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Turnstile: Tiny Desk (Home) Concert Hotney 2 Vues • 4 années depuis

The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music's Tiny Desk (home) concerts, bringing you performances from across the country and the world. It's the same spirit — stripped-down sets, an intimate setting — just a different space.

Lars Gotrich | January 5, 2022
From basements to bandshells, Turnstile shows are a life-affirming mosh-pit ballet. You sweat, you smile, you stage dive, you shake what ya mama gave ya. At the band's Tiny Desk (home) concert, Turnstile's high-energy hardcore is converted into seven songs over 17 minutes, surrounded by an art installation by John Scharbach — those stuffed animals presumably pogoing and windmilling in your imagination.

GLOW ON, one of NPR Music's 50 best albums of 2021, is the rambunctious sum of the band's many parts – as much Bad Brains as it is Rare Essence and Fania deep cuts – but with its wild styles fully fused as Turnstile. Filmed at drummer Daniel Fang's house in Baltimore, these songs are all power chords, compact guitar solos, cowbells and fuzz bass, with vocalist Brendan Yates accenting the melody behind the keys. At shows, Yates normally bounces around with joyous aplomb; here, his self-restraint is commendable as he mimes out his stage moves inside an invisible bubble.

In the back half, Turnstile upsets the sequence: "MYSTERY" is transformed into a Fender Rhodes ballad before launching into "T.L.C. (TURNSTILE LOVE CONNECTION)" – maybe not the first hardcore bruiser to reference Sly and the Family Stone, but certainly one elevated by gang vocals. These songs from GLOW ON, in particular, tug at loneliness and uncertainty, but Turnstile offers a reprieve before we jump back into the pit of life: At the set's close, Yates and Franz Lyons lose the Blood Orange verses from the studio recording of "ALIEN LOVE CALL" to meditate on its existential phrase: "Can't be the only one."

SET LIST
"ENDLESS"
"UNDERWATER BOI"
"BLACKOUT"
"DON'T PLAY"
"MYSTERY"
"T.L.C. (TURNSTILE LOVE CONNECTION)"
"ALIEN LOVE CALL"

MUSICIANS
Pat McCrory: Guitar
Franz Lyons: Bass
Daniel Fang: Drums, Percussion
Brendan Yates: Vocals, Keys, Percussion
Brady Ebert: Guitar

CREDITS
Video: Sunny Singh (hate5six)
Audio: Paul Mercer
Installation: "ALIEN LOVE RESPONSE" by John Scharbach

TINY DESK TEAM
Producer: Lars Gotrich
Video Producer: Maia Stern
Audio Mastering: Josh Rogosin
Tiny Production Team: Bob Boilen, Bobby Carter, Kara Frame, Joshua Bryant, Sofie Hernandez-Simeonidis
Executive Producer: Keith Jenkins
Senior VP, Programming: Anya Grundmann

#nprmusic #tinydesk #turnstile

Tupac Disses Nas in Interview at After Party! Hotney 4 Vues • 4 années depuis

Tupac with Death Row Disses Nas in Interview at MTV Music Awards!
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Tupac Amaru Shakur (/ˈtuːpɑːk ʃəˈkʊər/ TOO-pahk shə-KOOR;[1] born Lesane Parish Crooks; June 16, 1971 – September 13, 1996), also known by his stage names 2Pac and briefly as Makaveli, was an American rapper, songwriter, and actor.[2] Shakur has sold over 75 million records worldwide, making him one of the best-selling music artists of all time.[3] His double disc albums All Eyez on Me and his Greatest Hits are among the best selling albums in the United States.[4] He has been listed and ranked as one of the greatest artists of all time by many magazines, including Rolling Stone which ranked him 86th on its list of The 100 Greatest Artists of All Time.[5] Consistently ranked as one of the greatest rappers ever, he was ranked number 2 by MTV in their list of The Greatest MCs of All-Time in 2006.[6] 2Pac is also ranked as the most influential rapper of all time.[7][8][9][10][11]

Shakur began his career as a roadie, backup dancer, and MC for the alternative hip hop group Digital Underground, eventually branching off as a solo artist.[12][13][14] The themes of most of Shakur's songs revolved around the violence and hardship in inner cities, racism and other social problems. Both of his parents and several other of his family were members of the Black Panther Party, whose ideals were reflected in his songs.

During the latter part of his career, Shakur was a vocal participant in the so-called East Coast–West Coast hip hop rivalry, becoming involved in conflicts with other rappers, producers and record-label staff members, most notably The Notorious B.I.G. and the label Bad Boy Records.[15]

On September 7, 1996, Shakur was shot multiple times in a drive-by shooting at the intersection of Flamingo Road and Koval Lane in Las Vegas, Nevada.[16] He was taken to the University Medical Center of Southern Nevada, where he died six days later.
Upon his release from Clinton Correctional Facility in 1995, Shakur immediately went back to song recording. He began a new group called Outlaw Immortalz. Shakur began recording his first album with Death Row and released the single "California Love" soon after.

