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It’s a jam-packed Friday (June 30), with some of today’s biggest stars gearing fans up for the long Fourth of July weekend by releasing new tracks to enjoy. Olivia Rodrigo made her long-awaited musical return with her bloody good new single “Vampire,” Lil Uzi Vert treated fans to a whole new album with Pink Tape, […]
Besties give each other luxury handbags — at least, Cardi B and Latto do. Cardi took a moment Thursday afternoon (June 29) to publicly thank her friend for gifting her with a stunning bright blue Chanel purse, just a couple weeks after the duo landed a chart hit with their “Put It On Da Floor Again” remix.
Sharing a photo on Twitter, Cardi showed off her new accessory — a classic Chanel handbag with turquoise leather and gold hardware — and wrote, “This purse tho 😱💙….. Thanks @Latto.”
“Love u Big Bardiiiii,” Latto replied, retweeting Cardi’s post.
The stylish purse appears to be Chanel’s Mini Flap Bag, which is made of patent calfskin with gold-tone metal in green and blue. According to the brand’s website, the accessory costs $4,900.
The lavish purchase may have been a celebratory thank-you gift for Cardi, whose remix of Latto’s “Put It On Da Floor Again” propelled the track to new heights on the charts. Clocking in at No. 6 on Billboard’s Hot R&B/Hip-Hop Songs chart dated June 17, the song earned Latto her second ever top 10 track on the ranking.
The remix also recently hit a peak of No. 13 on the Billboard Hot 100, making it Latto’s second highest-placing song on the chart behind “Big Energy,” which reached No. 3 in 2021. “Dey thought I was gone fall off I hate to bring u bad news 😢 Jackpots & Bardi Gang up +10000!!!!” the Atlanta, Georgia native celebrated on Twitter at the time.
Both women were nominated this year for best female hip-hop artist at the BET Awards, with Latto taking home the prize at the June 25 ceremony.
In other Cardi news, the “WAP” rapper was recently involved in an online spat with her own husband after Offset implied she’d cheated on him with a post on his Instagram Story. In response, Cardi sounded off in a Twitter Spaces audio clip, telling the Migos rapper, “So please, boy, stop acting stupid. Stop acting supid. Going crazy over a f—ing space. Don’t play with me. What the f–k. Stop playing. That’s all I’m gonna motherf–king say.”
See Latto’s stylish gift to Cardi B below:
Post Malone’s fans Down Under will get a second chance to see the “Rockstar” rapper in concert this year.
Announced Friday (June 30), Posty will play three east coast dates when his If Y’all Weren’t Here, I’d Be Crying world tour visits Australia later in 2023.
Produced by Live Nation, Malone’s jaunt will visit Brisbane Showgrounds on Nov. 23, The Domain Sydney on Nov. 29 and Melbourne Showgrounds on Nov. 30.
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Those newly-announced open-air dates are an encore run. Malone played six concerts in January and February of this year, as the opening act for Red Hot Chili Peppers’ Australian stadium tour; Brisbane’s Suncorp Stadium, Sydney’s Accord Stadium and Melbourne’s Marvel Stadium were on that itinerary, also produced by Live Nation.
The Australia swing is part of an extensive tour, which includes 26 dates across North America, starting Saturday, July 8 at Ruoff Music Center in Noblesville, IN, and includes stops in Chile, Brazil, Mexico, Thailand, Philippines, Taiwan, South Korea, China, Japan, and New Zealand.
Expect Posty to play music from his upcoming album, his fifth full-length LP, Austin, due out July 28,“as well as fan-favorites in a completely reimagined show,” reads a statement from LN.
Austin is the followup to Malone’s 2022 studio effort, Twelve Carat Toothache, which debuted at No. 2 on the ARIA Albums Chart, for his third top 10 appearance. Posty’s previous albums Hollywood’s Bleeding (2019) and Beerbongs & Bentleys (2018) both debuted at No. 1 week on the national Australian tally. His hits set The Diamond Collection peaked at No. 16 on the ARIA Chart earlier this year.
The general ticket on sale for the Australia leg starts on Thursday, July 13 at livenation.com.au or postmalone.com.
