Society has made major strides in its inclusivity of people with disabilities, but it still has a long way to go. And that certainly applies to the worldwide music community — represented in part by the Recording Academy.

Disability Pride Month is observed every July; it's as good a time as ever to meditate on how disability is something most of us will experience in our lives, and that discrimination or exclusion on that basis is intolerable. 

To counteract these forces, let's use Disability Pride Month to uphold the experiences of those who live on the spectrum of disability. It's incumbent on the world's leading society of music people to shine a light on those in the music world who are part of this global community.

Let's turn positive thoughts into practical action. Here are five organizations that support music creatives with disabilities.

RAMPD

RAMPD — which stands for Recording Artists And Music Professionals With Disabilities — aims to "amplify disability culture, promote equitable inclusion and advocate for accessibility in the music industry."

The organization was founded by recording artist and accessibility advocate Lachi, who's been vocal about her journey from "low vision to no vision," and celebrating blindness through music and other avenues.

"When we celebrate hip-hop, we celebrate 50 proud years of unbreakable spirit, despite existing in a system built for otherwise," Lachi says. Hip-hop artists with disabilities and mental health conditions create from a place of innovation and drive, navigating success in a world not quite built for their success. It's up to us in the industry to support and propel those creators most impacted, most underrepresented, and most intersected, as they have the richest, most untapped, untold stories of resilience."

Visit RAMPD's website for more information.

Krip Hop Nation

Krip Hop Nation is a worldwide society of artists with disabilities that's been going strong for 16 years, and aims to provide equal opportunities in the music industry to those with disabilities.

"The focus is on people with their skills and abilities, not their disabilities," their website declares. "We do not want pity, we want consideration, equality, respect and recognition to the same extent that every physically and mentally healthy person enjoys them."

Krip Hop Nation was founded by writer, poet and activist Leroy F. Moore Jr., who was diagnosed with cerebral palsy.

"Disability justice was started by Black and brown disabled folks," Moore says, "but there’s a need to rebirth it with Black and brown Krip theory and everyday experiences in the arts, music. activism, writing and thinking."

Check out their website to get the scoop.

SoulTouchin' Experiences

Across a range of industries and spheres, SoulTouchin' Experiences aims to fortify people with disabilities' senses of autonomy and accessibility.

As the organization puts it, they have "a heart a soul commitment to those who need assistance to begin caring for themselves and in turn caring for others."

SoulTouchin' Experiences is dedicated to the issues of "access inclusion and empowerment" in all regards.

"The hustle ain’t accessible. So we hustle different," founder Keith Jones says. "We are not a fully realized movement until we are an inclusive movement."

If you share this cause, you can support them directly — and learn more about their mission — at their website.

Sins Invalid

Sins Invalid declare themselves to be a "disability justice based performance project that incubates and celebrates artists with disabilities." 

And intersectionality is the name of the game, as they're focused on "centralizing artists of color and LGBTQ / gender-variant artists as communities who have been historically marginalized."

"Disability Justice is an honoring of the long-standing legacies of resilience and resistance," says co-founder Patty Berne, "which are the inheritance of all of us whose bodies or minds will not conform."

They do this by promoting leadership opportunities for disabled people and providing a nurturing space for artists with disabilities to develop and present artistic works. For more information on Sins Invalid, visit here.

4 Wheel City

Here's how they roll: 4 Wheel City is an entertainment organization offering support to people with disabilities of all stripes.

They were founded by Namel "Tapwaterz" Norris and Ricardo "Rickfire" Velasquez — hip-hop artists in wheelchairs due to the tragedy of gun violence.

Rather than let their circumstances subsume them, though, they've opted to give back via programs that connect hip-hop to disability culture.

"To me, hip hop culture and disability culture are interconnected and one in the same. They both come from underserved communities who've had to fight for their respect, for their place in society," Norris says. "However, as we celebrate 50 years of hip hop, the voices and contributions of many disabled hip hop artists continue to go unheard. The goal is to change this so the next 50 years of hip hop includes many more stories and music from disabled artists like myself."

Check out their website here.

With folks like Norris and Velasquez — and everyone else above — in the disability community's corner, the needle of disability justice is pushed ever forward.

"I Made My ADHD Into My Strength": Understanding The Link Between Rap & Neurodivergence

As Disability Pride Month — which takes place every July — draws to a close, it's incumbent on the music community to continue elevating and celebrating music professionals with disabilities of all kinds. Below is a helpful, pragmatic guide to how we can do so — both in music-industry situations and in our everyday lives.

The following is a guest piece by Recording Artists and Music Professionals with Disabilities (RAMPD), a coalition of established creators with disabilities who work to promote equitable inclusion, visibility and accessibility in the music industry.

Having recently worked with the 64th GRAMMYs on a visible stage ramp, sign language on the red carpet, and live captioning and audio description for video content, RAMPD is on a mission to amplify Disability Culture in a massive way.

Read on as RAMPD members share key ways the music industry can support creators and creative professionals with disabilities on a year-round basis and in a meaningful manner.

