State Champ Radio Music News
Page: 898
This year, Billie Eilish and Finneas are voting the color of the final track on their May album, Hit Me Hard and Soft: blue. In honor of National Voter Registration Day, the sister-brother musical duo endorsed Kamala Harris’ presidential campaign and urged fans to get to the polls this November to help stop what they called an “extremist” agenda from Republicans.
In a clip posted to Eilish’s social media accounts Tuesday (Sept. 17), the 22-year-old pop star and her collaborator look into the camera while addressing fans directly. “We are voting for Kamala Harris and Tim Walz because they are fighting to protect our reproductive freedom, our planet and our democracy,” the “Bad Guy” singer says.
“We can’t let extremists control our lives, our freedoms and our future,” Finneas continues. “The only way to stop them and the dangerous Project 2025 agenda is to vote and elect Kamala Harris.”
The pair also shared a link where fans can check their registration status ahead of election day on Nov. 5. “Vote like your life depends on it,” Eilish adds in the clip. “Because it does.”
With their endorsement, the two-time Oscar winners join a long list of A-list musicians championing the Harris-Walz cause this year. Megan Thee Stallion, Ariana Grande, John Legend, Lizzo, Quavo, Lil Jon, Bon Iver, Barbra Streisand, Katy Perry and many more have all previously lent their support to the VP, while Taylor Swift finally broke her silence on the election Sept. 10 by sharing her highly anticipated endorsement of Harris just moments after the presidential debate concluded.
“I’m voting for @kamalaharris because she fights for the rights and causes I believe need a warrior to champion them,” the “Anti-Hero” singer wrote in a message signed “Childless Cat Lady.” “I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos.”
Eilish has long used her voice to speak out about political issues she’s passionate about, most notably sustainability. She’s also encouraged fans to hit the polls on numerous occasions, creating her own voting initiative in 2020 and partnering with HeadCount ahead of the 2022 midterms.
In 2020, the “Lunch” artist performed and slammed Trump in a speech at the Democratic National Convention. Two years later, she and her family paid President Joe Biden a visit at the White House.
Watch Eilish and Finneas endorse Kamala Harris below.
Linkin Park did not pause very often in Brooklyn on Tuesday night (Sept. 16). The band’s second full concert (following Wednesday’s show at the Kia Forum in Los Angeles) since unexpectedly returning earlier this month did not include drawn-out speeches, prolonged stage banter between members, a ton of reflection on their seven-year break or many […]
If you’re tempted to wish Chappell Roan some good luck, babe, at the 2025 Grammys, save it. The 26-year-old pop star isn’t gunning for any other major awards this cycle, even after winning best new artist at this year’s MTV Video Music Awards.
In her cover story interview with The Face published Monday (Sept. 16), Roan explained why she’s “kind of hoping” she doesn’t take home any trophies for her massive debut album era with The Rise and Fall of a Midwest Princess. “My mom would love to go to the Grammys or the Brits,” she told the publication. “[But] I’m kind of hoping I don’t win, because then everyone will get off my a–: ‘See guys, we did it and we didn’t win, bye!’ I won’t have to do this again!”
The “Hot to Go!” artist went on to explain what’s more important to her than a golden gramophone statuette: sustainability. “That’s my biggest goal right now,” she said. “My brain is like: Quit right now, take next year off. This industry and artistry f–king thrive on mental illness, burnout, overworking yourself, overextending yourself, not sleeping. You get bigger, the more unhealthy you are. Isn’t that so f–ked up?”
Trending on Billboard
“The ambition is: How do I not hate myself, my job, my life, and do this?” she added. “Because right now, it’s not working. I’m just scrambling to try to feel healthy.”
Roan has been open about feeling overwhelmed in the face of sudden super fame, the negative aspects of which she compared to an “abusive ex-husband” in the cover story. But whether she’s ready for it or not, the Missouri native is expected to snag nominations for many of the major Grammy categories ahead of February’s ceremony, particularly best new artist.
And if the Sept. 11 VMAs are any indication, Roan is a shoo-in. After delivering a fiery Joan of Arc-inspired performance of her Billboard Hot 100 top 10 hit “Good Luck, Babe!” on the UBS Arena stage in New York, the musician beat out Tyla and Gracie Abrams for best new artist.