If Y’all Weren’t Here, I’d Be Crying 2023 Tour Dates:July 08 – Noblesville, IN – Ruoff Music CenterJuly 09 – Cincinnati, OH – Riverbend Music CenterJuly 11 – Detroit, MI – Pine Knob Music TheatreJuly 12 – Burgettstown, PA – The Pavilion at Star LakeJuly 14 – St. Louis, MO – Hollywood Casino AmphitheatreJuly 15 – East Troy, WI – Alpine Valley Music TheatreJuly 17 – Buffalo, NY – Darien Lake AmphitheaterJuly 19 – Toronto, ON – Budweiser StageJuly 20 – Toronto, ON – Budweiser StageJuly 22 – Mansfield, MA – Xfinity CenterJuly 23 – Hartford, CT– XFINITY TheatreJuly 25 – Camden, NJ – Freedom Mortgage PavilionJuly 26 – Bristow, VA – Jiffy Lube LiveJuly 29 – Charlotte, NC – PNC Music PavilionJuly 31 – West Palm Beach, FL – iTHINK Financial AmphitheatreAug. 1 – Tampa, FL – MIDFLORIDA Credit Union AmphitheatreAug. 3 – Atlanta, GA – Lakewood AmphitheatreAug. 5 – Dallas, TX – Dos Equis PavilionAug. 6 – Dallas, TX – Dos Equis PavilionAug. 8 – Houston, TX – The Cynthia Woods Mitchell PavilionAug. 10 – Albuquerque, NM – Isleta AmphitheaterAug. 12 – Phoenix, AZ – Talking Stick Resort AmphitheatreAug. 13 – San Diego, CA – North Island Credit Union AmphitheatreAug. 15 – Wheatland, CA – Toyota AmphitheatreAug. 16 – Mountain View, CA – Shoreline AmphitheatreAug. 19 – San Bernardino, CA – Glen Helen AmphitheaterAug. 29 – Santiago, CL – Estadio BicentenarioSep. 1 – Curitiba, BR – Pedreira Paulo LeminskiSep. 5 – Mexico City, MX – Foro SolSep. 14 – Bangkok, TH – Impact Challenger HallSep. 18 – Manila, PH – SM Mall of Asia ArenaSep. 20 – Taipei – Nangang International Exhibition Center, Hall1Sep. 23 – Seoul, KR – KINTEX Hall 5Sep. 25 – Hong Kong – AsiaWorld-ArenaSep. 27 – Tokyo, JP – Ariake ArenaNov. 21 – Auckland, NZ – The Outerfields at Western SpringsNov. 23 – Brisbane, AU — Brisbane ShowgroundsNov. 29 – Sydney, AU — The DomainNov. 30 – Melbourne, AU – Melbourne Showgrounds
After a three-year hiatus, Lil Uzi Vert returned to the rap scene on Friday (Jun. 30) with his new album, Pink Tape. The 26-track project is a colossal lift from the “XO TOUR Llif3” superstar, who receives a fistful of assists from his contemporaries such as Nicki Minaj, Travis Scott, Don Toliver, and more. Uzi even […]
Gunna bursts in at No. 1 on Billboard’s Top R&B/Hip-Hop Albums chart with fourth studio album A Gift & a Curse on the list dated July 1. The set, released June 16 on Gunna/Young Stoner Life/300/3EE, enters with 85,000 equivalent album units earned in the U.S. in the week ending June 22, according to Luminate. […]

Nicki Minaj is ready to deliver the sequel to her celebrated debut album, Pink Friday. On Thursday (June 29), Minaj announced that her long-awaited fifth album would come a tad later than initially expected. Explore Explore See latest videos, charts and news See latest videos, charts and news “Dear Barbz, I’ve been trying to find the […]
To celebrate hip-hop’s 50th anniversary, Billboard will be hosting the live concert event Billboard R&B Hip-Hop Live. Metro Boomin will headline the concert, which will also feature opening acts Coi Leray and Armani White. Presented in partnership with VIBE, Billboard R&B Hip-Hop Live will take place on Aug. 8 at The Novo in downtown Los Angeles. Tickets go on sale to the public today (June 29) at 10 a.m. PDT at Live.Billboard.com.
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“This year marks a momentous milestone in the evolution of a genre that was initially dismissed as a fad and now reigns as a global force,” says Gail Mitchell, Billboard‘s executive director of R&B/Hip-Hop. “We’re looking forward to celebrating hip-hop’s trailblazing architects and future legends during what will no doubt be an energy-packed, exciting show at The Novo.”
