At the 14th annual Soul Train Music Awards, while accepting the 2000 Artist of the Decade trophy for “outstanding artistic contributions and leadership by a female in the 1990s,” The Voice of the Industry knighted her husband, Bobby Brown, with the title.
In prior history- before Jacquees made his grand video declaration that he’s this generation’s King of R&B and reiterated it in the presence of R&B legend, Keith Sweat - this debate once existed, thanks to Whitney Houston. Marvin Gaye and Frank Ocean represent that musically, a King of R&B should be aware of the current state of affairs, unafraid to ask “What’s Going On,” unafraid to give access to their private life through conceptual albums, and unafraid to embrace their relentless “Sexual Healing” powers.
#PARANOID TY DOLLA SIGN LYRICS TV#
When we watch the likes of Usher and Chris Brown perform on live TV award shows to arena concerts and festivals, we know a King of R&B possess his own signature stage presence which captivates audiences. 1 hits- not only for themselves on the Billboard Hot 100 and R&B charts, but also radio airplay, and for other artists as either a featured role or a part of the songwriting and producing process. The collective chart-toppers of Ne-Yo, The-Dream, and T-Pain showcase that a King of R&B needs to capture No. Jamie Foxx and John Legend transformed into primetime kingpins- who would eventually amass Oscars and Grammys (Legend completing the EGOT)- as a King of R&B is able to use their success to branch their R&B-based talents out to higher viewership and acclaim. Stevie Wonder and Donny Hathaway flexed how it’s a bonus for a King of R&B to be trained in playing a musical instrument.Īs showcased by the discography of Michael Jackson and Prince, a King of R&B has to have the ability to insert the genre into others- their sound blending and weaving into rock, pop, folk, and all other avant-garde forms with documented black roots. As exhibited by the penmanship of Babyface, PARTYNEXTDOOR, The Weeknd, and James Fauntleroy, a King of R&B needs to have lyrics that not only connect to listeners but explain the dynamics of love. As exhibited by the likes of Luther Vandross, Charlie Wilson, and Al Green, a King of R&B should be able to have a unique and soulful vocal ability- not only for their time of reign but one that transcends generations. That was definitely a life lesson.Let’s delve into the requirements, as set forth by the genre’s precedent makers. I realised I needed to stop trying so hard and I needed to just do me. It's cool to have both, so that right there is the difference in every song I wrote since.
I still think too hard and I'm still trying to accept the simple shit because I come from listening to like Nas and Jay Z and their crazy lyrics, so dumbing it down to simple shit is hard, but that's what gets the party going. Before I made Toot It And Boot It I thought too hard. So if I see people react to it or hear people say, "Yo what's that?' then I know I got one I'll finish it, put the second verse and a bridge or a feature on it. I don't ever ask them either, because I don't want to be 'Yes man'd'. Then I play it for all the homies and a whole bunch of girls. The most songs I've done in one day is 13 and that's just doing the hook and the verse and I go on to the next song. I try to do that eight or so times a day. When the beat comes on, I just write to it.
"I don't really pay attention to content.
0 kommentar(er)
