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AR-AB: The Worst Criminal in Hip Hop History Hotney 5 Streams • 4 years ago

Thanks to The Ridge Wallet for sponsoring this video! Check them out here: https://ridge.com/hiphopmadness
Use Code “HIPHOPMADNESS” for 15% off your order

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Since its inception, the lines between what’s real and what’s discussed on record in hip-hop has always been permeable. Often, rappers will conjure up tales from a treacherous past in order to illustrate not just how far they’ve come, but every potential hazard that they had to circumvent on the road to success. And depending on if you’re an elder statesman like Jay Z or a younger artist such as 21 Savage, the amount of space between you and your past conduct on the street can vary wildly.

But no matter the case, the general perception is that anything you talk about within the confines of your rhymes is in a reflective sense. As if you were still actively partaking in illegal activity, it’d be pretty inadvisable to draw attention to whatever enterprise you’re in and alert the cops. Particularly when your life as an MC has meant that there are now more eyeballs on you than ever before.

Well, while this may seem like a simple case of common sense to most, there is a subset of the hip-hop world for whom keeping it real has gone wrong. Very wrong.

Believing that authenticity is everything and knowing that it can translate to a whole host of sales, some rappers have interwoven the reality of their worlds with their artistry. And in doing so, did all but tell the long arm of the law where the bodies were buried or their contraband is stored.

A phenomenon first detailed by MF DOOM & Mr Fantastik as they discussed “Rap snitches, telling all they business, sit in the court they be they own star witness,” their warning about the potential pitfalls of speaking too freely and getting “the whole label sent up for years” proved to be less of an effective PSA than they’d probably hoped for.
As in recent years, far too many rappers have allowed there to be a correlation between the dirt they were doing and what they were discussing on their tracks. In essence, making them hip-hop’s dumbest criminals.

#hiphopmadness

https://instagram.com/hiphopmadness
https://twitter.com/hiphopmadness

Narrated by: Spencer Pearman
Written by: Robert Blair
Edited by: Roman Bill
Music by: Josh Petruccio

Business Inquiries: contactHipHopMadness@gmail.com

© HIPHOPMADNESS 2022. All rights reserved

Lizzo: NPR Music Tiny Desk Concert Hotney 5 Streams • 4 years ago

Watch Lizzo play "Cuz I Love You", "Truth Hurts" and "Juice" at the Tiny Desk.

Follow Lizzo
https://facebook.com/LizzoMusic
https://twitter.com/lizzo
https://instagram.com/lizzobeeating
https://soundcloud.com/lizzomusic
http://lizzomusic.com

More from NPR Music:
Tiny Desk Concerts: https://www.npr.org/tinydesk
Twitter: https://twitter.com/nprmusic
Instagram: https://www.instagram.com/nprmusic

July 29, 2019 | Stephen Thompson -- Lots of musicians cut corners during sound check. It's a time to make sure everyone's in tune and in balance, everyone's blocked properly for the cameras, and every piece of recording equipment is doing its job the way it's supposed to, but it's not as if anyone's rolling tape for posterity. Sometimes, Tiny Desk artists do their sound check in shabby street clothes before ducking into the green room to don their fancy performance wear. It's standard procedure, and no big deal at all.

But from the second Lizzo entered the room, fresh off a long interview with Fresh Air's Terry Gross, she was on: all charm, vibrant and gracious, dressed to the nines and ready to sing her face off. In rehearsal, Lizzo belted out "Cuz I Love You," the title track from her wonderful new album, with nothing off her fastball; if you were standing six feet away at the time, you'd swear the gale force of her voice was blowing your hair back. She was the star and the mayor rolled into one, at once ingratiating and commanding, as an audience of maybe 25 milled around and prepared to let in the crowd.

Once we opened the room, there were as many people as we've ever had at a Tiny Desk concert, hanging on Lizzo's every word as she held court and waited for the cameras to roll. She literally needed no introduction; one of us usually says a few words and gets the crowd to applaud for the start of the performance, but Lizzo was master of ceremonies from the second she walked in. Naturally, she needed all of two seconds to blow everyone's hair back once more.