Metro Boomin, a Grammy-nominated and diamond-certified producer, DJ and artist, most recently executive produced Metro Boomin Presents Spider-Man: Across the Spider-Verse, the soundtrack for Marvel’s box office hit film. Earlier this year, Metro Boomin drew raves for his performance at Coachella during which he brought out such guest stars as Diddy, The Weeknd, 21 Savage and Don Toliver. Metro Boomin’s discography includes a string of multiplatinum projects, among them: Drake and Future’s “Jumpman,” Migos’ “Bad and Boujee” featuring Lil Uzi Vert, Post Malone’s “Congratulations” featuring Quavo, Future’s “Mask Off” and Big Sean’s “Bounce Back.” Additional credits include co-producing The Weeknd’s Hot 100 No. 1 “Heartless” and collaborations with 21 Savage (Savage Mode, Savage Mode II). In 2018, he unleashed his full-length solo debut, Not All Heroes Wear Capes, which bowed at No. 1 on the Billboard 200. His third No. 1 Billboard 200 album, last year’s Heroes & Villains, was recently certified platinum by the RIAA. Metro Boomin also owns record label Boominati Worldwide, which he launched in 2017 in partnership with Republic Records.
Leray, the rapper/vocalist behind the hit “Players,” will also be joining the lineups at Jay-Z’s Made In America Festival and Kid Cudi’s Moon Man’s Landing. This year has also seen Leray become the voice of the WNBA’s “More Than Game” campaign ahead of their 2023 season. She is also collaborating with FENDI by Marc Jacobs in their highly anticipated Summer Capsule collection. Leray can be heard on the big screen as well with her collaboration with Metro Boomin on “Self Love” from the Spider-Man: Across the Spider-Verse soundtrack.
White recently teamed up with A$AP Ferg in the larger-than-life new video for “SILVER TOOTH.,” the latest single from his heralded debut EP Road to CASABLANCO. The EP also boasts the single “GOATED.” featuring Denzel Curry, which has racked up 18 million Spotify streams, 3 million YouTube views and exploded on TikTok with over one million creates and over a billion views. His smash hit “BILLIE EILISH.” picked up gold certification from the RIAA in the U.S., clocked over half-a-billion streams, and generated 36 million-plus YouTube views.
Continuing hip-hop’s 50th celebration this year, Billboard and VIBE are working with Amazon’s live radio app Amp to amplify the next generation of rising rappers coming out of Atlanta. Fans can participate in Amp’s emerging artist program The Come Up today (June 29) to help surface new artists who have a chance to be featured across Billboard and VIBE this summer.
Aside from the high-flying acrobatics, rousing promos, and thrilling finishers inside the square circle, a fan’s introduction to the WWE typically begins on the walkway to the ring. An entrance song can either make or break the career of a WWE superstar. Legends such as Hulk Hogan, The Undertaker, The Rock, and John Cena all had one thing in common: a killer entrance song that struck a chord within the WWE Universe. Even Stone Cold Steve Austin’s iconic theme “I Won’t Do What You Tell Me,” which instantly begins with the sound of glass shattering, continues to stagger fans more than 25 years after its debut.
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Billboard spoke to today’s modern-day WWE stars LA Knight, Damian Priest, Karrion Kross, and Shayna Baszler about what it takes to make a great entrance theme and the origin of their own.
What Makes a Great Entrance Song:
LA Knight: I don’t know if I can put my finger on it exactly but for me personally, I know I want strong drums — which, if you listened to the last couple of weeks, there’s been a little bit of a tweak to “Knight Vision,” because I asked them to bring the drums up a bit. It’s going to give me a different feel when I walk out there. It’s going to be a little hard-hitting, stronger feel, but it’s just gotta be something you can vibe with, that you like, and you feel.
I was instrumental in putting that together and I wasn’t in the studio — I wanted to be — but basically, when I first came in, it was like, “Hey. Look. I’ve made my own music in the past. Here’s what I made. Here’s what I like and it’s based on this.” Then, they gave me [“Knight Vision”] out of it. It was like, “OK. That’s good.” It works because if you don’t feel that music, if you just pick any old random [song], man, you’re taking the air out of the tires before you even take off.
Karrion Kross: There’s a certain magic between a performer and his music that can’t be given and can’t be necessarily created. I don’t necessarily think every entrance and every music will fit just anyone. There’s something that happens I think beyond my comprehension between the performer and his music where the music can sort of bring that performer to life and that performer brings that music to life. I feel like it’s kind of a simpatico relationship.
