State Champ Radio genre rb
Page: 38
Welcome to Billboard Pro’s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
This week: A late R&B great sees massive gains for her stellar catalog, a rising singer-songwriter scores a potential breakthrough hit and a beloved TV actor gets a Netflix bump for his music.
Angie Stone’s Catalog Rises After Neo-Soul Icon’s Passing, Led by “No More Rain”
On March 1, neo-soul icon and The Sequence founding member Angie Stone tragically died in a car accident near Montgomery, Ala. at the age of 63. With a three-time Grammy-nominated catalog spanning hip-hop, neo-soul and southern R&B, Angie Stone amassed three Billboard Hot 100 hits and landed seven titles on the Billboard 200 throughout her career.
Trending on Billboard
According to Luminate, Stone’s catalog earned just over 621,000 official on-demand U.S. streams in the week preceding her passing (Feb. 21-27). During the week of her passing (Feb. 28-March 6), that figure exploded a whopping 1,263% to over 8.4 million official streams. 1999’s “No More Rain (In This Cloud)” was one of her biggest streamers during the week of her death, collecting 2.1 million official on-demand U.S. streams — a 538% boost from the week prior.
Meanwhile, 2002’s “Wish I Didn’t Miss You” — her most recent Hot 100 entry (No. 79) — rose 1,008% during the week of Feb. 28-March 6, collecting 1.44 million official on-demand U.S. streams. And 2001’s classic “Brotha,” a song and music video honoring and uplifting Black men, experienced one of the biggest streaming boosts in Stone’s catalog following her passing. During the week of Feb. 21-27, the song earned just over 42,000 official on-demand U.S. steams. The following week, that figure leapt 2,026% to over 907,000 official streams.
Notably, all three songs debuted in the top five of the R&B Digital Song Sales chart dated March 15: “No More Rain” bowed at No. 1, “Wish I Didn’t Miss You” followed at No. 2, and “Brotha” managed a No. 5 debut. All three songs mark her first entries on this particular ranking, which launched in November 2012. — KYLE DENIS
Streaming Wraps Its Arms Around Sydney Rose’s New Sad Girl Hit
If Drake’s new musical obsession is weepy singer-songwriter ballads with hard-hitting beat-switches, Sydney Rose has just the viral hit for him. The Georgia singer-songwriter, who previously achieved some streaming success with the independently released “Turning Page” in 2020, released her new song “We Hug Now” to DSPs in February. The post-relationship song starts as a gentle, echoing ballad, à la Rose’s musical hero Phoebe Bridges – but it’s the climax, after a switch to a more cathartic mid-tempo singalong, that has taken off on TikTok, with countless users connecting with the lyrics: “You’re just thinkin’ it’s a small thing that happened/ The world ended when it happened to me.”
The world now may just be opening up for Rose, who has signed to CAA for touring and released “Hug” through Mercury Records. Her new signature song has exploded on streaming, racking up nearly 4.3 official on-demand U.S. streams for the tracking week ending on March 6 – a gain of 345% from three weeks earlier, according to Luminate. As the song continues to grow and Rose herself continues to spread the word herself through edits and mashups shared on her TikTok, it might not be long until the 6 God is once again asking for a “Hug.” – ANDREW UNTERBERGER
Gabby Petito Netflix Docuseries Revives 16-Year-Old Matt Berry Song
Last month (Feb. 17), Netflix released American Murder: Gabby Petito – a docuseries about the 2021 murder of travel vlogger Gabby Petito. At the close of the final episode, Matt Berry’s “Take My Hand” begins to play, which has ratcheted up the track’s streaming activity.
During the week of Feb. 14-20, “Take My Hand” earned just over 36,000 official on-demand U.S. streams, according to Luminate. By the first full week since the release of the docuseries (Feb. 21-27), that figure jumped 866% to over 348,000 official streams. The following week (Feb. 28-March 6), that number rose a further 6%, reaching 579,000 official streams. Over the past two weeks, streaming activity for “Take My Hand” has risen over 1,505%.
“Take My Hand” served as the opening theme for Berry’s award-winning Toast of London comedy series, exemplifying the crossover between his acting and music careers. In 2022, there was a small wave of TikToks expressing shock that the What We Do in the Shadows actor also made music. The official “Take My Hand” TikTok song currently boasts over 10,000 posts.
