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      Kanye West and Drake's Albums Mysteriously Removed on Apple Music

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      WENN/Avalon/Tony Forte

      According to numerous reports, some of Kanye’s discography, ‘College Dropout’, ‘808s and Heartbreak’ and ‘Cruel Summer’, was nowhere to be found on the streaming service.

      Mar 19, 2021

      AceShowbiz –
      Kanye West sparked chatter on social media, but that’s not only due to reports that he becomes the richest black man in the United States. The “Gold Digger” rapper found his name trending on Twitter on Thursday, March 18 after fans noticed that most of his songs were missing from Apple Music’s streaming service.

      According to numerous reports, some of his discography was nowhere to be found on the site. Among those which were mysteriously removed were “College Dropout”, “808s & Heartbreak” and “Cruel Summer”.

      “According to Apple Music, Kanye West only has 6 albums. College Dropout, Graduation, 808s & Heartbreak, and TLOP were just a figment of our imagination,” one person tweeted. However, people who previously downloaded those album can still access them.

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      Kanye wasn’t the only artist which albums were removed from the streaming service by Apple. Some of Drake’s notable albums were missing. It appeared that the Canadian star’s account has been restored.

      “Where are my favorite drake albums on Apple Music? They were there yesterday,” a fan wrote on Twitter. “Why drake removing albums from Apple Music,” someone else added.

      That aside, Kanye West was recently named as the richest black man in the U.S. after Bloomberg reported his net worth is $6.6 billion. In the report cited from UBS Group AG, the outlet noted that his Yeezy brand was valued between $3.2 billion and $4.7 billion. Additionally, it claimed that Yeezy’s new partnership with Gap, which is set to hit stores in the summer, “could be worth as much as $970 million of that total.”

      However, the claims were quickly refuted by Forbes. On Thursday, the leading business magazine reported the 49-year-old MC’s net worth are “based on the magical thinking around sales that don’t yet exist.” The outlet added, “This is why he’s currently worth less than one-third of that.”

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      6 Jazz Songs to Listen to Right Now

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      6 Jazz Songs to Listen to Right NowAngel Bat Dawid.Alejandro AyalaI write about jazz for The New York Times.Here are six new and noteworthy tracks, from a recently unearthed Don Cherry radio broadcast to Angel Bat Dawid’s remix of Alan Braufman → More

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      Justin Bieber Goes Retro in Music Video for 'Peaches'

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      It has been widely speculated that Justin writes the lyrics of the romantic tune, which also features Daniel Caesar and Giveon, for his model wife Hailey Baldwin.

      Mar 19, 2021

      AceShowbiz –
      Justin Bieber has unveiled the music video for his single “Peaches”, much to fans’ excitement. Released on Thursday evening, March 18, the new visuals sees the pop singer mixing retro ’90s vibes with modern color pallettes while singing the song alongside collaborators Giveon and Daniel Caesar.

      The video opens with Justin cruising around in a car alongside Giveon and Daniel. The “Sorry” hitmaker can be seen hanging in and on top of the car while singing, “There’s nothing like your touch/ It’s the way you lift me up/ And I’ll be right here with you ’til the end.”

      In the chorus, Justin croons, “I got my peaches out in Georgia (Oh, yeah, s**t)/ I get my weed from California (That’s that s**t)/ I took my chick up to the North, yeah (Bada** b***h)/ I get my light right from the source, yeah (Yeah, that’s it).”

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      It has been widely speculated that Justin wrote the lyrics of the romantic tune for his model wife Hailey Baldwin. “Peaches”, meanwhile, is off Justin’s long-awaited album “Justice” that also contains megahit singles “Holy” featuring Chance the Rapper and “Lonely” featuring Benny Blanco.

      Prior to this, Justin shared why he chose the word justice for his new album. “In a time when there’s so much wrong with this broken planet we all crave healing and justice for humanity. In creating this album my goal is to make music that will provide comfort, to make songs that people can relate to and connect to so they feel less alone,” he shared on social media back in February.