“I dedicate this to all the drag artists who inspire me, and I dedicate this to queer and trans people who fuel pop,” she said during her acceptance speech. “To the gays, who dedicate my songs to someone they love or hate … for all the queer kids in the Midwest watching right now, I see you. I understand you, because I am one of you.”
The Victoria’s Secret Fashion Show is making a comeback, and it’s bringing one of music’s biggest living legends along for the ride. As announced Tuesday (Sept. 17), Cher will headline the brand’s first big runway showcase in six years — and she’ll be leading a lineup of all-women artists for the first time ever.
The iconic fashion house shared the news on Instagram with a video of the 78-year-old superstar singing her 1998 Billboard Hot 100-topping hit “Believe,” giving fans a taste of what she’ll bring to the VS runway this fall. “It’s a woman’s world, so it’s understood that you can’t have a fashion show without the mother of fashion herself—@Cher!” the caption reads.
“But she won’t be alone…stay tuned, more announcements are coming to round out our first-ever, all-women lineup,” the message continues.
Trending on Billboard
Scheduled for Oct. 15 in Brooklyn, New York, the 2024 fashion show marks a major comeback for Victoria’s Secret. The event used to be an annual prime-time TV spectacular featuring the world’s most recognizable models — Heidi Klum, Karlie Kloss and Gisele Bündchen, to name a few of the show’s “Angels” — walking the runway in lingerie and avant-garde angel wings.
Major musicians were also frequently tapped to provide a live soundtrack for the fashion show, performing on stage as the models walked. Taylor Swift, Ed Sheeran, Ariana Grande, The Weeknd, Lady Gaga, Selena Gomez and more have all taken the gig at different points.
The last show of this kind, however, was in 2018, after which Victoria’s Secret canceled the program amid growing backlash to the brand’s lack of inclusivity and perpetuation of unrealistic beauty standards. In 2019, parent company L Brands stated its desire to “evolve the marketing of Victoria’s Secret” in the show’s absence.
Four years later, it made a mini-return of sorts with VS testing out a new approach: The Tour, a Prime Video special compiling footage of A-listers Adriana Lima, Gigi Hadid, Emily Ratajkowski and Hailey Bieber modeling the company’s apparel in cities all over the world. It also featured a performance from Doja Cat, then fresh off the release of her album Scarlet.
This year, Hadid will once again walk for VS alongside another seasoned Angel, Tyra Banks. And yes, the wings will also be making a grand return.
“We’ve read the comments and heard you,” the company wrote on Instagram in May. “The Victoria’s Secret Fashion Show is ✨ BACK ✨ and will reflect who we are today, plus everything you know and love—the glamour, runway, wings, musical entertainment, and more!”
See Victoria’s Secret’s announcement below.
The New Orleans Saints shocked the NFL community on Sunday (Sept. 15) with a dominant victory over the Dallas Cowboys 44-19 to keep their undefeated season going. With vibes through the roof after pulling off the upset inside Dallas’ AT&T Stadium, Saints head coach Dennis Allen quoted Kendrick Lamar’s “Not Like Us” during his postgame […]
Federal prosecutors on Tuesday (Sept. 17) unsealed a criminal indictment of Sean “Diddy” Combs over sweeping allegations of sexual abuse, accusing the once-powerful rapper of running a racketeering conspiracy that included sex trafficking, forced labor, kidnapping, arson and bribery.
Less than a day after the rapper was arrested Monday in New York City, Manhattan federal prosecutors unveiled the substance of their case against Combs – accusing him of operating a criminal enterprise centered on his “pervasive pattern of abuse toward women.”
“For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct,” reads the indictment, which was obtained by Billboard. “To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”
At a press conference announcing the indictment on Tuesday, U.S. Attorney Damian Williams warned that his office would target “anyone who engages in sex trafficking, no matter how powerful or wealthy or famous” they are. “A year ago, Sean Combs stood in Times Square and was handed a key to New York City,” Williams said. “Today, he’s been indicted and will face justice.”
Combs, 54, is expected to be arraigned later on Tuesday at a Manhattan federal courthouse. At the press conference, Williams said prosecutors would asked the judge to deny release on bail and keep Combs in jail until trial.
A spokesperson for Combs did not immediately return a request for comment on the unsealed indictment. In an earlier statement following his arrest, his attorney Marc Agnifilo said he and his client were “disappointed” the “unjust prosecution” he was facing.