1. Listen To The Disability Community

*Lachi. Photo courtesy of RAMPD.*

Lachi (Founder/President, RAMPD):

First ask. Then listen.

With 26 percent of Americans having some form of disability, neurodiversity, chronic illness or communication difference, we are a vast and diverse community full of rich, untold stories and deeply moving and impactful experiences, yet are untapped by popular culture. 

The disability community has strong perspectives on how we wish to be viewed and portrayed, but seldom have the opportunity to voice them. Thus many decisions are made about us without us and are often harmful to the community.

When planning design, programming, recruitment strategies, or anything else — even if it has nothing to do with disability — a disabled person tapped into the community must be in the room.

"But Lachi," you might say, "I don't know anyone in the music industry with a disability." Here at RAMPD, we provide resources where folks can find, source or hire top disabled talent and professionals who are knowledgeable, approachable, and present to affect growth.

*Wawa Snipe. Photo courtesy of RAMPD.*

Aoede (RAMPD, Events Co-Chair):

Encourage promoters, agents and venues to listen to artists and musicians with disabilities regarding their needs.

More than two thirds of disabled artists don't disclose due to stigmas, and report risking their health to perform. One way to remove fear of artists disclosing their disabilities is to respect an artist with disabilities' rider.

DJ Pastor Rock (RAMPD, Partnerships):

It all starts with awareness; paying attention to who is and, more importantly, who isn't there. Awareness is an important entry point for building relationships with people too often excluded.

2. Recognize Disability As A Natural And Cultural Form Of Diversity

RAMPD Community:

Disability culture is a celebration of people who identify as disabled, while acknowledging the vast diversity of the disability experience and each person's inherent and equal worth.

It is unapologetic, creative, innovative, adaptable, imaginative, and rooted in problem-solving.

It is based on the premise that disability needs to be seen, respected, included and celebrated. It includes our worldviews, our perspectives, our contributions, our art, our words, and our music.

Disability culture — at least in part — is a vibrant and thriving counter-response to the exclusion, marginalization and oppression historically and currently experienced by many disabled individuals.

*Namel Norris. Photo: Joe Papeo, 2022 Danny Awards*

Namel Norris (RAMPD, Partnerships):

One of the biggest ways the music industry can be more disability-inclusive is by getting more involved in our culture and the amazing art, performances and musical contributions we already have going on.

Zak Sandler (RAMPD, Pro Member):

We need to create an environment where disability is not hidden out of shame, but rather, celebrated out of pride. Record companies and agents must actively seek out disabled artists and ensure we represent a consistent percentage of their clients.

*Shelby Lock. Photo courtesy of Shelby Lock.*

Shelby Lock (RAMPD, Pro Member):

Evaluate people based on their skills and work ethic rather than their health status. There can be a culture of working non-stop in the music industry — especially in the studio world. Don't write us off, and we'll prove with our results that we deserve to be here too.

Leroy Moore Jr (RAMPD, Pro Member):

Let's also admit to the -isms that have locked out artists who become disabled/deaf during their career in the music industry.

***Stephen Letnes. Photo courtesy of RAMPD.***

Stephen Letnes (RAMPD, Treasurer):

Music affects and reflects what we value. Disability culture is not something new; it has always been here. The music industry can and should amplify such a powerful yet neglected part of our culture.

3. Intentional Visibility And Representation From The Stage To The Boardroom

Precious Perez (RAMPD, Memberships Chair):

Disability representation on screen is crucial. There is so much power in looking at the media and seeing yourself and your community represented.

Disability is the one diversity left out of every diversity conversation. The one minority that is not acknowledged. So many people do not understand disability — and moreover, do not see or experience disabled artists on an equal playing field.

It is for this reason that highlighting and booking disabled performers for prominent visibility opportunities is not only empowering, but deeply impactful for the general public and the industry as a whole.

*Precious Perez. Photo: Alina Nadolu*

Aoede:

Promote and implement accessibility measures at major events such as the following:

Visible ramps to the stage; visible ASL interpreter(s) and self-description; and on-stage and below-the-line representation of artists and professionals with disabilities.

Publicly announcing accessibility measures through press releases, on websites and social media is a highly encouraged way to include the disability community — while getting non-disabled viewers excited or interested in these measures.

Namel Norris:

Invest in the artists who are already making a massive impact purposefully amplifying Disability Culture all over the world.

There are also accomplished entertainment professionals who can sit on your boards to ensure disability is part of the conversation at the board level.

It's not about giving us a handout; it's about giving us a hand up. An equitable fair inclusive seat at the table in the music industry.

*Brandon Kazen-Maddox. Credit: Lincoln Center*

Brandon Kazen-Maddox (ASL Performer):

Incorporate artists from the deaf and signing community to not only translate musical events into ASL, but to work hand-in-hand with musical artists to create accessible work from the ground up.