      “Suffering, injustice and pain can leave people feeling helpless. Music is a great way of reminding each other that we aren’t alone. Music can be a way to relate to one another and connect with one another,” he continued.

      The Canadian rapper also added that he “cannot simply solve injustice by making music but I do know that if we all do our part by using our gifts to serve this planet and each other that we are that much closer to being united.”

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      Report: ‘Thor: Love and Thunder’ Finds Valkyrie’s Love Interest in ‘Game of Thrones’ Alum

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      Snoop Dogg Debuts 'CEO' Music Video to Celebrate the Launch His Own Brand of Gin

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      [embedded content]

      In the music video, the ‘Young, Wild and Free’ rapper brags about his success as he dances next to a giant billboard for his new flavored gin brand, INDOGGO.

      Mar 19, 2021

      AceShowbiz –
      Snoop Dogg is celebrating his new business venture with a new music debut. Having launched his own brand of gin called INDOGGO, the “Young, Wild and Free” rapper treated his fans to the release of his new single “CEO” in addition to its music video.

      The 49-year-old MC dropped the new promo on Thursday, March 18. In the visual, he bragged about his successes and longevity in the music industry as he dances next to a giant billboard for his new flavored gin brand.

      Speaking up about his new track and gin launch, Snoop told Rolling Stone, “I’ve been a boss and entrepreneur in this game for decades and I keep on building my empire.” He added, “My new single, ‘C.E.O.’ talks about the work and hustle I put in to be the boss. With moves like launching my own liquor brand, INDOGGO, and with weed brands, shows and more, I stay on my grind.”

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      “I have done deals before with other companies and I was grateful to work with those companies, but I needed to create something that represented me,” he continued. “[INDOGGO is] something that I like to drink and that I felt like everyone would like.”

      The “Gin & Juice” hitmaker went on to note that lifestyle expert Martha Stewart has praised his new gin. “I knew that we had created a great tasting, smooth gin, but to get the stamp of approval from my friend Martha Stewart – I knew we had a winner,” he boasted.

      Revealing that INDOGGO had been in the works for more than two years before its launch, Snoop explained, “We took our time to make sure the liquid, the taste and packaging was perfect.” On the reason why he decided with a strawberry flavor, he said, “[it] was just the right amount of sweet without being too sweet – and it goes well with my bubblegum weed.”

      “People always say, ‘I hate gin, I don’t drink gin’ [and] they think gin is old and nasty, so that’s why we created a remix on gin – strawberry infused,” he further elaborated. “It’s different from anything in the market and it’s for everyone; you can do shots or make upscale cocktails.”

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      Bhaskar Menon, Who Turned Capitol Records Around, Dies at 86

