Latest videos

Home
Articles

CENTRAL CEE X JRK 19 - BOLIDE NOIR (MUSIC VIDEO) Hotney 9 Streams • 2 years ago

Listen: https://centralcee.lnk.to/BolideNoir

Follow Central Cee 👇
Instagram: https://www.instagram.com/centralcee
Tik Tok: https://www.tiktok.com/@centralcee
Twitter: https://twitter.com/centralcee
Snapchat: https://www.snapchat.com/add/centralcee

Follow JRK 19 👇
Instagram: https://www.instagram.com/jrk19__mav
Tik Tok: https://www.tiktok.com/@jrk19mav
Snapchat: https://www.snapchat.com/add/jrkmav1.9

Produced By Harrison
Directed by @JerryPHD

LYRICS

J’brille comme une étoile,
Avant d’le dégainer moi j’le nettoie,
J’ai pris du cash, donc JRK a pris du poid,
Sur ta tre-mon, nous on est 3
Il faut l’argent du beurre,
Il faut l’bonheur, il faut la gloire,
Le pe-ra j’le prends pas à cœur,
J’me dis « imagine si ça foire »

Imagine si ça foire, imagine si ça l’fait,
On a ouvert des foies, on a laissé des plaies,
J’peux pas être ****phobe,
Ma bitch, elle kiffe les deux
On a cassé la porte on a pas fait la queue,
On a vesqui les bleus, on a coffré des bleus,
Tu connais l’enjeu
(Gamin, la prison c’est pas un jeu)

On fait pas la fiesta, Rolex au poignet
Y’a pas d’festina
Mais qu’est-ce qui y’a ?
Y’a un problème, dis moi
(Y’a un problème dis moi)

SVR not a regular car
London to Paris a 6 hours drive
But I do it in a 4 in half
Whip the lamb like it’s formula 1

When you been through all the things that I have
Everything else is a walk in the park
I told them I rap and before they would laugh
Now we walk in the club and they know who we are

I’m not shaking my leg but my jewellery dance
In America sat by the pool with a jawn
Lucky I never been jail
Immigration asking if there’s cases I’ve caught in the past

J’parle mal j’suis impoli moi,
Jsuis tout seul dans le bolide noir,
S’en sortir c’est la seule histoire
Aux arrivants j’ai plus d’espoir
Liberté pour mes reufs, j’espère
Sur la route du succès faut pas que j’me perde,
Combien de temps j’ai pas vu mon père,
J’revais de finir à Manchester

Cava?
Everything good, I made it out the hood
With my bros so we stick with each other
If im fucking a bitch, I don’t trust her enough
Gotta cover my dick with a rubber
Buy a whip for my pops and my grandma
My brother, my cousin, my chick and my mother
Remember back then I would suffer
And now I got cribs in four different boroughs

I’m in Paris, tryna drop rizz
But they don’t understand ‘cos they’re speakin French
Why she keep on saying “wesh”?
I’m just tryna be direct
Rappers see me as threat
So they leaving me on read
When they put me on their song
They gotta write their verse again
They gotta go pick up their pen

On fait pas la fiesta, Rolex au poignet
Y’a pas d’festina
Mais qu’est-ce qui y’a ?
Y’a un problème, dis moi
(Y’a un problème dis moi)

SVR not a regular car
London to Paris a 6 hours drive
But I do it in a 4 in half
Whip the lamb like it’s formula 1

When you been through all the things that I have
Everything else is a walk in the park
I told them I rap and before they would laugh
Now we walk in the club and they know who we are

I’m not shaking my leg but my jewellery dance
In America sat by the pool with a jawn
Lucky I never been jail
Immigration asking if there’s cases I’ve caught in the past

J’parle mal j’suis impoli moi,
Jsuis tout seul dans le bolide noir,
S’en sortir c’est la seule histoire
Aux arrivants j’ai plus d’espoir
Liberté pour mes reufs, j’espère
Sur la route du succès faut pas que j’me perde,
Combien de temps j’ai pas vu mon père,
J’revais de finir à Manchester

Conductor Jonathon Heyward keeps breaking classical music barriers Hotney 8 Streams • 2 years ago

Lara Downes | Aug 29, 2024

In September 2023, Jonathon Heyward began a 5-year term as the music director of the Baltimore Symphony Orchestra. The appointment made him, at 31, the youngest conductor of any major American orchestra, and the first Black music director in the organization’s 107-year history. He stepped into trailblazing shoes; his predecessor, Marin Alsop, had become the first woman to lead a major American orchestra when she took the job 16 years earlier.