Everything around the singer must have felt alien to her, starting with "this tiny-ass desk" and continuing through the crowd — perched mere feet away, with only a bit of office furniture and a few cameras as a barrier — and a backing band assembled, at Bob Boilen's request, just for the occasion. Lizzo usually performs with dancers and a backing track; the former, though much-missed here, stood in the crowd and bobbed along, while the latter got mothballed in favor of slyly funky arrangements. Together, Lizzo and that brand-new band preside over three songs from Cuz I Love You: the aforementioned title track, "Truth Hurts" (so winning, in spite of its repeated references to the Minnesota Vikings) and the literal and figurative show-stopper, "Juice," which gave her the opportunity to pick up the flute she'd been waiting the whole set to bust out.

SET LIST
"Cuz I Love You"
"Truth Hurts"
"Juice"

MUSICIANS
Lizzo: vocals, flute; Devin Johnson: keyboard; Dana Hawkins: drums; Vernon Prout: bass; Walter Williams: guitar

CREDITS
Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Beck Harlan, Bronson Arcuri; Associate Producer: Bobby Carter; Photo: Claire Harbage/NPR

Nala Sinephro - Space 1.8 (Full Album) Hotney 5 Streams • 4 years ago

I am excited to share ‘Space 1.8’, my debut album out now on Warp Records.
Available to buy and stream here: https://nalasinephro.ffm.to/space-1-8

Space 1 - 00:00 - 04:08
Space 2 - 04:08 - 09:02
Space 3 - 09:02 - 10:17
Space 4 - 10:17 - 16:37
Space 5 - 16:37 - 20:37
Space 6 - 20:37 - 25:06
Space 7 - 25:06 - 26:47
Space 8 - 26:47 - 44:22

Performed with Shirley Tetteh, James Mollison, Edward Wakili-Hick, Nubya Garcia, Dwayne Kilvington, Lyle Barton, Twm Dylan, Jake Long, Rudi Creswick, and Ahnansé.

https://www.nalasinephro.com/

Sign up to Nala Sinephro's mailing list: https://www.nalasinephro.com/Newsletter
Follow Nala Sinephro on Instagram: https://www.instagram.com/nalasinephro/

Space 1
Produced, Performed, Recorded by Nala Sinephro (Modular Synths, Synths, Harp)
Mixed by Nala Sinephro
Mastered by Rick David

Space 2
Performed by James Mollison (Saxophone), Lyle Barton (Piano), Shirley Tetteh (Guitar), Nala Sinephro (Synths), Jake Long (Drums), Rudi Creswick (Double Bass)
Composed by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed by Nala Sinephro
Mastered by Rick David

Space 3
Performed by Nala Sinephro (Modular Synths, Synths), Edward Wakili-Hick (Drums), Dwayne Kilvington (Synth Bass)
Produced by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed by Nala Sinephro
Mastered by Rick David

Space 4
Performed by Nubya Garcia (Saxophone) , Lyle Barton (Keys), Nala Sinephro (Synths), Jake Long (Drums), Twm Dylan (Double Bass), Nubya Garcia appears courtesy of Concord Jazz
Composed by Nala Sinephro
Recorded by Ben Bell and Nala Sinephro
Mixed by Rick David and Nala Sinephro
Mastered by Rick David

Space 5
Performed by Nala Sinephro (Modular Synths, Synths, Harp), Ahnansé (Saxophone), Shirley Tetteh (Guitar)
Produced by Nala Sinephro
Recorded by Nala Sinephro and Rick David
Mixed by Nala Sinephro
Mastered by Rick David

Space 6
Performed, Composed by Nala Sinephro (Synthesizer), James Mollison (Saxophone), Jake Long (Drums)
Produced by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed by Rick David and Nala Sinephro
Mastered by Rick David

Space 7
Produced, Performed, Recorded by Nala Sinephro (Modular Synths, Synths, Harp)
Mixed by Nala Sinephro
Mastered by Rick David

Space 8
Performed by Nala Sinephro (Modular Synths, Synths, Harp) and Ahnansé (Saxophone)
Produced by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed and Mastered by Nala Sinephro

#NalaSinephro #Space1.8 #WarpRecords

Trueno: Tiny Desk (Home) Concert Hotney 5 Streams • 4 years ago

From Sept. 15 through Oct. 15, Tiny Desk is celebrating Latinx Heritage Month with an "El Tiny" takeover, featuring Jessie Reyez, Susana Baca and more musicians from all corners of Latinidad.