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      After becoming the label’s chief in 1971, he oversaw the release of gargantuan hits like Pink Floyd’s album “The Dark Side of the Moon.”In 1970, Capitol Records’ business was struggling. The Beatles, the company’s top act, were defunct. Hits were scarce among its remaining roster. That year, the company lost $8 million.It needed a savior, and it found one in Bhaskar Menon, an Indian-born, Oxford-educated executive at EMI, the British conglomerate that was Capitol’s majority owner. He became the label’s new chief in 1971 and quickly turned its finances around, driving a gargantuan hit in 1973 with Pink Floyd’s album “The Dark Side of the Moon.” He later ran EMI’s vast worldwide music operations.Mr. Menon, who was also the first Asian man to run a major Western record label, died on March 4 at his home in Beverly Hills, Calif. He was 86.The death was confirmed by his wife, Sumitra Menon.“Determined to achieve excellence, Bhaskar Menon built EMI into a music powerhouse and one of our most iconic global institutions,” Lucian Grainge, the chief executive of Universal Music Group, which owns the Capitol label and EMI’s recorded music business, said in a statement after Mr. Menon’s death.Mr. Menon with Maurice Lathouwers of Capitol Records and the singer Helen Reddy, who had numerous hits for the label in the 1970s.EMI Music WorldwideVijaya Bhaskar Menon was born on May 29, 1934, to a prominent family in Trivandrum, in south India (now Thiruvananthapuram). His father, K.R.K. Menon, was the finance secretary under Prime Minister Jawaharlal Nehru; the first one-rupee notes issued after India’s independence from Britain bore his signature. Mr. Menon’s mother, Saraswathi, knew many of India’s leading classical musicians personally.Mr. Menon studied at the Doon School and St. Stephen’s College in India before earning a master’s degree from Christ Church, Oxford. His tutor at Oxford recommended him to Joseph Lockwood, the chairman of EMI, and Mr. Menon began working there in 1956.A proud British institution, EMI controlled a wide musical empire, with divisions throughout Asia, the Middle East, Africa and South America. While there, Mr. Menon assisted the producer George Martin, who later became the Beatles’ chief collaborator.In 1957, Mr. Menon joined the Gramophone Company of India, an EMI subsidiary; he became managing director in 1965 and chairman in 1969. Later in 1969, he was named managing director of EMI International.Capitol, the Los Angeles label that had been home to Nat King Cole, Frank Sinatra and Peggy Lee, was reeling from business missteps and declining sales, and EMI installed Mr. Menon as its president and chief executive. He slashed Capitol’s artist roster, tightened budgets and pushed for more aggressive promotion of the label’s artists.Pink Floyd’s album “The Dark Side of the Moon” was one of the most noteworthy successes of Mr. Menon’s tenure at Capitol and one of the biggest blockbusters in music history.In 1972, Mr. Menon learned that Capitol was at risk of losing the next album by Pink Floyd, which blamed the company for the poor sales of its previous albums in the United States. Mr. Menon flew to the South of France, where Pink Floyd was performing and, after an all-night negotiating session, they agreed on a deal. Mr. Menon commemorated the terms on a cocktail napkin and brought it back to Capitol’s legal department in Los Angeles, said Rupert Perry, a longtime executive at EMI and Capitol.“The Dark Side of the Moon,” released by Capitol with a huge promotional campaign, was one of the biggest blockbusters in music history; it stayed on Billboard’s album chart for 741 consecutive weeks and has sold more than 15 million copies in the United States alone.Led by Mr. Menon, Capitol continued to have success in the 1970s with Bob Seger, Helen Reddy, Steve Miller, Linda Ronstadt, Grand Funk Railroad and others.In 1978, EMI put its music divisions under unified management as EMI Music Worldwide and named Mr. Menon chairman and chief executive. He remained in that position until retiring from the music industry in 1990. From 2005 to 2016, he served on the board of directors of NDTV, a news television channel in India. In 2011, an ailing EMI was sold to Sony, which bought its music publishing business, and Universal Music.Mr. Menon, right, at a gala celebrating Capitol’s 75th anniversary in Los Angeles in 2016. With him was Steve Barnett, who was then the chairman and chief executive of the label.Lester Cohen/WireImage, via Getty ImagesIn some ways, Mr. Menon was an outsider in the Southern California music scene.“I was a very unusual and unlikely sort of person to be sent here under those circumstances to take overall executive command of Capitol,” Mr. Menon was quoted as saying in “History of the Music Biz: The Mike Sigman Interviews,” a 2016 collection published by the industry magazine Hits.Mr. Menon’s wife recalled in a phone interview that when they married, in 1972, Mr. Menon told her, “There are only two Indians in L.A.: Ravi Shankar and me.” She recounted stories of the two men — old friends from India — scouring the city’s exclusive west side in vain for good Indian food.In addition to his wife, Mr. Menon is survived by two sons, Siddhartha and Vishnu, and a sister, Vasantha Menon.Although Mr. Menon was primarily known as a manager of the business side of the labels he ran, he had the respect of many musicians. In the 2003 documentary “Pink Floyd: The Making of The Dark Side of the Moon,” Nick Mason, the band’s drummer, recalled Mr. Menon’s efforts in promoting the band’s breakthrough album, calling him “absolutely terrific.”“He decided he was going to make this work, and make the American company sell this record,” Mr. Mason said. “And he did.” More

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      Serpentwithfeet’s Music Is Otherworldly. But His Message Is Down to Earth.