I have this theory, which I shared with Jonathon during this conversation. I think that any of us who have ever gone first -- who’ve ever had to break any barrier or glass ceiling, ever felt uninvited or unseen -- has an innate and intense need to create a more inclusive world. As a boy in South Carolina, Jonathon first encountered classical music via his public elementary school’s music program, and he’s picked up the work of public education and engagement with a wholehearted energy. In Baltimore, he’s embraced the OrchKids program, which Alsop founded early in her tenure, inviting underserved youth across the city to experience music as a vehicle for developing creative – and life — skills. He’s committed not only to opening the doors of the symphony hall to new and diverse audiences, but also to physically meeting those audiences where they are. The orchestra performs in multiple community spaces throughout a city that struggles with severe socioeconomic disparities and racial divisions.

It might seem unrealistic to think that music can play a role in healing the troubles of our cities, our nation and our world. But if you believe it, and if you work hard to prove it, the more clearly you realize how very true it is. Music, which echoes creative expression through centuries of human troubles, can ignite a flame of wonder, imagination and emotional well-being that just might have the power to heal people and their communities.

This summer, Jonathon started another new job: music director of New York’s Festival Orchestra of Lincoln Center, formerly known (since 1973) as the orchestra of the Mostly Mozart Festival. The rebranding is part of a radical transformation at Lincoln Center, driven by a mission to create programming and policies that make the arts accessible to the city’s diverse population. Jonathon’s first concerts with the orchestra were focused on invitation and inclusion. A “Symphony of Choice” concert let audience members vote on which pieces the orchestra should play. “City of Floating Sounds,” by the Chinese-born composer Huang Ruo, came with an app that allowed people to hear musical fragments all over the city before they came to the live performance.

Jonathon is full of ideas about how to change the way people perceive and experience music and what it means. When you go first, you can carve a new path. And when you’re the youngest, there’s a long path ahead. It will be thrilling to watch Jonathon Heyward move forward.

WATCH OTHER EPISODES OF AMPLIFY
https://www.youtube.com/playli....st?list=PLy2PCKGkKRV

#jonathanheyward #amplify #nprmusic

Pygmy Lush: Tiny Desk Concert Hotney 8 Streams • 2 years ago

Lars Gotrich | August 30, 2024
How rare is it for the same group of musicians to create not one but two beloved bands of the punk scene? Around the turn of the millennium, pg. 99 pushed heavy music to its most chaotic extremes, inspiring tattoos and the next generation of hardcore. Then a few members of pg. 99 started Pygmy Lush — something quieter and sweeter, though no less experimental.

Pygmy Lush never broke up, life just happened; this Tiny Desk is the atmospheric folk band’s first live performance in seven years. While its catalog can get noisy, Pygmy Lush here relies on haunted campfire singalongs from 2008’s Mount Hope (“Asphalt,” “Dead Don’t Pass” and “Hard to Swallow”) and “It’s a Good Day to Hide” from its split LP with the hardcore band Turboslut. Like those records, the foundations here are simple — acoustic guitars, looped melodies, repeated phrases, hushed vocals — but its gentle swells allow small feelings to grow roots and wander.

Blood and chosen family surrounds this set. Chris and Mike Taylor’s mother came to see Pygmy Lush perform for the very first time — the way they lit up when she entered the NPR Music office is too precious for words. Johnny Ward’s mother sat beside her. Mike Widman’s eldest daughter sings on “Hard to Swallow.” And, because Pygmy Lush has always featured an orbit of collaborators, Aimée Argote from the shapeshifting indie-rock band Des Ark plays piano and sings — their touch is so delicate, yet gives the monochromatic mood so much color.