“He is an imperfect person but he is not a criminal,” Agnifilo said. “To his credit Mr. Combs has been nothing but cooperative with this investigation and he voluntarily relocated to New York last week in anticipation of these charges. Please reserve your judgment until you have all the facts. These are the acts of an innocent man with nothing to hide, and he looks forward to clearing his name in court.”
The charges against Combs come after a flood of civil lawsuits in which at least eight victims have sued him over allegations of sexual abuse, starting with a high-profile case filed last year by his longtime girlfriend Cassie Ventura. That case quickly settled, but it was later corroborated by a widely-shared video of Combs assaulting her at a hotel.
Criminal charges against Combs were not unexpected. Federal agents carried out raids in March on his homes in Los Angeles and Miami, and multiple news outlets had reported that he was facing an ongoing investigation that included potential allegations of sex trafficking.
In Tuesday’s unsealed indictment, prosecutors allege that Combs violated the federal Racketeer Influenced and Corrupt Organizations Act – a law known as RICO that’s often used to target mobsters and drug cartels. Over 14 pages of details, the government claims Combs operated a similar criminal racket from 2008 onward, but one centered “fulfilling the personal desires of Combs, particularly those related to sexual gratification.”
“Combs … used the Combs business, including certain employees, to carry out, facilitate, and cover up his abuse and commercial sex,” prosecutors write.
Much of the case centers on events that Combs allegedly called “freak offs,” which prosecutors describe as “elaborate and produced sex performances” between victims and male sex workers during which Combs would masturbate. They allege Combs and his associates “wielded the power and prestige” of his fame to “intimidate, threaten and lure female victims” into his orbit, then used “force, threats of force, and coercion” to get them to participate.
During the freak offs, prosecutors claim Combs and others kept victims “obedient and compliant” by providing them with drugs, then subjected them to “physical, emotional and verbal abuse,” including hitting and kicking them, threatening career repercussions, and blackmailing them with footage.
“Victims believed they could not refuse Combs demands without risking their financial or job security,” prosecutors write. “Combs also used the sensitive, embarrassing, and incriminating recordings that he made during freak offs as collateral to ensure the continued obedience and silence of victims.”
When faced with the risk that someone would expose his conduct, Combs and others used similar tactics to keep witnesses and victims silent, prosecutors say, including bribery, kidnapping and arson. The indictment says members of the organization carried firearms, and that “Combs himself carried or brandished firearms to intimidate and threaten others.”
In addition to the RICO allegations, the indictment also accuses Combs of federal sex-trafficking laws and a federal statute barring the transportation of sex workers. The indictment does not make clear how many alleged victims were impacted, and Williams declined to offer more details on Tuesday.
Though Tuesday’s indictment makes repeated mention of other members of Combs’ organization, the rapper himself is the only person currently facing charges. But at Tuesday’s press conference, Williams warned that could change.
“We are not done,” Williams said. “This investigation is ongoing, and I encourage anyone with information about this case to come forward and to do it quickly.”
From the very first notes of the Saudi National Orchestra and Choir’s rendition of Frank Sinatra’s “Fly Me to the Moon” at New York’s Metropolitan Opera House, a remarkable dialogue emerged. This unique blend of cultures unfolded within a single iconic melody, brought to life by the ornamentation of the ney – a traditional and widely cherished Arabic reed instrument. In harmony with the timeless lyrics, the Saudi choir members added a rich layer of depth, creating a captivating conversation that bridged musical geographies.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Launched in 2021 under the patronage of Saudi’s Minister of Culture and Chairman of the Music Commission, Prince Badr, “The Marvels of the Saudi Orchestra and Choir” series has successfully iterated three global performances — Paris (2022), Mexico City (2023) and New York (2023) — each time collaborating with a renowned cultural institute from its host city. Now, in 2024, The Saudi Orchestra and Choir will travel to London for a performance on Sept. 28 at the iconic Central Hall Westminster in London, alongside the U.K.’s Royal Philharmonic Orchestra.
In a press conference in Riyadh, Saudi Arabia, on Sept. 8, Paul Pacifico, CEO of the Music Commission, emphasized the orchestra’s capability to achieve multiple outcomes simultaneously, chief among them “to show the world how Saudi music can sit alongside any music from anywhere in the world on the grandest stages with the most renowned cultural institutions globally,” he says. In this way, Saudi can take its “place with pride” as it continues to pull from traditions and influences across the 13 regions in the Kingdom.