4. Inclusive Hiring — From Behind-The-Scenes To Contractor To Executive

Andrea Jennings (RAMPD, Secretary):

Let's level the playing field for music executives, music creatives behind the scenes, musicians, and music administrators with disabilities.

We are talented professionals at every level. We are opinion leaders and want to contribute our perspective to society; however, we are often met with accessibility and pay gap barriers.

To achieve success, we need equitable solutions like accessible outreach programs, inclusive employment opportunities, paid on-the-job training, and intentional accommodation support.

Lachi:

Let's create work, event and office environments conducive to disabled people, including the over 70% with non-visible disabilities. The last thing we want is to find out that someone feared self-advocating or requesting work accommodations… in their exit interview!

5. Intentional Event And Venue Accessibility For Artists and Patrons

Aoede:

Hybrid events are a great opportunity for high-visibility events to promote inclusion and accessibility.

As a disabled artist living with chronic illness, I look entirely to virtual events to engage and connect with others in my music community.

These events allow people like me, who are unable to attend physical events (due to health risks, travel or other concerns) access to participate and be included virtually.

*Tracy Marie. Photo courtesy of RAMPD.*

Tracy Marie (RAMPD, Events):

Venues can better implement inclusive practices by simply providing a direct line on their website to a designated staff member who intakes accommodation requests.

That goes for a patron, an artist or even those interested in seeking employment. An open line of communication helps those with accessibility and accommodation needs feel welcomed.

*Gaelynn Lea. Photo: Bartek Buczkowski*

Gaelynn Lea (RAMPD, VP):

A major way the music industry can be more inclusive is by hiring accessibility coordinators on their full-time staff to ensure operations, technology, press, and policies are both inclusive and supportive of disability and that access needs are being met for both employees and customers.

Folks hired for these positions should identify as disabled themselves so that they have a personal relationship with the reality of disability, and so that they can seek input and resources from their own community when faced with an unfamiliar issue.

All too often, access is seen as a secondary concern or a bonus, when it should really be built in from the ground up.

There is a deep pool of disabled talent that could be tapped for this important work. Now, it's up to the music industry to create these positions in their organizations.

Meet Question, A Rapper/Producer Who Doesn't Want To Be Boxed In By Blindness

In a world of braggadocio lyrics, where weakness is often looked down upon, hip-hop can often seem far from a safe place to discuss mental health. 

But underneath its rugged exterior, hip-hop culture and its artists have long been proponents of well-being and discussing the importance of taking care of one's mental health. Openness about these topics has grown in recent years, including a 2022 panel discussion around hip-hop and mental health, co-hosted by the GRAMMY Museum, the Recording Academy's Black Music Collective, and MusicCares in partnership with the Universal Hip-Hop Museum. 

"Artists are in a fight-or-flight mode when it comes to being in this game," said Eric Brooks, former VP of Marketing & Promotions at Priority Records who worked with NWA and Dr. Dre. "And there need to be strategies on how to deal with the inner battles that only happen in the mind and body."  

The panel only scratched the surface of the many times hip-hop culture has illuminated critical mental health issues that often remain hidden or under-discussed in the music industry. In recognition of Mental Health Awareness Month, read on for 10 times hip-hop has shone a light on mental health. 

J. Cole Apologized To Kendrick Lamar

A long-simmering beef between Drake and Kendrick Lamar was reignited in March 2024 when Metro Boomin' and Future released "Like That." The track featured a scathing verse from Kendrick, where he took aim at  Drake and J. Cole, and referenced the pair's collaborative song "First Person Shooter." 

The single begged for a response, and J. Cole, under what was presumably a significant amount of pressure, surprise-released his Might Delete Later. The album featured "7 Minute Drill," in which Cole calls Kendrick's To Pimp, A Butterfly boring. 

But the same week Cole's album came out, he apologized to Kendrick onstage at his Dreamville Fest, saying it didn't sit right with his spirit and that he "felt terrible" since it was released. Cole added that the song didn’t sit right with him spiritually and he was unable to sleep. Cole subsequently removed "7 Minute Drill" from streaming services. 

Strong debate followed about whether or not Cole should have removed the song. However, many heralded Cole’s maturity in the decision and said it was an important example of not doing things that don’t align with one's true emotions, and avoiding allowing others expectations of you weight down your own physical and mental health.

SiR Spoke Candidly About Depression & Sobriety

Although an R&B artist, TDE singer SiR is hip-hop adjacent, having collaborated with former labelmate Kendrick Lamar on tracks like "D'Evils" and "Hair Down." SiR recently spoke with GRAMMY.com about the troubles that followed him after the release of his 2019 album Chasing Summer.

"I was a full-blown addict, and it started from a string of depression [and] relationship issues and issues at home that I wasn't dealing with," SiR says. After the Los Angeles-based singer had hit rock bottom, he found the spark he needed to do something about it. His initial rehab stint was the first step on the road to change.  

"I was there for 21 days [in 2021]. [The] second time, I was there for two months and the third time wasn't technically rehab…I did personal therapy, and, man, [that] did wonders," he recalls. 