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      On his new album, “Deacon,” the singer and songwriter makes a stark emotional pivot: “I didn’t want to go down in history as the sad boy, because I’ve just experienced so much joy.”The singer and songwriter serpentwithfeet’s 2018 debut album, “Soil,” mingled heartbreak, desperate longing and a search for solace. But he chose pleasure over angst for his second album, “Deacon,” which is filled with songs that savor flirtation, romance, sex and lifelong connection. “I celebrate that I can love and that I’ve been loved,” serpentwithfeet said about the album, due March 26. “And I get to be as jubilant as I want to be.”In a video chat from his home in Los Angeles, he wore a T-shirt with “Kingston” in big letters over a cartoon sun, along with a sunburst medallion. The same medallion appears on the album’s cover photo, which shows serpentwithfeet embracing another Black man. Both of them are dressed in white, as if for a ritual or a celestial ascension.As a Black gay man who grew up in a deeply religious family, serpentwithfeet, now 32, grappled with self-doubt and spirituality alongside love and desire on “Soil” and on his 2016 EP, “Blisters.” “A lot of what I’ve explored in my work is trying to figure out how I can legitimize myself, how I can validate my feelings,” he said, “and that hasn’t always been easy.”His music draws in very individual ways on R&B and the gospel music he grew up singing in a Pentecostal church: “I know church music better than anything else. That will always be my natural cadence.”Yet his songwriting was also shaped by the classical choral music he performed in high school with the Baltimore City College Choir, an award-winning group that competed internationally. “It made me clear about how I wanted to take up space musically,” he recalled. “It was just brilliant to be 14 years old and to have a Black choral director who was like, ‘OK, we’re going to understand classical music. But you’re also going to understand the value and the importance of Black composers and Black people and Black opera singers.’ And we had to sight-read and do our solfège, and to know how to do transcribing and musical notation — all that stuff.”The music serpentwithfeet makes is immediately distinctive, harnessing his gospel and classical training to a startling emotional openness. He works largely as a one-man studio band, fusing his own vocals, instruments and electronics. And he creates songs that are rhapsodic, pensive, harmonically complex, meticulously orchestrated and, often, constructed with layer upon layer of otherworldly vocals.His phantom chorales, he said, are a way of looking beyond himself. “I think about the idea of the operatic chorus, or the village chorus, where I have my limited perspective and then the chorus has the omniscient perspective,” he said. “I’m thinking about a community when I’m making songs. And I’m thinking about me being the younger person in the community. And then there’s the elders, or the village people, who can see more than what I can see.”Nao, an English R&B songwriter, exchanged collaborations with serpentwithfeet. After they wrote a song for her next album, she added her voice and writing — working remotely, largely by exchanging WhatsApp messages — to “Heart Storm,” a shimmering ballad on “Deacon” that envisions love as a deluge.“He had already created this template, and this really beautiful world. I just had to work my way inside of it,” Nao said from London. “He doesn’t songwrite the linear way that I do. He starts from obscure places, with these poetic sequences I just would never think of. I write the way I speak in a conversation. And he writes like he’s Shakespeare. I’d say he’s the Shakespeare of alternative Black music.”