Trending on Billboard
He highlights music’s unique power to “transcend cultural and linguistic barriers”, enabling musicians to connect and audiences to experience diverse sounds. This ambition is evident in their global exchanges, including performances with the International Philharmonic Orchestra of Paris, the Carlos Chavez Orchestra in Mexico City and the Dizzy Gillespie All Stars in New York.
Through world premieres that reached far beyond the live audience, the orchestra has left an enduring mark on Saudi culture. While hundreds attended in person, more tuned in to livestreams, resulting in the comment sections of these broadcasts buzzing with pride and enthusiasm as Saudis celebrated their artists shining on historic stages.
Stage 1: Paris, France – Saudi Melodies Dazzle Amidst the “City of Lights”
[embedded content]
Their journey on the road commenced with a noteworthy performance in Paris on Oct. 7, 2022, titled the “Masterpieces of Saudi Music,” in part with the International Philharmonic Orchestra of Paris. This historic event saw the Saudi orchestra – featuring 22 musicians and 40 vocalists – embark on a classical musical dialogue celebrating the depth of Saudi folklore and modern heritage. In a reciprocal gesture, the International Philharmonic Orchestra of Paris premiered “Jeddah City,” composed by Antonio Bernardi. The exchange of performances unfolded as a compelling historical narrative, with each musical piece eloquently articulating its own chapter in the story.
Unlike Western orchestras, the Saudi National Orchestra and Choir integrates various traditional instruments that hold a notable place in the lineage of Saudi music, be it the ney, the oud or the rebab. Despite the challenge of integrating instruments like the rebab, which doesn’t have standard tuning, the orchestra is dedicated to pushing these “traditional instruments forward into a more contemporary setting,” says Pacifico. We see this play out in the exchange between the Saudi Orchestra and the French Philharmonic in their joint rendition of “Habanera,” from the famed opera Carmen.
Stage 2: Mexico City, Mexico – Ballet Folklórico de México and “Above the Clouds”
[embedded content]
In June 2023, barely a year after its debut, the orchestra and choir performed remarkably in Mexico City. This grand performance featured 33 musicians, 39 singers, and 40 performers from the performing arts troupe, all under the baton of maestro Riab Ahmed, who succeeded the late Mohammed Amin Qari. The concert was a vibrant celebration of Saudi musical heritage, featuring iconic compositions from revered artists such as Tariq Abdul-Hakim, Mohammed Abdu and Bashir Shanan. These classic works were delivered with a masterful blend of classical elegance and energetic rhythms, capturing the essence of traditional and popular Saudi art.
The Saudi National Orchestra and Choir were joined by the Mexican Carlos Chávez Orchestra, conducted by Maestro Roberto Renteria Yrene, and the Ballet Folklórico de México de Amalia Hernández. This collaboration resulted in a musical experience that bridged the two cultures and languages, instead proposing a collective narrative through song and performance. They concluded the evening with a heartfelt rendition of “Above the Clouds,” with lyrics by poet Badr Bin Abdul Muhsin and music by Mohammed Abdu. The song, imbued with a deep affection for Saudi Arabia since the late 1980s, has transcended time and geography to be performed by new generations on the other side of the world in this historic moment.
Stage 3: New York, N.Y. – “Fly Me to the Moon” and the Dizzy Gillespie All Stars
[embedded content]
On Sept. 17, 2023, the Metropolitan Opera House in New York City hosted the orchestra and choir, a performance that achieved a remarkable level of sophistication in a remarkably short time. The show featured a grand ensemble of 80 musicians from the Saudi National Orchestra and Choir, complemented by 60 performers from the Theater and Performing Arts Commission. Viewers enjoyed engaging representations of various art forms, including Liwa, Dana, Khatwa, Majrour, Samri, Rabash and Yanbuawi.
The presentation included a keen display of local costumes, reflecting the region’s rich geographical and historical aesthetics. Notable moments included the performers rhythmically interacting with a green barrel, which carried political and economic symbolism, and the concluding presentation of the song “al-Mujded,” which celebrated the visionary who brought Saudi creativity to the international stage.