SiR also tackled the stigma many Black communities place on therapy and seeking help for mental health issues. "I would've never done something like that if I was in any other position, so I'm thankful for my issues because they led me to a lot of self-reflection and forgiveness," SiR says.

Big Sean Educated His Audience About Anxiety & Depression 

One of the biggest challenges in addressing anxiety and depression is the feeling that those issues must be kept under wraps.  In 2021, Big Sean and his mother released a series of videos in conjunction with Mental Health Awareness Month, in which the GRAMMY nominee opened up about his battles with depression and anxiety. 

In one of those videos, Sean and his mother discussed  the importance of sleep and circadian rhythms when managing depression and mental health issues. In an industry that prioritizes the grind, the hip-hop community often overlooks sleep — much to its detriment.

"Sleep is the most overlooked, disrespected aspect of our well-being," said Myra Anderson, Executive Director & President of the Sean Anderson Foundation and Big Sean's mother. "Even one day without good sleep can mess up your hormones severely." 

As a busy recording artist, Sean concurs that, for him, a lack of sleep contributes to challenges with anxiety. “If I’m not in the right mindset, I don’t get the right sleep,” says Sean in the mental health video series. “Then that anxiety rides high, and my thoughts are racing. I’m somebody that lives in my head.”

G.Herbo's "PTSD" Addressed The Impact Of Street Violence

Eastside Chicago's G. Herbo is an artist vital to the city's drill music scene. On "PTSD," the title track of his 2020 album, Herbo raps about his struggles coping with violence and loss. 

"I can't sleep 'cause it's a war zone in my head / My killers good, they know I'm hands-on with the bread / A million dollars ahead, I'm still angry and seeing red / How the f*ck I'm 'posed to have fun? All my n— dead."  

The lyrics echoed the realities of what G. Herbo grew up seeing in O-Block, considered by many to be one of the most dangerous neighborhoods in Chicago. But it wasn't just a song title; G. Herbo was diagnosed with PTSD in 2019 and began therapy to manage it, showing that even rap's most hardened have opened themselves up to professional help. 

"I'm so glad that I did go to therapy," G. Herbo told GRAMMY.com in July 2020. "I'm glad that I did take that leap of faith to just go talk to somebody about my situation and just my thoughts and get 'em to a person with an unbiased opinion." 

Joe Budden Opens Up About His Darkest Times 

In 2017, on the "Grass Routes Podcast," rapper-turned-podcaster Joe Budden opened up about multiple suicide attempts and his lifelong battle with depression. 

"For me, there have been times where I've actually attempted suicide," Budden shared. "As open as I've been when it comes to mental health, it wasn't until retirement from rapping that I was able to dive into some of the things the fans have seen." 

Never one to shy away from rapping about his mental health struggles, Budden songs like "Whatever It Takes" peel back the layers on an artist fighting his demons: "See, I'm depressed lately, but nobody understands / That I'm depressed lately, I'm sorta feelin repressed lately." 

Budden continued to be a champion for mental health that year, including on his former Complex show "Everyday Struggle," where Budden broke down while discussing the suicide death of fellow rapper Styles P's daughter. 

In recent years, Budden has uses his wildly popular "The Joe Budden Podcast" as a tool to discuss his own struggles and raise awareness of mental health issues. 

Grandmaster Flash & The Furious Five Broadcast A Serious "Message"

Hip-hop culture has long used rap as a tool to highlight mental health and the everyday struggles of its community. Released in 1982, Grandmaster Flash and The Furious Five's "The Message" is an early, effective example of vulnerability in hip-hop.

"The Message" described the mental health impacts of poverty and inner-city struggle, describing desperate feelings and calling for support in underserved communities: "I can't take the smell, can't take the noise / Got no money to move out, I guess I got no choice." Perhaps the most recognizable lyric comes from Melle Mel, who raps, "Don't push me cause I'm close to the edge/I'm trying not to lose my head." 

Eminem Got Honest About Depression While In Rehab

On "Reaching Out," Queen and Paul Rodgers sing "Lately I've been hard to reach / I've been too long on my own / everybody has a private world where they can be alone." These lyrics were sampled on the intro to Eminem's 2009 single "Beautiful," a raw tale of the rapper's struggles with depression. Half of the song was written while Eminem was in rehab, including lyrics like "I'm just so f—king depressed/I just can't seem to get out this slump." 

The lyrics pierced the core of Eminem's audience, who were able to see the parallels between the struggles of a rap superstar and their own issues. The song reached the Top 20 of the Billboard Hot 100 and was nominated for a Best Rap Solo Performance GRAMMY Award. In an interview with MTV about the song, Eminem said it was an important outlet for him at a challenging time. 

But it was far from the first time Eminem has discussed mental health. One of the earliest examples was in his song "Stan," where Eminem rapped from the perspective of an obsessed fan who ended up killing himself and his wife after Eminem failed to respond to his fan mail. In a 2000 interview, Eminem told MTV that he wrote the song to warn fans not to take his lyrics literally. 