Berry has yet to hit any Billboard chart, but that could soon change should “Take My Hand” maintain its streaming momentum. – KD
Ne-Yo has been in the news lately and it’s not for his music. Apparently, the R&B star is in a polyamorous relationship with four other women which he recently introduced to the world on his Instagram — and they each have a cute little nickname. “Since the world is so intrigued,” he wrote in a […]
An unexpected appearance by Ms. Lauryn Hill and Wyclef Jean was just one of the many riveting moments at the celebration of life honoring the legendary Roberta Flack inside Harlem, New York’s Abyssinian Baptist Church on Monday (March 10).
Among the additional stars, executives, friends and family lifting up their voices in tribute to the pioneering singer-songwriter-musician-activist were Stevie Wonder, Valerie Simpson, Phylicia Rashad, Dionne Warwick, Alicia Keys, India.Arie, Peabo Bryson and Clive Davis. Flack died on Feb. 24 at age 88.
Before segueing into a beautiful and measured take on the Flack classic “The First Time Ever I Saw Your Face,” an emotional Hill sniffled her way through reflections about her late idol. “We weren’t formally asked to do this because I think they were a little shy in asking us to attend,” Hill began. “So we kind of bum-rushed the service because it really wouldn’t be possible for us to just stand by and not participate.
Trending on Billboard
“The artistry of Ms. Roberta Flack was beyond trailblazing,” Hill continued in part. “Like Nina Simone, she carved out for me a pathway of soulful Black intellectual sublime beauty that not only spoke to Black resistance directly in lyric and statement, but was Black resistance to racism, bigotry and limitations by virtue of its existence. … She didn’t just write about the beauty; she was the beauty. She didn’t just write about resistance; her existence was a form of resistance. She wrote our stories in forms the established authorities of the time could not deny; compositions wrapped with graceful classical forms and nuances that would not nor could not be dismissed. … I thank my parents for introducing me to her masterful music. Thank you to our Father in Heaven, to our God on high for blessing and enriching all of our lives with her presence and undeniable gifts. Roberta Flack is legend.”
Met with resounding applause, cheers and a standing ovation inside the packed church, Hill and Jean — accompanied by a pianist and three backing vocalists — launched into a sing-along of the Fugees’ hit reinterpretation of the Flack gem “Killing Me Softly With His Song.” Adding an extra touch to the performance: Wonder standing in the church aisle playing the harmonica.
Following next on the program, Wonder prefaced his musical contribution with insightful comments that touched on Flack’s artistry as well as her commitment to activism. “The great thing about not having the ability to see with your eyes is the great opportunity in being able to see even better with your heart,” he shared. “So I knew how beautiful Roberta was. I celebrate that because I see that so much of the world and yes, this nation too, must be blind at this point … and it breaks my heart. And Roberta, I want to just say to you in spirit, I thank you for letting me hear your voice, letting me know your spirit, letting me know your heart and letting me be able to share with you songs that I was writing.”
One of those songs was “If It’s Magic.” Accompanied solely by a harpist, Wonder delivered a piercing take on the track, which is featured on his award-winning double album Songs in the Key of Life. Joined afterwards by the harpist and a conga player as he sat at the piano, Wonder performed a song that he wrote for Flack, “I Can See the Sun.” Noted Wonder at the end, “She spread love all over this world.’
Songwriter Hall of Fame member Valerie Simpson (along with late husband Nick Ashford) also sat down at the piano for an improvised take on one of Ashford & Simpson’s signature hits “Ain’t Nothing Like the Real Thing,” in salute to Flack’s artistic authenticity. Among the other memorable performances was famed backing vocalist Lisa Fischer’s searing and soaring version of “Somewhere (There’s a Place for Us)” from West Side Story. Also sharing their reflections and memories were actress Phylicia Rashad, Flack’s cousin Carol Flack, Flack’s longtime manager/friend Suzanne Koga and family friend Santita Jackson. Jackson, a singer who once toured with Flack, said her father Rev. Jesse Jackson wanted her to remind attendees of one important fact: that Flack “was the perfect blend of soul and science; she put her ego to the side and just sang the song. A pure genius.”