The orchestra embraced the opportunity to honor New York City’s unique charm and rich history by presenting a memorable performance to the Metropolitan Opera audience. Collaborating with the legendary American jazz ensemble the Dizzy Gillespie All Stars, they delivered an integrated jazz segment infused with Saudi instrumental ornamentations and expressions. The standout of the evening was the exceptional young Saudi soprano Reemaz Oqbi, with her multilingual performances of iconic arias in English, French and Italian. The concert concluded with a medley celebrating contemporary Saudi music trailblazers such as Mohammed Abdu and Etab, highlighting their significant contributions that have shaped the country’s music landscape over the decades.
Stage 4: London, England – A New Stage and Fresh Horizons
This year, marking the 95th Saudi National Day, the orchestra and choir will embark on their fourth international iteration, taking the stage at Central Hall, Westminster, in the heart of London. This version, which includes 98 Saudi musicians, aims to showcase additional layers of the Kingdom’s diverse musical heritage. The concert will continue to offer a compelling blend of classical and contemporary interpretations of Saudi Arabia’s musical traditions. Notably, this performance will feature a collaboration with the Royal Philharmonic Orchestra and the world-renowned opera singer Dame Sarah Connolly, adding an anticipated cultural dimension to the evening.
On Sept. 28, the Saudi National Orchestra and Choir will continue exploring new symphonic directions, discovering its unique voice and the confidence to spark conversations rooted in harmony. As the orchestra and choir showcase their latest work, all eyes are on London this month in anticipation of the vibrant melodies that will usher in a captivating new chapter of the “Marvels of Saudi Music.” This celebration of creativity and collaboration promises to inspire while connecting audiences through the universal language of music.
The first year of the TikTok Billboard Top 50 chart featured an array of music that reached the fledgling ranking’s upper reaches, with 21 songs topping the weekly ranking from its inception as of the Billboard charts dated Sept. 16, 2023.
Tommy Richman’s “Million Dollar Baby,” however, was a leg above the rest.
From its coronation at No. 1 on the May 18 survey (after debuting at No. 2 the previous week) to its to-date final week atop the ranking (July 20), Richman’s summer hit crowned the TikTok Billboard Top 50 for 10 uninterrupted weeks. What’s more: as of this writing, “Million Dollar Baby” has never fallen below No. 6. In fact, the latest weekly chart (Sept. 14) finds it up one spot to No. 5.
But “Million Dollar Baby” is a fitting longest-running No. 1 for the chart’s inaugural year. To recap the story you’ve probably already been told: on April 13, Richman uploaded a 14-second clip of the song to his TikTok. It exploded immediately, having racked up nearly 14 million plays as of mid-September. Two days later, he was posting more clips featuring different music, but the demand in the comments was clear: “Drop million dollar baby rn,” one read. He released the song “Selfish” a few days later on April 19, and yet the pleas persisted: “More million dollar baby clips.”
The next week, it happened. After a few more videos promoting its impending release (including one from April 23 that has even more views – over 18 million – than the original), Richman dropped “Million Dollar Baby” on April 26, and the song immediately shot to the top of the TikTok Billboard Top 50, as well as charts worldwide. On the multimetric Billboard Hot 100 (which does not include any TikTok activity), it both debuted and peaked at No. 2 on the May 11 tally and spent the next nearly four months in the top 10.
Pent-up demand for the song helped drive initial numbers, but in the months since, “Million Dollar Baby” has had its own dance trend that’s dominated the conversation. By the end of the summer, TikTok crowned the tune its song of the summer.
Read on for more highlights of the TikTok Billboard Top 50’s chart’s first year. You can see the latest TikTok Billboard Top 50 chart here, and you can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
‘Love’ for Mitski
Tito Jackson, 70, one of the five founding members of the beloved Motown group the Jackson 5, died on Sunday (Sept. 15) of a suspected heart attack in Gallup, NM. Billboard contributor Fred Bronson interviewed Tito over three days in 2016 for his book, The Jacksons Legacy. Check out a few excerpts from their many hours together, including Tito talking about his brothers, signing to Motown, his missed chance to pursue a career in baseball and what he believed his legacy would be.
Before there was a Jackson 5, it was just you, Jackie and Jermaine. Did you play ang gigs as a trio?
Trending on Billboard
No, we weren’t doing any gigs. It was just us singing around the house, Jackie, Jermaine and me. Then we heard Michael sing at a school function, an elementary school play, and that’s when we put him in the band. Marlon said, “me too!” Both of them has been asking. We had been telling them they were too young. It was for big boys.