Vita Dadoo | September 27, 2022

With his roots in La Boca neighborhood of Buenos Aires and arms outstretched to the rest of the world, Trueno is rewriting the playbook for Latin American hip-hop. Wearing a cap for the soccer team Boca Juniors and moving among the spaces of his childhood, the 20-year-old, premier Argentinian freestyler shows us exactly where he's from in his Tiny Desk (home) concert, an intimate performance that plays like a meditation on the music and the Argentina that has shaped him.

Trueno's almost autobiographical set begins with "DANCE CRIP," the first single from his recent album, BIEN O MAL, and an ode to The Sugarhill Gang's 1979 hit "Rapper's Delight." Trueno's affinity for old school hip-hop is something the rapper returns to throughout his set, while also invoking percussion-forward beats and tango motifs. Trueno follows up with the album's title track, before launching into an improvised freestyle. Underneath a mural that reads "La Boca resiste y propone" ("La Boca resists and proposes"), Trueno demonstrates his lyrical dexterity and emotional range, "Esto no lo puede hacer cualquiera, el vocero del ghetto conquistando la esfera," he raps, touting his neighborhood's resilience and his own.

Argentina as a place of celebration and lament is the thematic center of Trueno's performance. The show takes place at a conventillo, one of many Argentinian boarding houses and microcosms of multicultural communities. Trueno concludes his set with "TIERRA ZANTA," perhaps the most politically charged song in his album, which on record features the famous folk artist Victor Heredia. Here, Trueno calls out all the Andean nations by name, hinting at a larger global movement behind the song's boundaries.

SET LIST
"DANCE CRIP"
"BIEN O MAL"
Freestyle
"ARGENTINA"
"TIERRA ZANTA"

MUSICIANS
Trueno: vocals
Pedro Pasquale: guitar
Julian Gallo: bass
Augusto Durañona: keys
Nikko Taranto: drums
Carlos Salas: percussion
Caterina Finocchi: vocals
Anabella Marin: vocals
El Feli: vocals
Abel Manzotti: tuba

CREDITS
Executive Producers: SUR CAPITAL RECORDS (por Tierra Agencia)
Executive Producers: Jota Ayerza, Emiliano Delorenzi
Directors: Facu Von Coptel & El Dorado
Sound Engineer: Jonathan Vainberg
Mix & Master: Mariano Bilinkins
Music Director & Arrangements: Pedro Pasquale, Panchito Cia, Axel Introini
Sound Production Manager & Monitor Engineer: Santiago Compiano
Assistant Sound Mix: Ignacio Klappenbach
Line Producer: Tomás Medero
Cinematographer: Enzo Codaro
Location Manager: Diego Ledesma
Production Design: Nicolas Tavella
First AD: Lucas Galambos
Recording Assistants: Luciano Di Lorenzo, Franco Olivetto
Playback Engineer: Juan Ravassi
RF Engineer: Pablo Andres Gejman
Key PA: Nicolas Vicchio
PA: Gonzalo Abajas
Helper Location Manager: Pablo Chalup
2nd AD: Nicolás Dominikow
Gaffer: Federico Martini
Electrics: Matias Carneiro, Zequeira, Esteban Pereira
Key Grip: Nicolas Petroli
Grips: Hernan Terry Duro, Kike Velez, Ezequiel Mansilla
Cameramen: Ismael Eduardo Guagliardi, German Guagliardi, Diego Hernan Carini, Sabena Cristian Alberto, Ricardo Daniel Guadalupe, Julia Florencia Siarri, Ignacio Acevedo
DIT: German Covi
Assistant DIT: Paula Montenegro
Assistant Costume Designer: Yael Boltia Baltar
Helper Costume Designer: Tomas Lucio Martinez
Set Decorator: Milena Colombo
Post Production Coordinator & Editor: Juan Raimondi
Colorist: Alejandra Lescano
Extras: Pedro Peligro, Guido Andrés Penayo, Cristian Derrico, Tomas Inti Kuselman, Kmi 420, López Diego Sebastian, Campos Nahuel, Mateo Teiki

TINY DESK TEAM
Producer: Anamaria Sayre
Video Editor: Maia Stern
Audio Mastering: Josh Rogosin
Tiny Production Team: Bob Boilen, Bobby Carter, Kara Frame, Joshua Bryant, Marissa Lorusso, Hazel Cills, Ashley Pointer
VP, Visuals and Music: Keith Jenkins
Senior VP, Programming: Anya Grundmann

#nprmusic #eltiny #trueno #tinydesk

Maylee Todd: Tiny Desk (Home) Concert Hotney 5 Streams • 4 years ago

Bob Boilen | July 6, 2022
Maylee Todd’s (home) concert is filled with electronics, a window into a virtual world, and the first digital avatar to ever perform a Tiny Desk concert. Maylee introduces us to her avatar Maloo, and the songs presented here from Maylee Todd’s debut album Maloo are sung from the avatar's perspective.

