I recently took a chance and applied for the NYU Music Business master’s degree program to work in music publishing and fight for better representation and rights of Black and Brown artists. Despite top music charts being composed of mostly people of color, Black executives only make up around 4% of top executive positions in music. Still, my goal is to do more than just increase Black female representation in the field. I want to be a safe space for the changemakers in our community who continue to keep the essence of Black culture in music, fashion, and art alive. Hip-hop is one of the arguably most culturally relevant music genres of the last 50 years, yet artists continue to be underpaid due to a lack of transparency and mental healthcare in the music industry for artists. Prioritizing rest and professional mental health support is important for the long-term well-being of Black female artists who find themselves in predominantly non-black spaces for the first time as chart-topping artists. This is especially important when working in a business where double consciousness is a common occurrence for people of color. My love for hip-hop has developed into a deep appreciation and desire to protect its history and future. This goal is impossible without having Black and Brown women in the room. I want to ensure revenue made by artists within hip-hop culture and adjacent genres gives back to the community to support infrastructure in predominantly Black and Brown communities where hip-hop culture is often born.

As a writer, my goal has always been to produce work that makes people feel seen and heard. A career in journalism has given me the tools to combine a knack for service with literary engagement. It has been a great honor to do this with editorial projects focusing on the needs and personal stories of black women whether it's healthcare, music, fashion, or lifestyle content. Through the desire to create content that connects to the everyday person, I have had the pleasure of working for various publications including Health Magazine, City & State NY, and Exron Music. Having a diverse array of experiences in editorial has helped me to have a clearer understanding of what I want my work to look like going forward. Outside of being a writer, I have always been passionate about music and culture. The New York City hip-hop and street dance community continues to be a safe space for me. Through music and fashion, I have also found ways to express myself and create art that tells the stories of people in my community. After a few years of honing in on my interests and desires in the corporate space, I applied for the NYU Music Business master’s degree program. My goal is to work in music publishing and fight for better representation and rights of Black and Brown artists. Despite top music charts being composed of mostly people of color, Black executives only make up around 4% of top executive positions in music. Still, my goal is to do more than just increase Black female representation in the field. I want to be a safe space for the changemakers in our community who continue to keep the essence of Black culture in music, fashion, and art alive. Hip-hop is one of the arguably most culturally relevant music genres of the last 50 years, yet artists continue to be underpaid due to a lack of transparency and mental healthcare in the music industry for artists. Prioritizing rest and professional mental health support is important for the long-term well-being of Black female artists who find themselves in predominantly non-black spaces for the first time as chart-topping artists. This is especially important when working in a business where double consciousness is a common occurrence for people of color. My love for hip-hop has developed into a deep appreciation and desire to protect its history and future. This goal is impossible without having Black and Brown women in the room. I want to ensure revenue made by artists within hip-hop culture and adjacent genres gives back to the community to support infrastructure in predominantly Black and Brown communities where hip-hop culture is often born.

As a writer, my goal has always been to produce work that makes people feel seen and heard. A career in journalism has given me the tools to combine a knack for service with literary engagement. It has been a great honor to do this with editorial projects focusing on the needs and personal stories of black women whether its healthcare, music, fashion, or lifestyle content. Through the desire to create content that connects to the everyday person, I have had the pleasure of working for various publications including Health Magazine, City & State NY, and Exron Music. Having a diverse array of experiences in editorial has helped me to have a clearer understanding of what I want my work to look like going forward. Outside of being a writer, I have always been passionate about music and culture. The New York City hip-hop and street dance community continues to be a safe space for me. Through music and fashion, I have also found ways to express myself and create art that tells the stories of people in my community. After a few years of honing in on my interests and desires in the corporate space, I applied for the NYU Music Business master’s degree program. My goal is to work in music publishing and fight for better representation and rights of Black and Brown artists. Despite top music charts being composed of mostly people of color, Black executives only make up around 4% of top executive positions in music. Still, my goal is to do more than just increase Black female representation in the field. I want to be a safe space for the changemakers in our community who continue to keep the essence of Black culture in music, fashion, and art alive. Hip-hop is one of the arguably most culturally relevant music genres of the last 50 years, yet artists continue to be underpaid due to a lack of transparency and mental healthcare in the music industry for artists. Prioritizing rest and professional mental health support is important for the long-term well-being of Black female artists who find themselves in predominantly non-black spaces for the first time as chart-topping artists. This is especially important when working in a business where double consciousness is a common occurrence for people of color. My love for hip-hop has developed into a deep appreciation and desire to protect its history and future. This goal is impossible without having Black and Brown women in the room. I want to ensure revenue made by artists within hip-hop culture and adjacent genres gives back to the community to support infrastructure in predominantly Black and Brown communities where hip-hop culture is often born.

