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Adrian Quesada: Tiny Desk Concert Hotney 3 Streams • 10 months ago

This Sept. 15 to Oct. 15, NPR Music celebrates artists from all corners of Latinidad with an 'El Tiny' takeover.

Felix Contreras | September 30, 2025
Adrian Quesada’s body of work reflects a restless creativity. The resume for the Austin, Texas-based musician, producer and composer includes Grupo Fantasma, Black Pumas, Brownout and any number of collaborations. He’s constantly looking for new sounds and voices.

So what does Quesada bring to the Tiny Desk? Four singers, four boleros. Angélica Garcia, Flor de Toloache’s Mireya Ramos, Trish Toledo and iLe each offer something distinct and personal to these songs originally found on two volumes of Quesada’s Boleros Psicodélicos.

Bolero, a Cuban song form that has not changed much over the centuries, has always been an opportunity for vocalists to inhabit the undeniable drama of the lyrics. Heartbreak is a big deal in boleros and it’s easy (and common) for vocalists to overdo the drama with overwrought vocal gymnastics. That is not the case here. Each vocalist has the discipline and artistic vision to insert just enough of themselves to leave an impression, but not overstate their case.

In the right hands, and voices, vocalists can bring back memories of pain and nostalgia — just hearing a deeply meaningful lyric belted out in just the right way can bring a grown man to tears. Not that this happened to me during these performances. I’m just saying.

SET LIST

“Ídolo (feat. Angélica Garcia)”
(written by Adrian Quesada, Angélica Garcia and Dan Ubick)

“Tus Tormentas (feat. Mireya Ramos)”
(written by Adrian Quesada, Mireya Ramos, Andres “Velcro” Ramos)

“Hoy Que Llueve (feat. Trish Toledo)”
(written by Roberto Cantoral García)

“Mentiras Con Cariño (feat. iLe)”
(written by Adrian Quesada and iLe)

MUSICIANS
Adrian Quesada: guitar
Angélica Garcia: vocals
Mireya Ramos: vocals, violin
Trish Toledo: vocals
iLe: vocals
Joshy Soul: keys
Ismael Cancel: congas, shakers
Terin Ector: bass
Jay Mumford: drums
Kiku Enomoto: violin
Andrew Griffin: viola
Allison Seidner: cello

TINY DESK TEAM
Producer: Felix Contreras
Director/Editor: Kara Frame
Audio Technical Director: Josephine Nyounai
Host/Series Producer: Bobby Carter
Videographers: Kara Frame, Maia Stern, Joshua Bryant, Sofia Seidel
Audio Engineer: Jay Czys
Production Assistants: Dora Levite, Dhanika Pineda
Photographer: Zayrha Rodriguez
Series Editor: Lars Gotrich
Tiny Desk Team: Josh Newell, Ashley Pointer
Executive Producer: Suraya Mohamed
Series Creators: Bob Boilen, Stephen Thompson, Robin Hilton

#tinydesk #nprmusic #adrianquesada

Support for NPR Music and El Tiny comes from Moises. Powerful AI tools created by musicians, for musicians. Learn more at Moises.AI

“This Time I’m Saying Everything” – Ray J on Funky Friday Hotney 3 Streams • 3 months ago

Ray J returns to Funky Friday with unfinished business and nothing off limits. In this explosive conversation, he breaks down the strategy behind his viral “crash out” moments, defends his family, and opens up about industry rumors, lawsuits, and the real cost of fame. From business moves and money management to wild stories involving celebrities and controversy, Ray J gets brutally honest about where he’s been and where he’s headed next. This is a raw, unfiltered sit-down about loyalty, legacy, and surviving the spotlight.

00:00 – Macys Fit Check
03:50 – Ray J Returns to Funky Friday & Addresses the Internet Head-On
09:48 – “Crash Out” Strategy Explained
31:27 – The Fallout Nobody Saw Coming
49:02 – Why Ray J Says He’s Done Ranting and Moving Different Now
50:41 – The Brandy Book, Family Pressure, and Protecting the Legacy
01:02:30 – Beyoncé & Jay-Z Rumors: What Ray J Claims Really Happened
01:20:23 – The Kardashians Lawsuit: Separating Facts From Internet Narratives
01:39:56 – Lawyers, Industry Politics, and Feeling Blackballed in Hollywood
01:42:25 – Victim Claims, Legal Strategy, and Fighting Back Publicly
01:56:52 – The Kanye Mask Meeting: What Went Down Behind Closed Doors
02:07:42 – Health, Stress, and the Real Cost of Fame on Family Life
02:29:40 – Money Moves, Trust Funds, and Protecting Wealth Long-Term
02:34:28 – R&B Beef, AI Music, and the Future of the Industry
02:39:14 – Legacy, Ownership, and Michael Jackson Stories That Changed Everything
02:45:30 – Chris Brown, Bail Bonds, and Ray J’s Wildest Confessions Yet