Logic Sparked Change With A Number

One of the most impactful moments hip-hop has seen regarding mental health and sparking change was when Logic released his song "1-800-273-8255" in 2017. The record, named after the real National Suicide Lifeline Prevention phone number, which is now 988, hit the top three on the US Billboard Hot 100.

Following the song's release, the British Medical Journal released a study sharing data that showed the song contributed to a 27 percent increase in calls to the prevention hotline that year and may have even contributed to an actual reduction in deaths by suicide. 

Logic's single further proved that rap music's impact extends well beyond charts and sales. "1-800-273-8255" highlighted the connection artists have with their fans, as well as the ways music can be a tool to cope with challenges like mental health and suicidal thoughts. 

Kid Cudi Opened Up About Suicidal Urges 

Cleveland's own Kid Cudi has never shied away from putting his emotions on record, rapping vividly throughout his career about his struggles with mental health. Cudi records, like the hit single "Pursuit of Happiness," are brutally honest about trying to find happiness in a world filled with trials and tribulations. 

In a 2022 interview with Esquire, Cudi recalled checking himself into rehab in 2016 for depression and suicidal urges. He had been using drugs to manage the weight of his stardom and even suffered a stroke while in rehab. "Everything was f—ed," Cudi said. 

Cudi took a break to develop stability, returning to the spotlight with the 2018 project Kids See Ghosts in collaboration with Kanye West.. Today, Cudi and his music remain pillars of strength for those facing similar challenges.   

Jay-Z Detailed The Importance Of Therapy & Getting Out Of "Survival Mode"

In 2017, Jay-Z released his critically acclaimed thirteenth studio album. 4:44 was packed with lessons on family, mental health, and personal growth.

An interview with the New York Times, Jay-Z discussed how helpful therapy had been to him. Therapy helped the rap superstar in his interactions with other people — something that had been hardened growing up as a black man in Marcy Projects. "I grew so much from the experience," he told the Times.

"I think the most important thing I got is that everything is connected. Every emotion is connected, and it comes from somewhere. I understand that, instead of reacting to that with anger, I can provide a softer landing and maybe, 'Aw, man, is you O.K.? You're in this space where you're hurting, and you think I see you, so you don't want me to look at you. And you don't want me to see you,'" he said. "You don't want me to see your pain."

The album also unpacked Jay-Z's infidelity. "I'll f— up a good thing if you let me," he raps on "Family Feud." In the same interview, Jay-Z shared that growing up in the hood put him into "survival mode," impacting his abilities to be a good partner and husband earlier in life. 

"You shut down all emotions. So even with women, you gonna shut down emotionally, so you can't connect," he reflected. "In my case, like it's, it's deep. And then all the things happen from there: infidelity." 

"I Made My ADHD Into My Strength": Understanding The Link Between Rap & Neurodivergence

Billie Eilish has never been one to shy away from her feelings. In fact, she doubles down on them.

Since her debut EP, 2017's Don't Smile At Me, the pop star has held listeners' hands as she guides them through the darkest pages of her diary. The EP found a teenage Eilish navigating heartbreak while her blockbuster debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? — which swept the General Field Categories (Album Of The Year, Record Of The Year, Song Of The Year and Best New Artist) at the 2020 GRAMMYs — was a chilling and raw look into her depression-fueled nightmares. And 2021's Happier Than Ever had her confronting misogyny and the weight of fame.

She could have easily succumbed to the pop star pressures for her third studio album, HIT ME HARD AND SOFT, out today (May 17). Instead, she reverts to her sonic safe space: creating intimate melodies with her brother and day-one collaborator, FINNEAS. Only this time, the lyrics are more mature and the production is more ambitious.

"This whole process has felt like I'm coming back to the girl that I was. I've been grieving her," Eilish told Rolling Stone about how HIT ME HARD AND SOFT revisited elements of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? "I've been looking for her in everything, and it's almost like she got drowned by the world and the media. I don't remember when she went away."

Here are five takeaways from Billie Eilish's new album, HIT ME HARD AND SOFT, where Old Billie is resuscitated and comforted by New Billie. 

Heartbreaking Ballads Are Her Sweet Spot

Tenderness remains at Eilish's core, and it's beautifully highlighted on HIT ME HARD AND SOFT. Despite her love for eccentric electro-pop beats, ballads have always been the singer's strong suit. After she first displayed that in her debut single, 2015's "ocean eyes," Eilish won two GRAMMYs and an Oscar for her delicate Barbie soundtrack standout, "What Was I Made For?" — and the magic of her melancholic balladry returned on the new album.

HIT ME's album opener, "SKINNY," mimics the self-reflection of Happier Than Ever's "Getting Older" opener, where she painfully sings about Hollywood's body image standards. "People say I look happy just because I got skinny/ But the old me is still me and maybe the real me/ And I think she's pretty," she muses. 