Did any of your sisters ask to be a part of your group?
No, the girls hung out with each other. They were around mama all the time. The five of us worked out our harmonies, and with Michael singing songs, it started sounding even better. Father would tell us to be quiet, and our mother told him, “Joe, you need to listen to them. I think they really can sing. I think they have talent.” He would say, “Those boys don’t have any talent. Those boys can’t sing.” [She said] “No, Joe, I really think you should listen to them. They sound pretty good.” So one day, we sang for him and he was blown away. The next day when he got his paycheck, he bought all kinds of equipment. He rehearsed us every day. After school, we’d drop our books. He had the mics already set up, the amps on standby. The guitars were out already.
What do you remember about being signed to Motown?
We had heard that Motown wasn’t going to sign us because Stevie Wonder was on the label and there were a lot of laws about minors working. You could only work so long and then you had to take a break. If you are there longer than six hours, your day is over. You’ve got to go to school for an hour now. Producers hate it. With Stevie they only had one minor. There were five of us.
But that didn’t stop from Motown signing you.
We did the audition for Berry, and he was there. Suzanne de Passe was there. [Motown artist] Bobby Taylor was there and Berry was in the corner, checking it out and listening, trying to not like it. But he really enjoyed it. He wanted us to sing at Diana Ross’s party that he was giving. He told us our first four or five records were going to go to No. 1.
That party for Diana Ross was at Berry’s home in Detroit. I understand he offered you a hundred dollars to make a hole-in-one in his back yard.
He gave us the wrong iron. Some putter or something. We tore the yard up trying to do that.
Is that the first time you met Diana Ross?
Yes. That was the first time we met any of the stars. Marvin Gaye was there and Tammi Terrell. Some of the Four Tops and some of the Temptations. It was like a family. The Motown staff was very kind to us. They treated us like children. That’s what we were. Everybody was our father and mother. They were just very nice to us. We did our performance, singing their songs to them and watching their reactions, and they seemed to really like it. They told us, “You guys are great, but remember, don’t get a big head.” They would give us little tips like that, and we looked up to them, of course. I remember going back to Indiana, bragging to all of our friends that we signed to Motown and our friends were very supportive.
Tell me about your relationships with your brothers.
Our relationships were always good because we did everything together. We hung out together. We stayed together. When we went on the road, we shared rooms. If we were going to the movies, we all went to the movies together. We made our own fun and had our little basketball team, the five of us. We also played a lot of baseball and softball.
Were you good at baseball?
That was my whole thing. I enjoyed playing the game, and I played about two years in Little League before the music took off. I could’ve done something with it if I had kept playing, but I stopped playing at a young age. I guess the music looked better to our father. Jackie was really good at baseball. But I learned when I got older that I was probably just as good, if not better. Especially if I had kept playing, because I was always trying to keep up with my oldest brother.
After three bubblegum pop songs – “I Want You Back,” “ABC” and “The Love You Save,” your fourth single was very different. Tell me about “I’ll Be There.”
I think it was a good move to show the versatility in the group, that we weren’t just about up-tempo young songs. We could deliver love songs and “I’ll Be There” was perfect. It was an adult lyric, but it sounded good for the young voice of Michael with us doing the backgrounds. We didn’t know it was going to be a single. We just recorded the songs that they gave us and we would finish an album and the company chose the songs that it felt strongly about.
What does it mean to you to have been a part of the Jackson 5?
A person comes into this world and it’s what you leave behind, I don’t know if I left enough behind, because what I have left behind is music and if you can bring happiness to some people, that’s more than most people have brought. So I look at it in that context, but it’s not everything that I can leave behind. I’m always trying to do something that’s going to help myself or help society and make myself a better person. But to be a part of the Jacksons, to have that and bring smiles to people’s faces who enjoy the music, who enjoy the image or to name a kid after one of our family members is a good feeling. It means a lot. It means that you’ve done something with your life, other than just lived a life. At the end of the day, when we get called, it’s all about what we did with our time. I still have a lot to give as do the brothers, because the music just flows through our family. I think I was put here to do music.
Surf Curse has been steadily releasing music for more than a decade and now, for the first time, the surf rockers debut on the Billboard Hot 100 with their five-year-old song “Disco.” Explore Explore See latest videos, charts and news See latest videos, charts and news Released in June 2019 via Danger Collective and more […]