Rounding out Flack’s celebration of life were video clips featuring reflections from a diverse range of artists and industry personages such as Clive Davis (“There will never be another Roberta Flack”), Oprah Winfrey, Alicia Keys, India.Arie, Peabo Bryson, Dionne Warwick, Les McCann and Yoko Ono. Letters from former vp Kamala Harris and Recording Academy CEO Harvey Mason jr. were read as well. Rev. Al Sharpton delivered the eulogy; presiding over the memorial service was Abyssinian Baptist Church’s Rev. Dr. Kevin Johnson. The celebration program also noted that donations in Flack’s memory can be sent to the RobertaFlackFoundation.org.
Billboard Women In Music for 2025 keeps on getting juicer. Doechii is named as the Woman of the Year, and so many more have been added to the powerhouse night. Keep watching to find out who! Watch the live event on March 29th at 10PM ET/7PM PT on the Billboard Women in Music 2025 channel […]
The legal battle over whether Ed Sheeran’s “Thinking Out Loud” infringed Marvin Gaye‘s “Let’s Get It On” has reached the U.S. Supreme Court more than a decade after Sheeran’s hit was released.
In a petition filed last week, a company that owns a stake in the rights to Gaye’s 1973 song urged the justices to overturn a November ruling by a lower appeals court, which said Sheeran had done nothing wrong and that the two tracks shared only “fundamental musical building blocks.”
The company, Structured Asset Sales (SAS), says that the ruling unfairly restricted its allegations to written sheet music rather than all elements included in Gaye’s iconic recorded version. That thorny issue, which has also cropped up in other major cases over “Blurred Lines” and “Stairway To Heaven” in recent years, must finally be resolved by the high court, the company says.
Trending on Billboard
“The rights of thousands of legacy musical composers and artists, of many of the most beloved and enduring pieces of popular music, are at the center of the controversy,” SAS’s lawyers write in the petition, filed with the high court Thursday (March 6).
Such an appeal, known as a petition for a writ of certiorari, faces long odds. The Supreme Court takes less than 2% of the roughly 7,000 cases it receives each year, hearing only the disputes it deems most important to the national legal landscape.
Sheeran has faced multiple lawsuits over “Thinking,” a 2014 track co-written with Amy Wadge that reached No. 2 on the Billboard Hot 100 and ultimately spent 58 weeks on the chart. He was first sued by the daughter of Ed Townsend, who co-wrote the famed 1973 tune with Gaye. That case ended in a high-profile jury verdict that cleared Sheeran of any wrongdoing.
Thursday’s petition came in a separate case filed by SAS, an entity owned by industry executive David Pullman that controls a different stake in Townsend’s copyrights to the legendary song. That suit was rejected in November by the federal Second Circuit appeals court, which said the lawsuit was essentially seeking “a monopoly over a combination of two fundamental musical building blocks.”
“The four-chord progression at issue—ubiquitous in pop music—even coupled with a syncopated harmonic rhythm, is too well-explored to meet the originality threshold that copyright law demands,” the appeals court wrote. “Overprotecting such basic elements would threaten to stifle creativity and undermine the purpose of copyright law.”
Appealing that ruling to the Supreme Court last week, attorneys for SAS argued the lower court had botched the case by relying only on the “deposit copy” — a bare-bones written version of music sent to the U.S. Copyright Office for many old songs. Doing so was not only legally erroneous but also out of step with reality, the company’s lawyers wrote.
“Nobody who understands the music industry would ever suggest that songwriters consult the deposit copies on file with the Copyright Office as part of their creative (or clearance) process,” SAS wrote to the justices. “To the extent they are aware of the music that preceded them, it is from hearing it on the radio, in movies, television and—for the last quarter century—the Internet.”
That ruling was even more legally problematic, SAS’s lawyers write, because it came in the wake of a Supreme Court decision last year that said courts should afford less deference to legal guidance from federal agencies. By siding with Sheeran — and an agency interpretation from the Copyright Office — SAS says the lower appeals court “openly defied this Court.”
Sheeran’s attorneys can file a response brief in the weeks ahead. The court will decide whether or not to hear the case at some point in the next several months.
The sun is sticking around a bit longer, the temperatures are rising bit by bit — it looks like spring really is on the way! It’s been a relatively quiet March so far after a particularly jam-packed February, but if anyone is keeping up that momentum, it’s Doechii.
