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T-Boz Calls Out L.A. Reid & Says He Abandoned TLC After Left Eye’s Death

Everybody can name at least one song from famed girl group TLC, and most of us know “Waterfalls” by heart, but after Lisa “Left Eye” Lopes passed away in a car accident in 2002, everything changed for the group, which also includes Rozonda “Chilli” Thomas and Tionne “T-Boz” Watkins.

This week, T-Boz hopped on a podcast to speak about how things were changed for TLC after the tragic death of their teammate, noting that the music industry effectively turned on them, arguing that there is no way around that much.

T-Boz says it all happened during a five-to-ten year span, and that one man, L.A. Reid, is responsible for a good portion of their neglect in the business.

“I was talking about a ten-year span, five to ten years, how the industry turned on TLC, which is a fact, after Lisa had died because nobody knew what the state of the group was. Hell, we didn’t even know,” said T-Boz to Hollywood Unlocked. “I wasn’t talking about artists [turning on us], I’m talking about the people that come in with the money, the promoters. The L.A. Reid types.”

While she doesn’t explain exactly how L.A. Reid wronged her and TLC, promising that she wouldn’t expose their drama, she maintains that L.A. didn’t stop “rocking with” them because he no longer believed in them but that it was deeper than that.

“It was something personal [with L.A.] which I’ll always keep between us, whether I agreed with it or not, he, out of respect, called me. And I’ll just leave it at that,” said T-Boz. “But the final decision was to not rock with us. But it wasn’t because he didn’t believe in us. I’ll clear that part up. But he did decide to turn his back and keep on going. That’s fine. It’s business.”

She goes on to mention Drake, Nelly, and T.I., who pulled out of the Super Bowl Blitz performance in 2014, saying that them backing out of the performance with TLC was actually a blessing.

“That turned out great for us,” says T-Boz. “God always makes things go exactly how they’re supposed to. I’m a believer in that. The show went exactly as it was supposed to and I am happy that they actually didn’t show up because it showed that we still have staying power. That we can still rock on stage without the bells and whistles and other people to save us.”

What do you think of T-Boz’s remarks?

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François Marius and Bérénice creates a tender acoustic pop confession with “Billie Jean”

François Marius’ latest release, “Billie Jean (Acoustic Version),” cuts to the quick and lets raw emotion take over. What you get, ultimately, is a personal pop experience that feels closer to a secret than to either a spoken-word show or a performance. The initial soft strum of an acoustic guitar creates a mood that is soft, sweet, and quietly interesting. It’s a full-throated, backbones-out piece, and every note is screaming its potential. It’s simple but riveting, and it proves that sometimes less is more.

François Marius and Bérénice’s voices sound right together, their voicings intermingle so naturally that they seem accidental or spontaneous, harmonies that emerge from nowhere. The way they speak to one another is very, I mean, they really love each other. That even makes the track seem like a conversation about feelings.

The two artists are clearly close. Romance and Eros are not just ideas, and they inhabit every note that lingers and every minuscule shift in tonality. The harmonies soar effortlessly over the acoustic foundation, a blend of sweetness and strength. It’s a sign of strength and also of a willingness to be hurt.

“Billie Jean (Acoustic Version)” is stripped of any fancy production or theatrical effects, it wins you over with its frankness and forthrightness. Sandy François Marius’s impersonation is fresh and real, endowed with depth and softness thanks to Bérénice’s presence, which definitely makes everything more perfect. This acoustic performance serves as a stark reminder of the elements that do connect people: the singer, his guitar, and a story from the heart.

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RoHaNa and Morpheus von Dobenhausen paint love in shadows and light “WHEN A BOY LOVES A WOMEN”

RoHaNa feat. Morpheus von Dobenhausen, in this new release, “When a Boy Loves a Woman,” This track, recorded in winter, has a hint of gothic style that blends emotional restraint with atmospheric elegance. The track is all about RoHaNa’s emotional singing, which fits perfectly with the carefully crafted production. Her voice shows desire, weakness, and dedication without being too loud, letting each note ring out. The result is a sound that affects people on a personal and universal level. There is a sense of innocence that permeates, capturing the delicate nature of love in its purest form.

Morpheus von Dobenhausen is a guest singer who deepens the track’s emotional journey. Their voices work together to make a conversation of feelings that is both clear and mysterious. The song doesn’t go too fast, so the listener can feel the mood and atmosphere as they go through its subtle changes.

“When a Boy Loves a Woman” is unique because it strikes the perfect balance between modern pop and gothic restraint. The result is a soundscape that is both creepy and easy to listen to. It is a moving story about love and devotion, told with grace and quiet strength.

With this first release, RoHaNa confidently joins the scene, thanks to XanadumusiX’s never-ending creative drive, even when things get hard in the winter. This release not only introduces a new artist with significant potential but also showcases a bold artistic direction in which emotion, atmosphere, and story come together to make a lasting impression.

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