On February 13, 1996, Shakur released his fourth solo album, All Eyez on Me. This double album was the first and second of his three-album commitment to Death Row Records. It sold over nine million copies.[68] The record was a general departure from the introspective subject matter of Me Against the World, being more oriented toward a thug and gangsta mentality. Shakur continued his recordings despite increasing problems at the Death Row label. Dr. Dre left his post as house producer to form his own label, Aftermath. Shakur continued to produce hundreds of tracks during his time at Death Row, most of which would be released on his posthumous albums Still I Rise, Until the End of Time, Better Dayz, Loyal to the Game and Pac's Life. He also began the process of recording an album with the Boot Camp Clik and their label Duck Down Records, both New York – based, entitled One Nation.[69]

On June 4, 1996, he and Outlawz released the diss track "Hit 'Em Up", a scathing lyrical assault on Biggie and others associated with him. In the track, Shakur claimed to have had sexual intercourse with Faith Evans, Biggie's wife at the time, and attacked Bad Boy's street credibility. Shakur was convinced that some members associated with Bad Boy had known about the '94 attack on him beforehand due to their behavior that night and what his sources told him. After the attack, Shakur immediately accused Jimmy Henchman (an associate of Bad Boy CEO Sean Combs) of orchestrating the attack, according to a 2005 interview with Henchman in Vibe magazine. After the attack, Shakur therefore aligned himself with Suge, Death Row's CEO, who was already bitter toward Combs over a 1995 incident at the Platinum Club in Atlanta, Georgia, which culminated in the death of Suge Knight's friend and bodyguard, Jake Robles; Knight was adamant in voicing his suspicions of Combs' involvement.[70]

Collaborator Buckshot claimed in 2015 that Shakur defended him against Suge Knight, who had insisted that the East Coast rapper could not come with him to Las Vegas on the grounds of the ongoing hip hop rivalry. Shakur asserted that he would not board the plane unless accompanied by Buckshot and was described by the fellow rapper as looking "discomforted" while they recorded a song together in a studio after Shakur "tore up the plane tickets".

Thee Sinseers: Tiny Desk (Home) Concert Hotney 2 Vues • 4 années depuis

The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music's Tiny Desk (home) concerts, bringing you performances from across the country and the world. It's the same spirit — stripped-down sets, an intimate setting — just a different space.

Felix Contreras | May 2, 2022
To appreciate the magic of a performance from Thee Sinseers, you have to understand the co-mingling of Chicano and African American communities in post-World War II, Southern California. Living in the same neighborhoods, these communities created a virtual symphony of R&B, mariachi and boleros. And what you hear in this California band's Tiny Desk (home) concert, as they perform among plants in a flower shop, builds on a legacy of music that became known as "oldies but goodies" in the Chicano community.

Right from the start, band leader and vocalist Joey Quiñones and his crew dig deep with their original songs that pay homage to the oldies in a way that evokes my own memories of lowrider car shows and lazy Sunday afternoons at Roeding Park in Fresno, Calif. "What's His Name" features a delicate falsetto that was popular in 1950s R&B. The short horn parts and the doo-wop background vocals fall into a call and response backdrop for lyrics about a broken heart.

There is a very real connection in this set between the passionate vocals of the best R&B ballads and mariachi ranchera, both borrowing from the emotional devastation of Italian opera. That's all on display in "Hold On," which makes us question how we have the power to keep on living. Particular attention has to be paid to vocalist Adriana Flores' delicate pleading on "Lovin You," which crescendos into a blown out ballad powered by a tight, shouted chorus from the entire band.

SET LIST
"What's His Name"
"Hold On"
"Lovin' You"
"There Must Be Something"

MUSICIANS
Joey Quiñones: vocals, keys
Adriana Flores: vocals
Christopher Manjarrez: bass
Francisco Flores: guitar
Bryan Ponce: guitar, vocals
Luis Carpio: drums, vocals
Eric Johnson: saxophone
Joseluis Jimenez: trombone
Steve Surman: saxophone

CREDITS
Director/Editor: Bryan Ponce
Camera: Anthony Ramirez, Rosario Briseño
Recording Engineer: Brian Gazo
Mixed by: Joey Quiñones
Location: Floreria Primavera

TINY DESK TEAM
Producer: Ana Sayre
Video Producer: Kara Frame
Audio Mastering: Josh Rogosin
Tiny Production Team: Bob Boilen, Bobby Carter, Joshua Bryant, Michael Zamora, Maia Stern, Ashley Pointer
VP, NPR Music: Keith Jenkins
Senior VP, Programming: Anya Grundmann

#NPRMusic #TinyDesk #TheeSinseers

Reign In Blood - The Slayer Story ┃ Documentary Hotney 1 Vues • 4 années depuis

On October 7th 1986, one of the most iconic records of a generation would send shockwaves through the music industry. It was such a controversial album, radio stations wouldn’t play it and Columbia Records refused to release it due to a song called Angel Of Death. Even when the record was released by Geffen, they refused to even put their logo on it.

#Slayer #ReignInBlood #Documentary

That album would be called Reign In Blood by Slayer. Arguably the most influential Thrash Metal band of all time. They’ve been attacked by religious groups, accused of being Satanic and faced a lawsuit that involved murder. Yet despite this, they are now a household name with 12 studio albums under their belt, millions of records sold worldwide and a legacy that will surely live on through the ages.

Slayers album covers alone were enough to trigger backlash from labels, parents, and Christian groups around the world, some of their song titles and lyrics would even have them pinned as Nazi sympathisers. We’ve seen similar stories about bands having links to Satanism when Black Sabbath arrived in 1968 and KISS in 1973 when people thought it was an acronym for Knights In Satan's Service. Slayer, however, played this to their advantage, they wanted to shock people, they wanted to stand out from the crowd, that’s exactly what they did and this is their story.

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