Damian Priest: The sound has to bring out an emotion and that emotion has to pair with the superstar. If you have something that’s too fast and the person is generally a slower person, it won’t mix well and it’ll throw you off. You don’t want something too happy sounding for somebody who’s kind of brooding all the time. It always has to pair with the personality. Usually, most music — you’ll get an emotion out of it. I think the composers usually make it like that on purpose. So that’s basically what you want, you want that emotion to match the superstar.
Shayna Baszler: I think first and foremost it has to be recognizable, which might take [a while]. Obviously, your first time out there nobody is going to recognize the song, but that means it gotta be catchy. And I don’t mean catchy in like a pop-punk sort of way, but something that when the first note hits, people start knowing what’s coming next. It doesn’t take a second to go, “Wait. Who is this? Who is this?” Like right from the get, it gotta be recognizable. And then I think it’s important that it sets the mood of that wrestler. So you get someone like a Karrion Kross — he comes out and it’s real moody and it’s a very different aura than like a Seth Rollins, but, very much fit to their characters.
How Their Entrance Song Came Together
Karrion Kross: My wife [Scarlett] sings the song. She was an Arts major from Chicago. When Scarlett and I were in NXT for our introduction to the company, we had many creative meetings, and I had submitted some independent cinematography that I had written, directed, filmed and post-produced to Triple H. It was stuff I was using on the independent side before I got to WWE, and I used a lot of black and white. I used very specific settings, very specific colors in the video and I think that subconsciously, when we see movies or television, in the back of our minds — because we consume so much material — I think we feel inclined to sort of score it. If we had to, we’d know what an environment would sound like musically.
I think Triple H has the magic touch with that. He took my original concepts and my visions and he just kind of scored it with the in-house music group. That’s kind of where that music came from. It was a very cool and organic way we came to that. And with the visual presentation, we collaboratively came up with that. How we moved down to the ring was something that I came up with my wife Scarlett. The background, lighting and music was very much Triple H.
Damian Priest: My first theme song when I was in NXT, we had the idea. I explained to them who I am and what I’m like. I’m basically a night owl with this rock star vibe, but still a badass of where, I’m going to come in and I’m gonna beat people up in the ring and whatnot. There was a lot of different emotions for the composer to pick from, but they came up with something — and even though I didn’t hate it, I thought [something] was still missing. It was missing some double bass, it was missing some heavier guitar riffs, maybe some slower parts and some symphony sounds to make it epic-sounding. There was a little back-and-forth, and when we finally settled on a sound, I was like, “OK. That’s the one.”
For The Judgement Day, the idea with the theme song was originally Edge. He had a vision of what he wanted his Judgement Day to be like. He went and he did that side with the music. It fit what we wanted to do — and as a group, we’re all individually different. We’re all bringing out a different emotion, which is kind of like a cool dynamic of why I believe we work so well together. Because we’re not all the same, we’re very different. But that song fits all the emotions that we want: a little darker, a little ominous, we’re a little weird, if that’s the case, but exciting and powerful. There’s a lot of emotions that that song brings out, and I think that’s why it works so well with The Judgement Day.
Shayna Baszler: I’m in this tag-team right now with Ronda [Rousey], who has a very iconic entrance song, so it just makes sense that we come out to that. But as far as [my first entrance song] “Loyalty Is Everything” — if I’m being honest, I didn’t like it at first, but it actually really grew on me to the point that I almost didn’t wanna change it when it was time. I know fans really loved that song, too, because they still kind of complain about the new one, “Limb By Limb.” But the thing with “Limb by Limb” is that when I was wrestling in the indies — I’m a huge Kiss fan. They were, like, my first favorite band. My dad took me to a concert when I was real young, and I was like, “These guys are so cool! There’s fire!”
“God of Thunder” was a song that I used as an entrance. But I needed something a lot heavier, so I found this band called EXCRUCIATION that did a cover of “God of Thunder,” and I came out to their song — their version of it. When I was ping-ponging with WWE about a new entrance song, I sent them this track, and if you listen to this EXCRUCIATION version of “God of Thunder” and the song “Limb By Limb,” you’ll see where it comes from. It’s very much inspired by that. “God of Thunder ” — my indie theme — is very much the mood that I was talking about that I love, and feel like I’m coming out to. I had a hand in it and I like it.