Written during the pandemic, the album is about mental health and filled with multiple science fiction stories, including one about a programmable planet depicted in the “window’” above Maylee Todd’s head.

The electronic sounds that help tell these sci-fi tales include Maylee’s Tenori-on, a Yamaha instrument comprised of a panel of lights that, when touched, create patterns of sound. An iPhone pointing at Maylee’s face captures her reactions and expressions, which are then reflected in her avatar. Her musical partner Kyvita (Kyle Tan) accompanies her, adding textures from his synthesizers.

In the song “Dream With You” Maylee explains that as the avatar is living its life, it realizes, “my brain, it’s doing things that I don’t want it to do.” Maylee Todd explains that Maloo, “wrote a song, a breakup song saying bye bye to certain aspects that aren’t serving it anymore.”

Before her final song “Absolute Time and Space,” Maylee Todd makes a passionate plea: “Hold the ones you love dear to your heart, will ya! Cause time is passing by — we do not have absolute time and space — as it turns out — in these bodies.”

SET LIST
“Infinite Program”
“Grab Your Guts”
“No Classification”
“Dream With You”
“Absolute Time and Space”

MUSICIANS
Maylee Todd: vocals, synths, iPhone face tracking
Kyvita: bass, keys
Maloo (avatar): performance

CREDITS
Director and Editor: Mason Rothschild
Mix and Master: Jake Viator
Engineer: Chris Dwyer
Production Designer and AD: Leo Johnson
DP: Elisha Jakob Maltinski
Cam Op: Petra Wurzinger
Cam Op: Roderick Hale, Ron Vasquez
Art Director: Allison Jensen
Set Dresser: B Armstrong
Grip: Josh Brantner

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

#tinydesk #MayleeTodd #nprmusic

Catherine Russell: Tiny Desk (Home) Concert Hotney 5 Streams • 4 years ago

NPR Music's Tiny Desk series will celebrate Black History Month with Tiny Desk (home) concerts featuring legends in the world of R&B, jazz, gospel, and hip-hop. Each artist in this legacy lineup has helped to define Black music as we know it and will be performing a Tiny Desk concert for the first time.

Suraya Mohamed | February 11, 2022
Look around the GB's Juke Joint studio in Long Island City, N.Y. and you will see adornments from jazz singer Catherine Russell's home: a vintage Royal typewriter, a black dial phone, a red tiny desk and a striking Malian Bògòlanfini cloth that drapes the piano. Black and white photos of Billie Holiday and old-time big bands rest on the shelves and piano along with a copy of Russells' soon-to-be-released album, Send For Me, out April 1.

Two-color paintings hang on the back wall. One was purchased by Russell from a local Panamanian artist while visiting Bocas Del Toro, her father's birthplace. The other is from the studio's collection: an image of Willie Dixon, one of the fathers of the early blues.

Russell, a Grammy Award-winning vocalist, is one of the most recognized jazz artists performing today. Behind the mic, her satiny voice is robust and relaxed, and it's clear she and the band are having a ton of fun. They start this joyful set with a foot-stomping swing tune, "The Darktown Strutters' Ball." Written by the African American composer Shelton Brooks, this popular early jazz standard hasn't lost its bounce more than a century later.

Russell's music is informed by many early 20th century musicians, and especially inspired by the Black blues women of the 1920s. Her set highlights that influence with "He May Be Your Dog But He's Wearing My Collar" by vaudeville singer Rosa Henderson. She also sings a tune written by her father, Luis Russell, a renowned pianist and composer who was Louis Armstrong's long-time musical director. "Lucille" is a playful love story about Armstrong's fourth and longest-lasting marriage. The set ends with an inspiring bluesy song, "You've Been A Good Old Wagon," one of the first ragtime songs ever published.