"WILDFLOWER" cuts in the album's center like a knife to the chest. Eilish's comparisons to a lover's ex-girlfriend are devastating over a bare piano melody — the simplest production on the LP: "You say no one knows you so well/ But every time you touch me, I just wonder how she felt."

HIT ME Isn't Afraid To Get A Little Weird

What makes Eilish so intriguing is her effortless balance between misery and mischief. On lead single "LUNCH," the singer/songwriter taps into the playful attitude of WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? smash "bad guy."

Over an upbeat and kooky production, she lets her carnal fantasies about devouring a woman run wild. The fantasies continue on "THE DINER," with Eilish stepping into the stalker mindset that may be inspired by her own life (she was granted a five-year restraining order against an alleged stalker last year). "I came in through the kitchen lookin' for something to eat/ I left a calling card so they would know that it was me," she winks on the chorus.

She Lays The "Whisper Singing" Criticism To Rest

Eilish's subdued voice has been chided as much as it's been lauded. She first gave naysayers the middle finger on Happier Than Ever's title track, nearly screaming in the song's latter half. On her latest album, she showcases her range even further, from bold belts to delicate falsettos.

The gauzy synths and vocal yearning of "BIRDS OF A FEATHER" is the perfect summer anthem, soundtracking the feeling of kissing your lover as the salty Los Angeles breeze runs through your hair. On the second half of "THE GREATEST," she unleashes a wail-filled fury. 

"HIT ME HARD AND SOFT was really the first time that I was aware of the things that I could do, the ways I could play with my voice, and actually did that," she recently told NPR Music. "That's one thing I feel very proud of with this album — my bravery, vocally."

Her Vulnerability Hasn't Waned

Eilish is quite the paradox, as her superpower is her emotional fragility. Her music has doubled as confessionals since the beginning of her career, and that relatable vulnerability threads HIT ME together. Despite its lighthearted nature, "LUNCH" marks the first time the singer has discussed her sexuality in a song.

"That song was actually part of what helped me become who I am, to be real," Eilish told  Rolling Stone of "LUNCH." "I wrote some of it before even doing anything with a girl, and then wrote the rest after. I've been in love with girls for my whole life, but I just didn't understand — until, last year, I realized I wanted my face in a vagina. I was never planning on talking about my sexuality ever, in a million years. It's really frustrating to me that it came up."

Then there's "SKINNY," which is a raw insight into how much social media's discussions of her body and fame affected her. "When I step off the stage, I'm a bird in a cage/ I'm a dog in a dog pound," she sings. "BLUE," the album's closer, finds Eilish accepting her state of post-breakup sorrow: "I'd like to mean it when I say I'm over you, but that's still not true."

FINNEAS Has Unlocked A New Production Level

FINNEAS — Eilish's brother, producer and confidant — has grown as much as his younger sister since they first began creating music together. He continues to challenge himself both lyrically and sonically to excitedly push Eilish to her creative limits. He explores a myriad of sounds on the album, with many playing like a two-for-one genre special. Named after Studio Ghibli's Spirited Away heroine, the glittery melody and thumping bassline on "CHIHIRO" transport you into an anime video game. 

The first half of "L'AMOUR DE MA VIE" is deceptively simple with its plucking acoustic guitar strings, but soon finds itself under the glare of a disco ball with Eilish's vocals funneled through a vocoder. "BITTERSUITE" is arguably the best reflection of Finneas' experimentation: it starts out with Daft Punk-esque synths before dragging itself across a grim, bass-heavy floor. Then, it crawls into cheeky elevator music territory before ending with an alien-like taunt.

HIT ME HARD AND SOFT is begging to be played live, as seen with fans' raucous reactions after the singer's listening parties at Brooklyn's Barclays Center and Los Angeles' Kia Forum. Fortunately for fans in North America, Australia and Europe, it won't be long before she brings the album to life — HIT ME HARD AND SOFT: THE TOUR  kicks off on Sept. 29 in Québec, Canada.

In the pantheon of rock guitar gods, Slash ranks high on the list of legends. Many fans have passionately discussed his work — but if you ask him how he views his evolution over the last four decades, he doesn't offer a detailed analysis.

"As a person, I live very much in the moment, not too far in the past and not very far in the future either," Slash asserts. "So it's hard for me to really look at everything I'm doing in the bigger scheme of things."

While his latest endeavor — his new studio album, Orgy Of The Damned — may seem different to many who know him as the shredding guitarist in Guns N' Roses, Slash's Snakepit, Velvet Revolver, and his four albums with Myles Kennedy and the Conspirators, it's a prime example of his living-in-the-moment ethos. And, perhaps most importantly to Slash, it goes back to what has always been at the heart of his playing: the blues.

Orgy Of The Damned strips back much of the heavier side of his playing for a 12-track homage to the songs and artists that have long inspired him. And he recruited several of his rock cohorts — the likes of AC/DC's Brian Johnson, Aerosmith's Steven Tyler, Gary Clark Jr., Iggy Pop, Beth Hart, and Dorothy, among others — to jam on vintage blues tunes with him, from "Hoochie Coochie Man" to "Born Under A Bad Sign."