On Monday (March 10), Billboard named the Grammy-winning Tampa MC its 2025 Woman of the Year, making her the first female rapper to earn the honor since Cardi B in 2020. Over the weekend (March 8) — after getting stamps of approval from fashion giants Anna Wintour and Thom Browne during Paris Fashion Week — Doechii collected an incomparable co-sign. Ms. Lauryn Hill brought the “Denial Is A River” rapper to the stage for a joint performance of her 1998 Billboard Hot 100 No. 1 hit, “Doo Wop (That Thing)” during her her headlining set at the Jazz in the Gardens Festival.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Madison McFerrin’s house-soul banger to GELO’s GloRilla-assisted “Tweaker” follow-up. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Trending on Billboard
Freshest Find: Madison McFerrin, “Ain’t It Nice”
SanFran multihyphenate and daughter of jazz legend Bobby McFerrin, Madison McFerrin is ready to begin a new era. “Ain’t It Nice,” a sleek house-infused soul track that explores the allure of new infatuation across a swirling mixture of groovy drum loops and twinkling synths, finds McFerrin flaunting her intimate understanding of vocal dynamics and pacing. Instead of immediately firing off the chesty belts that house often evokes, McFerrin opts for soft coos and lush background harmonies — like the ones in the bridge — that eventually help her sneak into the rafters of her range by the song’s close. — KYLE DENIS
GELO & GloRilla, “Can You Please”
GELO recruited his “Memphis twin” GloRilla for his “Tweaker” follow-up with “Can You Please,” who continues to shred every track she lends a guest verse to. The middle Ball brother is now 2/2 with a meteoric start to his rap career. “Tweaker” set the bar high with his top 40 debut hit and GELO continues his 2000s New Orleans rap pastiche run. It remains to be seen if “Can You Please” will match the virality that “Tweaker” hand to earn GELO the first rap hit of 2025. Next up, he’ll be taking his talents to the festival stage with his Rolling Loud performance debut in California next weekend. — MICHAEL SAPONARA
Aaron Page, “Pretty Girls Like R&B”
Houston-based R&B singer Aaron Page channels smooth nostalgia and modern romance on his latest track, “Pretty Girls Like R&B.” The song thrives on a mix of passion, devotion, and material flexing, with Page weaving through memories of late-night connections and heartfelt gestures. “Wanna vibe with you like Jodeci love,” he croons, setting the tone with a nod to the ‘90s R&B icons known for their raw, sensual love songs.
Beyond the allure of attraction, Page reflects on moments of intimacy like holding her hair when she was sick and proving his loyalty through lavish gestures (“Brought the Maybach out to Kamp for you”). His reference to Drake’s Take Care signals an openness to emotional depth, evoking the vulnerability that made Drizzy’s 2011 album a staple for lovers and heartbreakers alike. “Pretty Girls Like R&B” taps into the kind of love story that resonates with those who cherish both old-school romance and modern-day ambition. — CHRISTOPHER CLAXTON
Curren$y & Harry Fraud feat. Wiz Khalifa, “Airport Industries”
What year is it? Did we wake up and go back in time to the Blog Era? While Curren$y has stayed consistent when it comes to dropping music and posting miniature diecast car content on his hobby page, Wiz has been on a freestyle run of the likes we haven’t seen in a while. This generation’s rap Cheech & Chong link up with one of the game’s most potent horticulturalists in Harry Fraud for a smokey number that sounds better when it’s a sunny day and you have one lit and one rolled already. — ANGEL DIAZ
Icewear Vezzo feat. Big Sean & Skilla Baby, “Worth Something”
Undefeated, Icewear Vezzo’s latest EP — which dropped last Friday (March 7) — is another thrilling collection of Detroit-set street tales. On “Worth Something,” he recruits Big Sean and Skilla Baby, two of his city’s biggest rap stars, for some A1 trap storytelling. “In the Nap with Milly ‘nem, just popped a Tesla, now I’m geeked/ Turned a dream into reality, that’s why I’m laughin’ in my sleep/ Cooked the Vezzo in the lab and now my hands, it smell like bleach/ Rather go to trial than cop no plea, we just cop bags and Louis V,” he spits in his opening verse, opting for a reflective tone that pairs well with Hawkey’s skittering snares. — K.D.