“I want people to feel part of the process, and I want people to feel like the thing they are witnessing is alive.”Ryan Pfluger for The New York TimesSampha, another English songwriter, worked with serpentwithfeet and the producer Lil Silva on three songs for “Deacon,” sharing studio jam sessions in London before the quarantine. “He’s got an incredible harmonic brain in terms of the way he can build vocal harmonies and his progressions,” Sampha said by phone from London. “It was really a wonder watching him build things up. And in terms of his voice, it’s a real tool. He really knows how to use it, how to bend it, how to make it go straight as an arrow if he needs to.”Sampha also heard early versions of other songs from the album. “It felt like he was making a real conscious effort,” he said. “Not necessarily turning away from the darkness, but acknowledging the light.”“Blisters,” serpentwithfeet’s first release, had ended with songs titled “Penance” and “Redemption.” He opened “Soil” with “Whisper,” which promised, “You can place your burden on my chest,” and later in the album, in the post-breakup throes of “Mourning Song,” he crooned, “I want to make a pageant of my grief.”But in mid-2020 serpentwithfeet signaled a change in tone. “I needed a pivot,” he said. He released an EP, “Apparition,” that set out to exorcise “those ghosts or those spirits or those ideas that don’t serve me at all,” he said. It started with “A Comma,” which declared, “Life’s gotta get easier/No heavy hearts in my next year.”“I’m not sure how many people care about the arc of my life,” he said. “But with my own personal document, I didn’t want to go down in history as the sad boy, because I’ve just experienced so much joy.”Singles released in advance of “Deacon” announced a new playfulness in serpentwithfeet’s music. In “Same Size Shoe,” which delights in finding similarities with a lover, he suddenly turns his voice into a scat-singing trumpet section. In “Fellowship,” he, Sampha and Lil Silva shake and tap all sorts of percussion as they share a jovial refrain, “I’m thankful for the love I share with my friends.”Three songs on the album — “Malik,” “Amir” and “Derrick’s Beard” — name men the singer lusts for. They are “men from my imagination,” he said. “People ask, ‘Who was this song about?’ And I’m like, ‘Well, part of it, I was talking to myself, and the other part, I was talking to a person in my head.’ I think sometimes people just think that everything’s autobiographical, but for me, it’s, like, ‘Well, this happened to me. I wonder what would happen if I augmented this scenario? What would happen if I threw this off the edge of the cliff?’ I try to use all my experiences as a diving board, or as the beginning of a question.”While serpentwithfeet’s own story is full of singular details — Baltimore, the church, the classical choir, Blackness, sexuality — none of them, he believes, should separate anyone from his music. “The brilliant thing about individual stories is that the more specific you are, the more universal it is,” he said. “There’s a lot of artists that I connect with and I can’t identify with necessarily. But I can identify with that human feeling of love in the club, or missing your partner, or hope when you get to visit that country one more time.”He added, “They say gay artists don’t make universal work. That’s a lie. I’ve really listened to a lot of straight music. And I enjoy, and I can identify with being heterosexual. I don’t know what that is like. That ain’t my story. But I can still shed a tear.”He expects his own songs to reach everyone. “I want to be an incredible facilitator,” he said. “I won’t say storyteller because I want the audience to participate with me. I want people to feel part of the process, and I want people to feel like the thing they are witnessing is alive. I want to make work that people feel part of, that people feel like ‘serpent needed me here.’ Like ‘If I didn’t listen to this album, it wouldn’t exist.’ I want everybody to feel like it’s theirs, which is a very particular art form.”“I don’t know if I have accomplished it,” He added. “But that is something that I’m in pursuit of.” More