LA Knight: When [“Knight Vision”] was first done when I was in NXT, it had this longer intro with a drum roll and all that kind of stuff. That was OK at the time, because with the presentation and what not, it had a little bit of a build or whatever, but eventually I was like, “Hey guys. Can we cut that and just get straight from LA Knight into the song. So we ended up doing that maybe late 2021 and it just gave it such a different feel because now when it hits, it’s on. There’s no waiting. There’s no build. There’s no nothing, it’s just boom, in your face and here we are.
Personal Favorite Entrance Songs:
LA Knight: NWO is just top-top. That is just filthy and good. Steve Austin, but particularly the first Stone Cold [theme]. We hear the one now and it’s almost exactly the same, but there’s little instrumental differences — like when the glass breaks and it takes off, it just has more of a raw feel to it, whereas the other one is more produced. I’m sure it has a more vibrant sound or whatever, but the first one is so raw, and it just feels dirty in the right way. You got the siren going and it’s the right drums. It just feels chaotic, especially towards the end where those drums are just going. [I’m also a fan of] all of The Rock’s themes up until…ah probably all of them really. I can’t get away from [Hulk] Hogan’s “The Real American.” How many WWE events ended going out on that music and him posing? That’s my childhood.
You know, Edge — I never really got into Edge’s music, until maybe the last six months and I was in the gym and it came on a shuffle. I was like, “Oh. This hits.” There’s so many options out there. You’re talking “Million Dollar Man,” “D-Generation X,” “No Chance in Hell,” anything from the Attitude Era you can take. Those things were just on point. Everything was hitting.
Karrion Kross: Growing up I wanted to know who was doing all the music and the entrances. I was always a fan of learning about the production and the directorial stuff behind the scenes. So I would watch the programs that WWE put out for fans and it was this guy Jim Johnston that wrote a lot of the music. I watched this behind-the-scenes video that the company released about how Jim would write music based on the way people would move, and just their vibe. I specifically remember how he wrote Psycho Syd’s music, or Vader, and how the percussion would sort of land on every single step at the speed that they walked. The music was written around mood.
I loved Mankind’s music. It was almost like a Silence of the Lambs score. Obviously, I loved Triple H, The Undertake and Gangrel. He had an amazing entrance, but I was very much inspired by the entire show. I had my favorites, but I really just enjoyed the show overall.
Damian Priest: I’ve had a lot of favorites. My [favorite] wrestler Razor Ramon’s theme song worked for him where that beat and that cool Latino swag was perfect. For me personally, that wouldn’t fit — as much as I liked him, his personality and the way he was, we’re still a little different. That wouldn’t fit me. I was always more drawn towards the stuff that had more rock in it, was a little heavier and a little bit more evil-sounding, for a lack of a better term.
Shayna Baszler: We talked about Karrion Kross. I think he has a cool entrance. He has one of the best ones. I really like those entrances where they come out in the dark like Karrion Kross or it doesn’t have to be moody or scary but Bobby [Lashley], he looks like a trophy action figure guy with the drums going bong, bong, bong. Holy smokes, that’s cool. I really like The War Raiders. Their entrance is cool and I love the horn because that’s legit. Back in the day, you’d hear these war horns and it would instill fear in you because you knew these raiding parties were about to hit your village. So I always imagined that when I hear their music.
Twenty-something years ago, after failed major label record deals, I started my journey as an independent artist. I would get in front of small crowds and sing songs no one in the room knew. Some shows were better than others, but each one ended the same way. I would thank everyone for coming out, and challenge them; that if they felt something, support it. I would then run off stage to the merch table. You didn’t have to shake my hand, buy my CD or sign my mailing list. But you had to walk past me.
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We now have seven people on our staff. The band and I have traveled the world several times over. My songs are known and have graced this magazine many times. It wasn’t easy, but I’m fortunate for every lesson learned. Here are five points to consider:
1. Completion
Talent is important. But completion defines who wins and who loses in this business. We all know countless songwriters, producers and musicians working in a studio, with world-changing ideas they will never complete. At the same time, you may scratch your head, wondering how the person you feel isn’t that talented is winning so much. There’s one main difference between these two people: that person is giving his or her work a chance to win.
I have absolutely no idea what will and will not work. I’ve had songs I thought would pay off my house. But they were released to a choir of crickets. Sometimes an idea is one second from the trash can — but ends up being the song that keeps me on tour for a year. My friend, comedian Tommy Davidson, told me, “The only one who knows what works is God.” I’d add that the only one who shows you what works is the crowd. I’ve been fortunate to chase my dreams and make a living doing the music I love. I have an amazing team I believe in and who believe in me.