As a writer, my goal has always been to produce work that makes people feel seen and heard. A career in journalism has given me the tools to combine a knack for service with literary engagement. It has been a great honor to do this with editorial projects focusing on the needs and personal stories of underserved communities thus far in my career. Through the desire to create content that connects to the everyday person, I have had the pleasure of working for various publications including Health Magazine, City & State NY, and Exron Music. Having a diverse array of experiences in editorial has helped me to have a clearer understanding of what I want my work to look like going forward. Outside of being a writer, I have always been passionate about music and culture. The New York City hip-hop and street dance community continues to be a safe space for me. Through music and fashion, I have also found ways to express myself and create art that tells the stories of people in my community. After a few years of honing in on my interests and desires in the corporate space, I applied for the NYU Music Business master’s degree program. My goal is to work in music publishing and fight for better representation and rights of Black and Brown artists. Despite top music charts being composed of mostly people of color, Black executives only make up around 4% of top executive positions in music. Still, my goal is to do more than just increase Black representation in the field. I want to be a safe space for the changemakers in our community who continue to keep the essence of Black culture in music, fashion, and art alive. Hip-hop is one of the arguably most culturally relevant music genres of the last 50 years, yet artists continue to be underpaid due to a lack of transparency and mental healthcare in the music industry for artists. Prioritizing rest and professional mental health support is important for the long-term well-being of Black artists who find themselves in predominantly non-black spaces for the first time as chart-topping artists. This is especially important when working in a business where double consciousness is a common occurrence for people of color. My love for hip-hop has developed into a deep appreciation and desire to protect its history and future. This goal is impossible without having Black and Brown people in the room. I want to ensure revenue made by artists within hip-hop culture and adjacent genres gives back to the community to support infrastructure in predominantly Black and Brown communities where hip-hop culture is often born.

As a Black girl growing up in Atlanta, my understanding of the world was largely shaped by Black music and activism. With my childhood stomping grounds being the blueprint for the civil rights movement in the South, including strong Black women into my writing is not a decision I make whenever I write. It is inherent. Whether it is as an intern or content creator, as a Black writer it can be difficult to grapple with the stories you know what to tell and what you think people expect from you. In journalism, newsrooms tend to be overwhelmingly white and male. When stories are pitched about race, oftentimes there may not be a person of color in the newsroom to write it from the perspective of a person of color in America. Coming from a place where I always heard our stories being sung or articulated from those who looked like us, this proved to be a challenge for me as a college student. Many of the internships I worked were in predominantly white newsrooms. Although these newsrooms covered racial injustice, I made a commitment to myself to create journalism that did not only feed on Black tragedy but also made space for Black joy. This meant advocating for quotes from Black women that I felt showed them as more than one-dimensional. I wanted stories with my byline attached to them to make people feel like they were having a conversation with whoever I was covering. Because newsrooms have not historically been diverse, by writing in a voice that I would want to read and that the sources I listen to feel comfortable speaking to I hope to make Black stories written by Black journalists the norm in newsrooms even when social justice is not the hot topic.

Atlanta has molded me into the journalist I am today. With its rich black history and continued representation of black excellence, my hometown has given me the confidence to believe that my possibilities are endless and has shaped the stories I look for today as a journalist. With only a ten-minute train ride from my home to the heart of downtown Atlanta, I was able to immerse myself in the history of the civil rights movement and more. The incredible documentation of those pivotal moments in history became especially intriguing to me. Photographs that captured the moments in action of Americans risking their lives for a better future put the present into perspective for me as a young person. In the Center for Civil and Human Rights, across the street from the historic Centennial Olympic, photos spanned from the 1950s and 1960s, to current struggles for civil and human rights around the world. As I walked through the circular building, you could feel how different photographs struck an emotional chord with each visitor, even without having the photos in the form of words. I see my whole city through this lens. Every corner and every street has a piece of history. From my first job in high school to the country’s #1 historically black college, it all connects to the reason I have fallen in love with storytelling. As history continues to be made everyday, I want to be able to create accurate depictions of the individual stories and the overall impact for future generations to feel and learn from. As the city continues to grow, I feel myself changing as well. The neighborhood I grew up in is gradually becoming more affluent, something that I would never imagine happening as a kid. As the city progresses, it often feels like the city is at stake of losing its rich history of change and equality for all. However, as we look to the future, it is important to remember the moments that brought us here. I love the art around my city. They are subliminal reminders of the parts of our history that cannot go forgotten. Across southwest Atlanta, you can stand in front of portraits of Outkast, John Lewis, and other cultural icons that have shaped our city and what it means to be from Atlanta. Art has always been at the root of my relationship with Atlanta. The music, whether it is hip-hop and R&B from the early 2000’s or the gospel tunes ringing out of historic southern baptists churches on Sunday mornings, they are what I imagine when I think of what Atlanta sounds like. It is music that uplifts and calls for the gathering of a group of people to celebrate each other and the good parts of life. My city is unique because despite the strides we have made in this country, it has not hardened the hearts of ATLiens. This continues to be a city I can come back to and feel supported by my community. I love living here because like many who come here, it has provided me the opportunity to unapologetically be myself and believe in my abilities as a young Black female journalist in America.