But don't be skeptical of his current venture — there's plenty of fire in these interpretations; they just have a different energy than his harder rocking material. The album also includes one new Slash original, the majestic instrumental "Metal Chestnut," a nice showcase for his tastefully melodic and expressive playing.

The initial seed for the project was planted with the guitarist's late '90s group Slash's Blues Ball, which jammed on genre classics. Those live, spontaneous collaborations appealed to him, so when he had a small open window to get something done recently, he jumped at the chance to finally make a full-on blues album.

Released May 17, Orgy Of The Damned serves as an authentic bridge from his musical roots to his many hard rock endeavors. It also sees a full-circle moment: two Blues Ball bandmates, bassist Johnny Griparic and keyboardist Teddy Andreadis, helped lay down the basic tracks. Further seizing on his blues exploration, Slash will be headlining his own touring blues festival called S.E.R.P.E.N.T. in July and August, with support acts including the Warren Haynes Band, Keb' Mo', ZZ Ward, and Eric Gales.

Part of what has kept Slash's career so intriguing is the diversity he embraces. While many heavy rockers stay in their lane, Slash has always traveled down other roads. And though most of his Orgy Of The Damned guests are more in his world, he's collaborated with the likes of Michael Jackson, Carole King and Ray Charles — further proof that he's one of rock's genre-bending greats.

Below, Slash discusses some of the most memorable collabs from Orgy Of The Damned, as well as from his wide-spanning career.

I was just listening to "Living For The City," which is my favorite track on the album.

Wow, that's awesome. That was the track that I knew was going to be the most left of center for the average person, but that was my favorite song when [Stevie Wonder's 1973 album] Innervisions came out when I was, like, 9 years old. I loved that song. This record's origins go back to a blues band that I put together back in the '90s.

Slash's Blues Ball.

Right. We used to play "Superstition," that Stevie Wonder song. I did not want to record that [for Orgy Of The Damned], but I still wanted to do a Stevie Wonder song. So it gave me the opportunity to do "Living For The City," which is probably the most complicated of all the songs to learn. I thought we did a pretty good job, and Tash [Neal] sang it great. I'm glad you dig it because you're probably the first person that's actually singled that song out.

With the Blues Ball, you performed Hoyt Axton's "The Pusher" and Robert Johnson's "Crossroads," and they surface here. Isn't it amazing it took this long to record a collection like this?

[Blues Ball] was a fun thrown-together thing that we did when I [was in, I] guess you call it, a transitional period. I'd left Guns N' Roses [in 1996], and it was right before I put together a second incarnation of Snakepit.

I'd been doing a lot of jamming with a lot of blues guys. I'd known Teddy [Andreadis] for a while and been jamming with him at The Baked Potato for years prior to this. So during this period, I got together with Ted and Johnny [Griparic], and we started with this Blues Ball thing. We started touring around the country with it, and then even made it to Europe. It was just fun.

Then Snakepit happened, and then Velvet Revolver. These were more or less serious bands that I was involved in. Blues Ball was really just for the fun of it, so it didn't really take precedence. But all these years later, I was on tour with Guns N' Roses, and we had a three-week break or whatever it was. I thought, I want to make that f—ing record now.

It had been stewing in the back of my mind subconsciously. So I called Teddy and Johnny, and I said, Hey, let's go in the studio and just put together a set and go and record it. We got an old set list from 1998, picked some songs from an app, picked some other songs that I've always wanted to do that I haven't gotten a chance to do.

Then I had the idea of getting Tash Neal involved, because this guy is just an amazing singer/guitar player that I had worked with in a blues thing a couple years prior to that. So we had the nucleus of this band.

Then I thought, Let's bring in a bunch of guest singers to do this. I don't want to try to do a traditional blues record, because I think that's going to just sound corny. So I definitely wanted this to be more eclectic than that, and more of, like, Slash's take on these certain songs, as opposed to it being, like, "blues." It was very off-the-cuff and very loose.

It's refreshing to hear Brian Johnson singing in his lower register on "Killing Floor" like he did in the '70s with Geordie, before he got into AC/DC. Were you expecting him to sound like that?

You know, I didn't know what he was gonna sing it like. He was so enthusiastic about doing a Howlin' Wolf cover.

I think he was one of the first calls that I made, and it was really encouraging the way that he reacted to the idea of the song. So I went to a studio in Florida. We'd already recorded all the music, and he just fell into it in that register.

I think he was more or less trying to keep it in the same feel and in the same sort of tone as the original, which was great. I always say this — because it happened for like two seconds, he sang a bit in the upper register — but it definitely sounded like AC/DC doing a cover of Howlin' Wolf. We're not AC/DC, but he felt more comfortable doing it in the register that Howlin' Wolf did. I just thought it sounded really great.

You chose to have Demi Lovato sing "Papa Was A Rolling Stone." Why did you pick her?