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      Review: ‘Genius: Aretha’ Speaks Loudest When It Sings

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      Cynthia Erivo is dynamic in a bio-series that is strongest when it makes the case for the Queen of Soul as a creative force.At a recording session in 1967, Aretha Franklin (Cynthia Erivo) sits at the piano and plays a chord none of her studio musicians recognize. It’s “funky,” one of them says. But it’s also “celestial.” Earth and heaven. Body and soul.To create something new out of nothing more than vibrations in the air is as good a definition of genius as any. And it expands on the definition implied in the first two seasons of National Geographic’s bio-anthology, which focused on Albert Einstein and Pablo Picasso. These “Think Different” poster stars were not exactly out-of-the-box choices, and “Genius,” its title notwithstanding, plodded in that mushy middle ground where dutiful biography meets mediocre storytelling.Choosing Franklin, who died in 2018, for Season 3 is a statement, not just because it breaks the series’s Great Man pattern to focus on a Black, female popular entertainer. It’s also an extension of Franklin’s own career-long project: to be recognized not simply as a volcanic performer but as a thoughtful interpreter, artist and creator.So “Genius: Aretha,” which airs eight episodes over four nights starting Sunday, has an argument, and an opportunity to shake up the format. It does — sometimes.The new “Genius” spends most of its time in routine music-biopic mode: exposition, childhood traumas, historical checkpoints. But in the moments when it finds its groove, thanks to Erivo’s incandescent performance and its insight into Franklin’s process, it socks it to us.The showrunner, Suzan-Lori Parks (a Pulitzer Prize winner for her play “Topdog/Underdog”) hopscotches decades in her narrative. One thread follows Franklin through the meat of her career (from her 1960s breakthrough to the 1970s, in the seven episodes screened for critics). The other has Little Re (a luminous Shaian Jordan) finding her voice, literally and figuratively, as the daughter of C.L. Franklin (Courtney B. Vance), a high-profile pastor in Detroit.The elder Franklin was a civil-rights advocate and gospel-caravan preacher, who, as people say of him, loved Saturday night as much as Sunday morning. The breakup of his marriage over his infidelities weighs on Little Re and the older Queen of Soul. But as a performer in his own right — Vance finds the rolling-thunder musicality in his sermons — he recognizes and promotes his daughter’s talent early. (He also keeps a hand in her career long into her adulthood.)The indispensability of the Black church to American culture — it gave our song music and lyrics — is a through line of “Aretha.” (It would make a good companion to PBS’s recent “The Black Church.”) Another through line: Franklin’s determination to maintain her independence and vision among the men in her life, first C.L., then her first husband and manager, Ted White (Malcolm Barrett), given to jealous fits and violent tantrums.Unfortunately for those hoping to hear the hits, “Aretha” did not have the rights to “Respect” and “(You Make Me Feel Like) A Natural Woman.” But this shifts the season’s focus toward more unexpected, artistically revealing choices, like her finding the gospel sway in Elton John’s “Border Song.”It’s no surprise that Erivo, a Grammy and Tony winner for “The Color Purple,” can re-create Franklin’s gale-force vocals. But her performance is more than imitation. It’s an idea of the character, her passion and dignity, her release and control, the way that music transports her.Projecting confidence and protecting her image is key to Franklin, in an industry that would gladly tell her who she is. After a frustrating effort to break out as a jazz singer, she forms a long, sometimes contentious partnership with the producer Jerry Wexler, a curiously cast David Cross. (Fairly or not, it’s hard not to see and hear Cross’s “Arrested Development” persona in his bearing and speech; while the show brings the funk, he brings the Fünke.)Courtney B. Vance playing Aretha’s father, C.L. Franklin, in one of many flashback scenes starring Shaian Jordan as the singer’s younger self, nicknamed Little Re.Richard DuCree/National GeographicThe most interesting parts of “Aretha” are in the stage and the studio, not just for the excellently produced songs but also for the series’s rendering of her art. Franklin, as “Aretha” presents her, knows who she is.She is a musician, not formally trained, but with an acute producer’s ear. (During one session she has someone return an empty pizza box to the top of her piano for the ineffable tone it gives the instrument.)She is Black, and Blackness becomes increasingly central to her music and her politics — which are also rooted in her early church experience. (Her conversations with the family friend Martin Luther King Jr., played by Ethan Henry, recall the discussions in “One Night in Miami” about the obligations of the Black artist.)All these aspects converge in the sixth episode, about the recording of her 1972 live album, “Amazing Grace,” at the New Temple Missionary Baptist Church in Los Angeles, filmed by Sydney Pollack for a movie that would stay in the can for nearly a half century. Just as the performance synthesized Franklin’s history and identity, her personal vision and community consciousness, so the episode brings together the threads of “Aretha.” It might have made a strong movie, or the centerpiece of a more tightly focused series.But “Aretha” feels bound, like the earlier “Genius” seasons, to give us the usual encyclopedia entry of life moments. The high points are connected by overfamiliar biopic beats and historical moments conveyed through TV news broadcasts. The scripts and the direction hold the viewer’s hand, using melodramatic scoring and imagery and blunt dialogue. (“You’ll get there,” Wexler says, “when you realize you’re Aretha Franklin and nobody else.”)While the series has an animating sense of Franklin as an artist, she is a moving target as a person. Her determination could make her difficult, with colleagues and family, and “Aretha” faces this — when, for instance, she undercuts her sister Carolyn (Rebecca Naomi Jones), also an aspiring singer. But the series sometimes seems caught in the void created by Franklin’s careful image management; the central figure turns reserved and enigmatic at key moments.This adds up to a revealing portrait of Franklin’s art inside a fuzzier bio-series of her life, which is a trade-off, but better than the reverse. After all, the name of the franchise is “Genius,” and Parks’s story sings convincingly of why Franklin deserves the same title as Einstein and Picasso. “Aretha” is a vibrant effort to give her artistry some R-E-S-P-E-C-T, even if we don’t entirely find out what it means to her. More