Turbo & Gunna, “Classy Girl”
Turbo and Gunna have been one of the best rapper-producer duos in hip-hop, and it’s been that way for some time now. They reunited on an anthem for the ladies just in time for International Women’s Day with “Classy Girl.” Gunna’s life of luxury allows him to bless the women in life with opulent experiences that most can only dream of. “Pеnthouse suite, we been livin’ on the road/ I’m in Bottega matchin’ slippers to your robe/ And I been runnin’ through a bankroll,” he raps over the bouncy production. It’s almost time for another project from the pairing. — M.S.
Dylan Sinclair, “Lemon Trees” (Motherland Sessions)”
Toronto’s own Dylan Sinclair brings a new depth to his For the Boy in Me album with Motherland Sessions, a live EP paying tribute to his Filipino heritage. Stripping back the production, Sinclair leans into a more intimate, organic sound — especially on “Lemon Trees,” a soulful reflection on love, ambition, and timing. Sinclair’s smooth vocals glide over the laid-back beat as he wrestles with the push and pull of commitment. “I’ll hold you down,” he promises in the chorus, offering devotion while grappling with his own hesitations. He paints his love interest as his “queen” and the “girl of my dreams” and contrasts that adoration with the realities of personal ambition and the fear of settling down too soon; Sinclair lets the tension linger, never forcing an easy resolution. “Lemon Trees” is a tender, honest take on romance. — C.C.
Skepta & PlaqueBoyMax, “Less Is More”
Streamer PlaqueBoyMax’s series “In the Booth With” is one of the more unique online series, helping bring fans into the recording booth with their favorite rappers. Max had U.K. rap legend Sketpa come through recently to lay down a track, and of course, it’s a banger. Big Smoke lays some game down to start off his verse, rapping, “London City is dark and cold/ Don’t take picks with the members screaming that gang if you aren’t involved/Wanna be a ‘G’ better be fully active, gotta do the road with your heart and soul/They wanna know if the street life worth, I told them the answer’s no,” as PlaqueBoyMax delivers a smooth sample flip of the Judy Bailey Quartet’s “Colours Of My Dreams.” — A.D.
Larrenwong, “Out the Frame”
Former NFL player Warren Long has been operating as rising R&B star Larrenwong for some time now, and his new 4th & Long EP is another winning entry in his growing catalog. Standout cut “Out the Frame” finds him moving from the field to the bedroom, crooning “I know that it’s been fun and games/ But you better hold tightly/ Because I go crazy when I’m inside.” At one point, he even nods to Usher, spelling out his name just like the Grammy-winner did on 1997’s “Nice & Slow.” — K.D.
Dende, “Need U Like”
Fresh off signing with Def Jam, rising R&B talent Dende keeps the momentum going with his latest single, “Need U Like.” Through vivid metaphors, Dende paints a picture of unwavering devotion, comparing his connection to his partner to classic, inseparable duos. The verses push that passion even further, with bold declarations of loyalty — he’d spend his last dollar, defy the impossible and rewrite history just to prove his love. Yet, underneath the grand gestures, there’s an emotional core: a promise to heal the wounds of past heartbreak and ensure his partner never feels unappreciated again. With its smooth production and raw lyricism, “Need U Like” is Dende at his best — vulnerable, confident, and completely lost in love. — C.C.
Lady London, “Is You Krazy?”
Walk around the streets of NYC for an hour, and you’re likely to hear one version of someone yelling, “Is you crazy?” Lady London is back with her first single of 2025, and she’s disgusted with the nerve and audacity of these men from around the way. “Cop me the Rollie, cop me the Wraith, and when you see me, you copy and paste,” she raps over Hitmaka’s thumping production. Next up, the Howard University alum is heading out on the road to open for Coco Jones on the North American leg of her Why Not More Tour. — M.S.
03/10/2025
Here’s all the songs we wanna hear from these two superstars.
03/10/2025
Will Bruno Mars and Lady Gaga take No. 1 from Kendrick Lamar and SZA? Tetris Kelly:This is the Billboard Hot 100 top 10 for the week dated March 15. Back in the top 10 is “Nokia.” At nine is Teddy Swims. Chappell Roan holds on to eight, as does Billie Eilish to No. 7. “APT.” to […]
The top nine tracks on the Hot 100 remain in place from a week earlier. Lady Gaga and Bruno Mars’ “Die With a Smile” ranks at No. 2, following five nonconsecutive weeks at No. 1 beginning in January. It notches a fifth week atop Radio Songs (64.7 million, up 2%).