We used to do "Papa Was A Rolling Stone" back in Snakepit, actually, and Johnny played bass. We had this guy named Rod Jackson, who was the singer, and he was incredible. He did a great f—ing interpretation of the Temptations singing it.

When it came to doing it for this record, I wanted to have something different, and the idea of having a young girl's voice telling the story of talking to her mom to find out about her infamous late father, just made sense to me. And Demi was the first person that I thought of. She's got such a great, soulful voice, but it's also got a certain kind of youth to it.

When I told her about it, she reacted like Brian did: "Wow, I would love to do that." There's some deeper meaning about the song to her and her personal life or her experience. We went to the studio, and she just belted it out. It was a lot of fun to do it with her, with that kind of zeal.

You collaborate with Chris Stapleton on Fleetwood Mac's "Oh Well" by Peter Green. I'm assuming the original version of that song inspired "Double Talkin' Jive" by GN'R?

It did not, but now that you mention it, because of the classical interlude thing at the end... Is that what you're talking about? I never thought about it.

I mean the overall vibe of the song.

"Oh Well" was a song that I didn't hear until I was about 12 years old. It was on KMET, a local radio station in LA. I didn't even know there was a Fleetwood Mac before Stevie Nicks and Lindsey Buckingham. I always loved that song, and I think it probably had a big influence on me without me even really realizing it. So no, it didn't have a direct influence on "Double Talkin' Jive," but I get it now that you bring it up.

Was there something new that you learned in making this album? Were your collaborators surprised by their own performances?

I think Gary Clark is just this really f—ing wonderful guitar player. When I got "Crossroads," the idea originally was "Crossroads Blues," which is the original Robert Johnson version. And I called Gary and said, "Would you want to play with me on this thing?"

He and I only just met, so I didn't know what his response was going to be. But apparently, he was a big Guns N' Roses fan — I get the idea, anyway. We changed it to the Cream version just because I needed to have something that was a little bit more upbeat. So when we got together and played, we solo-ed it off each other.

When I listen back to it, his playing is just so f—ing smooth, natural, and tasty. There was a lot of that going on throughout the making of the whole record — acclimating to the song and to the feel of it, just in the moment.

I think that's all an accumulation of stuff that I've learned over the years. The record probably would be way different if I did it 20 years ago, so I don't know what that evolution is. But it does exist. The growth thing — God help us if you don't have it.

You've collaborated with a lot of people over the years — Michael Jackson, Carole King, Lemmy, B.B. King, Fergie. Were there any particular moments that were daunting or really challenging? And was there any collaboration that produced something you didn't expect?

All those are a great example of the growth thing, because that's how you really grow as a musician. Learning how to adapt to playing with other people, and playing with people who are better than you — that really helps you blossom as a player.

Playing with Carole King [in 1993] was a really educational experience because she taught me a lot about something that I thought that I did naturally, but she helped me to fine tune it, which was soloing within the context of the song. [It was] really just a couple of words that she said to me during this take that stuck with me. I can't remember exactly what they were, but it was something having to do with making room for the vocal. It was really in passing, but it was important knowledge.

The session that really was the hardest one that I ever did was [when] I was working with Ray Charles before he passed away. I played on his "God Bless America [Again]" record [on 2002's Ray Charles Sings for America], just doing my thing. It was no big deal. But he asked me to play some standards for the biopic on him [2004's Ray], and he thought that I could just sit in with his band playing all these Ray Charles standards.

That was something that they gave me the chord charts for, and it was over my head. It was all these chord changes. I wasn't familiar with the music, and most of it was either a jazz or bebop kind of a thing, and it wasn't my natural feel.

I remember taking the chord charts home, those kinds you get in a f—ing songbook. They're all kinds of versions of chords that wouldn't be the version that you would play.

That was one of those really tough sessions that I really learned when I got in over my head with something. But a lot of the other ones I fall into more naturally because I have a feel for it.

That's how those marriages happen in the first place — you have this common interest of a song, so you just feel comfortable doing it because it's in your wheelhouse, even though it's a different kind of music than what everybody's familiar with you doing. You find that you can play and be yourself in a lot of different styles. Some are a little bit challenging, but it's fun.

Are there any people you'd like to collaborate with? Or any styles of music you'd like to explore?

When you say styles, I don't really have a wish list for that. Things just happen. I was just working with this composer, Bear McCreary. We did a song on this epic record that's basically a soundtrack for this whole graphic novel thing, and the compositions are very intense. He's very particular about feel, and about the way each one of these parts has to be played, and so on. That was a little bit challenging. We're going to go do it live at some point coming up.

There's people that I would love to play with, but it's really not like that. It's just whatever opportunities present themselves. It's not like there's a lot of forethought as to who you get to play with, or seeking people out. Except for when you're doing a record where you have people come in and sing on your record, and you have to call them up and beg and plead — "Will you come and do this?"

But I always say Stevie Wonder. I think everybody would like to play with Stevie Wonder at some point.

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