Next year will mark the 30th anniversary of my song “The Moon” appearing in Billboard. Just last year, I enjoyed my most successful song to date, “Lessons.” We didn’t get here because we did everything right. We got here because we completed everything we tried. Why have an idea if you’re not going to write it? Why write it if you’re not going to record it? Why record it if you’re not going to release it? Why release it if you’re not going to market it? Completion is an attitude.
2. Hire Yourself
I was a struggling songwriter for several years. A big year would be followed by a quiet one. Even when working with a major artist, I was unemployed as soon as i walked out of that studio. No matter what my bank account said, I financially operated broke. The main reason is because I was waiting to be selected. I was writing songs, hoping for a label or artist to select them. Month to month, check to check, walking a tightrope hoping someone would rescue me before everything fell apart.
A drastic shift came when I released my first album independently. I found myself more in control of my destiny. Sure, I still had to be selected. But this time I had more control over who was selecting me. If no one is booking you, book your own show. Rent a small venue; go to all the barbershops and hair salons to sell tickets. Show your heart and passion; challenge anyone who felt something from you to support it. When someone supports you, remember them. If done right, that small venue will become a bigger venue.
3. Believe
No matter what your beliefs may be, what we do takes faith. Faith that we are doing the right thing, even when it’s not coming together like you planned. Faith that it is going to work. Faith that what you are doing has purpose. As an independent artist, you are pushing your dreams to the forefront without any stamp of approval. Rejection hurts. Nobody likes having the melody of their exposed heart responded to with silence. But something has to keep you going. Work till something takes your breath away. Then show the world what takes your breath away in hopes that it will take theirs away too. Don’t take it personal when someone doesn’t believe in it. They’re simply moving themselves out the way for the people that do believe.
4. Perception
Life is a stage. Whether you’re a musician or not, you have a tender instrument that deserves a level of tuning and care. Every professional guitar player will tune their guitar before taking the stage. Professional vocalists and horn players will go through hours of exercises to warm up their instruments. They do this to have a better connection to the musical sounds that will surround them. Skipping this process can have catastrophic consequences, not only to your perception of your instrument, but also to your audience’s perception of your instrument. Perception holds the key to how much enjoyment and fulfillment you will receive during the journey. When out of tune, we may forget that the reward is not what our gifts produce, but the gift itself.
This road may not be easy, but that doesn’t mean it can’t be beautiful. Tune out negative talk and discouragement. Warm up your instrument daily to handle the ups and downs that await you. Hold on to your hunger and drive. Allow your challenges to be seen as opportunities.
Someone is reading this and wishing to be on a chart. Someone is on that chart, wishing to be higher. Someone has the highest chart position but wishes for some peace and quiet. Perception helps you appreciate where you are. Some days will be hard, and this business takes sacrifice. But if you’re fighting to do what you love, it’s worth fighting for to find happiness.
5. Failure
I underwent vocal cord surgery nine years ago. The doctor told me about the blood hemorrhage I had, the surgery risks and the strenuous recovery process ahead. When he walked out of the office, I cried like a newborn. A tour was canceled; I spent weeks in silence and months relearning how to do the things I loved. Eventually, I found my way back onstage and in the studio. I lost a bit of my range and gained a nice rasp that I personally feel adds character. Most important, I gained a vocal health I never had before. I learned about the acid reflux that was causing constant hoarseness. Now I can come home after multiple shows, talk to my wife and kids or go into the studio and sing as much as I like.
Not everything is going to work. But you will learn more from the failures than the successes. We usually walk away discouraged and weighed down with pity. We are human, so a moment of that is more than fine. After that though, ask yourself what was the purpose of the failure? More times than not, it wasn’t so you could stop. It was probably strengthening you so you could keep going.
I hope a younger version of me is reading this and the words are ricocheting through his or her body. I do hope you felt something. If you did, I challenge you to support it — especially if what you end up supporting is you.
Eric Roberson, a Grammy-nominated singer/songwriter/producer, is celebrating his 21st year as an independent R&B/soul artist. Through his Blue Erro Soul label, Roberson released his 17th studio album Lessons in 2022. He’s also a professor at the Berklee College of Music.
Cardi B took to Twitter on Wednesday (June 28) to reflect on her controversial 2020 Megan Thee Stallion collaboration, “WAP,” and the political debate that it sparked. Explore Explore See latest videos, charts and news See latest videos, charts and news “Y’all remember when the FCC almost sued me cuz I performed WAP at the […]