Below “Luther,” Lamar logs two other songs in the Hot 100’s top five: “Not Like Us,” at No. 3, and “TV Off,” featuring Lefty Gunplay, at No. 4, after reaching No. 2.
Notably, Lamar lands his fifth week with at least three songs in the Hot 100’s top five simultaneously, after he first scored such a triple in December. He ties for the third-most such frames – here’s a recap of all acts who have achieved the feat for at least one week.
Most Weeks With 3 or More Songs in Hot 100’s Top 5:
8 weeks, The Beatles, in 1964
6, Drake, 2018-23
5, Justin Bieber, 2015-16
5, Kendrick Lamar, 2024-25
3, Taylor Swift, 2022-24
2, 50 Cent, 2005
2, Sabrina Carpenter, 2024
1, 21 Savage, 2022
1, Ariana Grande, 2019
(Swift – twice – Lamar, Drake and The Beatles are the only acts ever to monopolize the entire top five on the Hot 100 in a single week. Swift scored the most songs from No. 1 on down – 14 – on the May 4, 2024, chart, thanks to the arrival of her album The Tortured Poets Department.)
Shaboozey’s “A Bar Song (Tipsy)” ranks at No. 5 on the Hot 100, following its record-tying 19 weeks at No. 1 beginning last July. It commands the multimetric Hot Country Songs chart for a 37th week.
ROSÉ and Bruno Mars’ “APT.” places at No. 6 on the Hot 100, after hitting No. 3.
Billie Eilish’s “Birds of a Feather” is No. 7 on the Hot 100, after reaching No. 2. It tops the multimetric Hot Rock & Alternative Songs and Hot Alternative Songs charts for a 31st week each. On the latter, it extends the longest reign for a song by a woman; on the former, it solely claims the mark, one-upping Zach Bryan’s “I Remember Everything,” featuring Kacey Musgraves, which led for 30 weeks in 2023-24.
Teddy Swims’ “Lose Control,” which led the Hot 100 for a week in March 2024 – and became the year’s top song – ranks at No. 9. It notches an 81st week on the survey overall, the fourth-longest stay in the chart’s history, below only Glass Animals’ “Heat Waves” (91 weeks, in 2021-22); The Weeknd’s “Blinding Lights” (90 weeks, 2019-22); and Imagine Dragons’ “Radioactive” (87 weeks, 2012-14).
Rounding out the Hot 100’s top 10, Drake’s “Nokia” returns to the region, rising a spot to No. 10, where it debuted two weeks earlier.
Rihanna celebrated International Women’s Day on Saturday (March 8) by sharing a rare glimpse at the two sons she shares with longtime love A$AP Rocky. The candid pics of RZA, 2 and Riot Rose, 19 months, were taken in the hospital after the singer gave birth to the children, a moment she said was the high-point of her life.
“By far the most powerful thing I’ve ever done as a woman… my little miracles! #InternationalWomensDay,” she wrote in the caption to the post, with the first pic depicting RZA Athelston Mayers laying on his mother’s chest for some crucial skin-to-skin time, with RihRih’s face only partially in the frame, her neck adorned with a pair of gold and pearl necklaces.
In the second snap, Rihanna stares at the camera while rocking pink shades and a black bra as Riot Rose Mayers snuggles up to her in the hospital bed. “And yes I gave birth in pearls and sunglasses,” Rihanna wrote. “Don’t ask, a lot was happening.”
Trending on Billboard
She got support from fellow pop star and mom Katy Perry, wrote commented, “The BEST.”
The singer and rapper have kept their sons out of the public eye for the most part to date, though last month Rihanna opened up to Harper’s Bazaar about being a mom and her boys’ personalities. “Riot, he’s just hilarious,” she said of her second-born. “When he wakes up, he starts to squeal, scream. Not in a crying way. He just wants to sing. And I’m like, ‘Okay, here we go!’ He’s my alarm in the morning! He’s not taking no for an answer from anyone.”
She also revealed that RZA is “just an empath. He’s so magical. He loves music. He loves melody. He loves books. He loves water. Bath time, swimming, pool, beach, anything. And Riot, he’s just hilarious. When he wakes up, he starts to squeal, scream. Not in a crying way. He just wants to sing. And I’m like, ‘Okay, here we go!’ He’s my alarm in the morning! He’s not taking no for an answer from anyone. I don’t know where he came from, dude.”