📲Follow Cam Newton on Social Media!
Tiktok: https://www.tiktok.com/@funkyfriday
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🎩Shop all my hand made hats:
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🎞 Host / Executive Producer:
Cam Newton

Producer
Jauné Jackson
📸https://www.instagram.com/jaunejackson/

Director
Richard E. Steward II
📸https://www.instagram.com/theycallme.dot

Talent Producer
Alaitra Mcgrone
📸https://www.instagram.com/alaitra.mcgrone

Camera Operators
Jean-Pierre Chapoteau
📸https://www.instagram.com/jchapoteau

Director of Photography
Vashon Revils
📸https://www.instagram.com/v2r_films

Editors
Richard E. Steward II
📸https://www.instagram.com/theycallme.dot
Jean-Pierre Chapoteau
📸https://www.instagram.com/jchapoteau

Location Sound / Sound Mix and Master:
Troy Hermes
📸https://www.instagram.com/troyhermes

Production
Iconic Saga
📸https://www.instagram.com/iconicsaga

When Rockstars Can’t Take a Joke…Just Ask Weird Al! Hotney 3 Streams • 2 months ago

The story of the musicians who turned down Weird Al's request to parody their songs.

Podcast on Apple Podcasts
https://podcasts.apple.com/ca/....podcast/the-rock-n-r

My second YouTube Channel
https://www.youtube.com/@RockNRollTrueStories2

For every hit parody like "Eat It" or "Amish Paradise," there’s a story of a music legend giving Weird Al the green light. Getting that call from Al has become a badge of honor, a sign that your song has become part of pop culture, ready to be reimagined with lyrics about food, TV, or total nonsense. For decades, artists have lined up to let Al work his magic.

But what about the songs we never got to hear? The parodies personally shut down by some of the biggest artists on the planet? For a man who built a career as pop’s court jester, there are surprising moments when the kings and queens of the charts weren’t laughing. These are the stories of the parodies Weird Al was forbidden to make.

To understand why a "no" matters, you have to understand Al’s most important self‑imposed rule: he almost always asks for permission. Legally, parody often falls under “fair use,” but record labels and publishers love to ignore that, especially on YouTube. Early on, Al didn’t always ask, but his longevity is built on more than clever rhymes; it’s built on respect. He wants to be morally and relationally in the clear, not just legally safe.

That approach has saved him from feuds and lawsuits and cemented his reputation as one of the nicest guys in music. Most artists, from Nirvana to Chamillionaire, saw being asked as an honor. But that courtesy also gives artists the power to say "no." And when they do, Al walks away. The undisputed king of these rejections was Prince.

Al pitched ideas for “1999,” “When Doves Cry,” and “Kiss.” Every time, Prince’s camp answered with a decisive no. Al never got a real explanation. Ironically, Prince apparently laughed at “Fat,” Al’s parody of Michael Jackson’s “Bad,” but he still didn’t want his own songs touched. He was notoriously protective, even about other artists covering his work, once saying that covering a song makes the original “not exist anymore.”

Some rejections were more personal than mysterious. Paul McCartney shut down “Chicken Pot Pie,” a parody of “Live and Let Die,” because he didn’t want to promote meat. The joke was perfect, but McCartney, a committed vegetarian, offered “Tofu Pot Pie” instead. Al, also a vegetarian, passed because it just didn’t sing right.

Even close collaborators sometimes drew lines. Michael Jackson approved “Eat It” and “Fat,” even letting Al use the “Bad” subway set. But he refused a “Black or White” parody called “Snack All Night,” feeling the original’s message about racial harmony was too important to turn into a joke. Al understood completely.

Then there’s “Amish Paradise.” Al believed Coolio’s camp had approved the “Gangsta’s Paradise” parody, only to face public outrage when Coolio claimed he never signed off. Al was mortified and later apologized, while Coolio eventually admitted he’d overreacted.

Not every "no" was absolute. Eminem allowed “Couch Potato,” a “Lose Yourself” parody, on Al’s album but blocked a video, worried about his song’s legacy. Daniel Powter initially denied a “Bad Day” parody, then changed his mind too late—by then, Al had moved on to “White & Nerdy.” And James Blunt loved “You’re Pitiful,” but his label killed the release, so Al posted it online for free.

In the end, these rejections don’t weaken Weird Al’s legacy; they enrich it. They show an artist who values respect as much as laughs—and sometimes, the parodies we never got say as much as the ones we did.

Have a video request or a topic you'd like to see us cover? Comment below or send in your idea: https://bit.ly/3stnXlN

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#weirdal #prince

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