Pygmy Lush closes this Tiny Desk with “I’ll Wait with You,” a personal request of mine. In years previous, I’ve seen the band howl its catharsis with deafening volume: “To the end,” a declaration of friendship forged in and through hardship. An unbreakable bond. Here, the scream becomes a smile, a promise.

SET LIST
“Asphalt”
“It’s a Good Day to Hide”
“Dead Don't Pass”
“Hard to Swallow”
“I'll Wait with You”

MUSICIANS
Chris Taylor: vocals, guitar
Johnny Ward: vocals, guitar
Mike Taylor: guitar, vocals
Mike Widman: bass
Andy Gale: drums
Aimée Argote: piano, vocals
Ezra-June Widman: vocals

TINY DESK TEAM
Producer: Lars Gotrich
Director/Editor: Kara Frame
Audio Technical Director: Josephine Nyounai
Host/Series Producer: Bobby Carter
Videographers: Kara Frame, Mitra I. Arthur, Alanté Serene, Elizabeth Gillis
Audio Engineer: Carleigh Strange
Production Assistant: Ashley Pointer
Photographer: Estefania Mitre
Tiny Desk Team: Hazel Cills, Maia Stern, Joshua Bryant
Executive Producer: Suraya Mohamed
Series Creators: Bob Boilen, Stephen Thompson
VP, Visuals and Music: Keith Jenkins

#tinydesk #nprmusic #pygmylush

Chris Thile: Field Recordings x Aspen Ideas Festival Hotney 8 Streams • 2 years ago

Suraya Mohamed | September 4, 2024
Footpaths and a man-made stream bisect Anderson Park, an open grassy area in the middle of the Aspen Ideas Festival campus. An 800-pole bamboo sculpture was under construction nearby where Nickel Creek’s Chris Thile, violinist Sofia Hashemi-Asasi, and students from the Aspen Music School were setting up for this performance.

Thile was excited as he coached the group through a rehearsal of Johann Sebastian Bach’s Concerto for 2 Violins in D Minor, BWV 1043, 3rd Movement. Soon, an audience gathered on the hill to watch the concert and we were finally ready to begin. The long grass rustled close to our microphones and added a texture of tranquility to this joyful performance.

Afterward, Thile played two of his own compositions, “Dionysus” and “Ecclesiastes 2:24.” Before his paean to the god of wine-making, he said “So I think this is undeniably a nice place, right here, part of the natural world that we get so little of these days and it brings to mind wine for me, because I feel like that's one of the most successful collaborations humankind has had with the natural world.”

Before wrapping things up, Thile got emotional. “It’s good for a person to eat and drink and take pleasure in their work, and I don't know when I’ve made music with people who were taking more pleasure in their work, than these extraordinary young musicians I just got to play the third movement of the Bach double with,” Thile said. “I feel very very lucky in the moment.”

SET LIST
Bach: Concerto for 2 Violins in D Minor, BWV 1043, 3rd Movement
“Dionysus”
“Ecclesiastes 2:24”

MUSICIANS
Chris Thile: mandolin, vocals
Sofia Hashemi-Asasi: violin soloist
Madelyne Garnot: violin
John Lee: violin
Martha Mulcahy: viola
Ha eun Song: cello
Chad Rogers: double bass

NPR TEAM
Director: Mito Habe-Evans
Editor: Alanté Serene
Videographers: Tsering Bista, Mito Habe-Evans
Audio Engineer: Josh Newell
Post-Production Coordinator: Tsering Bista
Supervising Editor: Becky Lettenberger
Executive Producer: Suraya Mohamed
VP, Visuals and Music: Keith Jenkins

ASPEN IDEAS TEAM
Senior Producer: Ava Hartmann
Videographers: Ryan Lohr, Will Sardinsky
Audio Engineer: Michael Milota
Audio Services Director: Matt Windholz
Festival Director: Graham Veysey

#nprmusic #fieldrecordings #christhile

Showing 265 out of 1747

Please note that if you are under 18, you won't be able to access this site.

Latest videos

Language