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      Keyshia Cole Says She's 'Serious' About Retiring From Music

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      The ‘I Should Have Cheated’ songstress assures her online devotees that she is ‘not lying’ about retirement after they think her Twitter account is hacked.

      Mar 18, 2021

      AceShowbiz –
      Keyshia Cole has made it clear that she is not joking about retiring from music. Upon learning that her fans did not believe her when she announced her retirement plan, the “Love” hitmaker reconfirmed that she means every word she said.

      The 39-year-old star offered her affirmation on her plan to hang up her mic via Twitter on Wednesday, March 17. She tweeted, “#stimnyHitsAccount RETIREMENT SOUNDS GOOD. this is funny! Hella! Just thought I’d join in on the fun. I’m serious about retirement… but this is funny.”

      Keyshia Cole made it clear that she is ‘serious’ about retiring from music.

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      The tweet came around an hour after Keyshia informed her followers that she is “retiring” from music. However, many of them thought that she was joking. One of her fans wrote, “I know you’re lying!!!! Keyshia it’s not your time to retire I need at least 3 more albums!!!” In response, she stressed, “I’m not lying.”

      The “I Should Have Cheated” songstress was forced to double down on her assurance after another person penned, “At this point @KeyshiaCole Twitter has to be hacked!!! Retiring from what???” Responding to the statement, she complained, “Y’all always think I’m being hacked.”

      Despite her plan, Keyshia promised fans that her new album is on the way. “I’m already contracted to do so, I wouldn’t do that to @BMG ,myself, or my fans,” she tweeted. “But I’m gonna have to move at my pace with this one. #Album8.” On the reason why she wants to step back from the music industry, she spilled that it was her children.

      Keyshia dropped her debut single “Never” in 2004. In the following year, she released her debut album “The Way It Is”. The singer has since delivered a number of chart-topping records and singles. They included “Let It Go” in 2007, “I Remember” and “Heaven Sent” in 2008. She came out with her latest album “11:11 Reset” in October 2017 that featured DJ Khaled, Young Thug, French Montana and Remy Ma among others.

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      Boosie Badazz Thanks His Fans for Their Prayers After Being Declared Cancer-Free

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