SET LIST
"The Darktown Strutters' Ball"
"He May Be Your Dog But He's Wearing My Collar"
"Lucille"
"You've Been A Good Old Wagon"

MUSICIANS
Catherine Russell: vocals
Matt Munisteri: guitar, banjo, musical director
Tal Ronen: bass
Mark McLean: drums
Sean Mason: piano

CREDITS
Executive Producer: Paul Kahn
Technical Supervisor: Glen Forrest
Recorded by Hector Castillo & Colin Mohnacs
Video Production: Ross Mayfield
Cameras: Ross Mayfield & Andrés Cottin
Filmed at GB's Juke Joint, Long Island City, NY

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

#catherinerussell #nprmusic #tinydesk #bhmxnprmusic

Quinn Christopherson: NPR Music Tiny Desk Contest Winner 2019 Hotney 5 Streams • 4 years ago

Watch the 2019 Tiny Desk Contest Winner play at the Tiny Desk.

June 3, 2019 | Bob Boilen -- A moment after our 2019 Tiny Desk Contest winner, Quinn Christopherson, finished his first song at the NPR offices, he made a confession. He looked at me, while tuning his "vintage white" Fender Telecaster, and said, "I don't know if you know this, but when you called me and you told me, 'You won!' I got off the phone and I thought, 'Dang, I should buy a guitar.' Legit, did not have one. But that's Anchorage; that's the music community there. Everyone just borrowed me their stuff long term."

Quinn and his musical partner, guitarist and singer Nick Carpenter, arrived from the cool of Anchorage to the swelter of D.C. They both donned shorts at the desk; Quinn's were newly cut off to conform to the weather.

What was most striking about their performance was their unfettered confidence. Watching them play together and hearing their songs, with their interweaving guitar lines and vocal harmonies, feels like seeing two brothers performing old favorites. The concert was fun and, at moments, reverent.

After opening with his brand-new tune, "You Told Me," Quinn sang "Glenn," a moving song about his father and their beautiful two-peas-in-a pod relationship. There's a line in that song that goes to the heart of Quinn's songwriting talents: "My dad, he plays guitar, says he knows more than he can do. He tells me that I do more than I know." Quinn writes story-songs about what he knows best, his mom and sister, about their addictions and his love for them. But on his contest-winning song, the one that closes this Tiny Desk performance, he took a close look at himself. "Erase Me" is about his recent transition, what it now means to be a man and how he sees the way the world treats him differently after so many years of being "used to pulling the short stick" as a woman. It's a revealing look at the roles of men and women in our culture at a pivotal time from a songwriter who, I believe, will be a defining voice in the future of music.

SET LIST
"You Told Me"
"Glenn"
"Erase Me"

MUSICIANS
Quinn Christopherson: lead vocals, guitar; Nick Carpenter: vocals, guitar

CREDITS
Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Jeremiah Rhodes, Bronson Arcuri; Associate Producer: Bobby Carter; Production Assistant: Paul Georgoulis; Photo: Claire Harbage/NPR

#tinydesk #tinydeskcontest #quinnchristopherson

What Happened To McFadden & Whitehead? | Discovered By Otis Redding, Writing Hits & 2 Tragic Hotney 5 Streams • 4 years ago

Gene McFadden and John Whitehead, who would go on to create the successful R&B duo McFadden and Whitehead, met as teenagers while attending Edison High School in North Philadelphia in 1964. The first group that the boys would form together was called The Epsilons. The original quartet included school friends Allen Beatty and Ronald "Roame" Lowry who would later go on to join soul band Maze. When Otis Redding came to Philly for a show in 1966, the group managed to bluff their way backstage and performed for him. Pleased with what he heard; Otis immediately offered them the opportunity to join his touring road show.

#McFaddenandWhitehead

SOURCES:
https://www.nytimes.com/2006/0....1/28/arts/gene-mcfad
https://www.independent.co.uk/....news/obituaries/gene
https://www.soultracks.com/mcfadden-and-whitehead
http://www.thestacksreader.com..../the-day-the-soul-tr
https://www.billboard.com/musi....c/music-news/rb-arti
https://www.today.com/popcultu....re/r-b-singer-john-w
https://www.blackpast.org/afri....can-american-history
https://www.fox29.com/news/it-....still-hurts-family-l
http://www.blogofdeath.com/200....4/05/12/john-whitehe
https://en.wikipedia.org/wiki/....McFadden_%26_Whitehe

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ABOUT LET'S GET TO THE ROOT
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