#rap recording studio in los angeles

[nicolasflores]

Nico Flores. Kevin Kimble.

The legendary Record Plant Recording Studios.

SSL 1 room.

Los Angeles, California, United States, North America.

[jmdbjk]

Episode 5: WELCOME!

Beyond the Star, produced by HYBE Media Studio

BTS continues to break records with Butter and Permission to Dance.

Whereas Dynamite was intended to be a feel good song for the fans during trying times, Butter was a little more intentional. BTS did not think they would release another single after Dynamite and the BE album but the pandemic was wearing on so out of many songs that they were sent to consider, they chose Butter. Namjoon rewrote most of the rap and the rest, as we keep saying, is history.

Butter broke Dynamite's Youtube premiere record of peak concurrent viewers with 3.9 million as well as other viewer number records.

Butter debuted at #1 on the BBHot100 and charted at #1 for 10 non-consecutive weeks. "Smooth like butter" became the catch-phrase of the summer of 2021.

And FINALLY, BTS heads to Los Angeles at the end of November 2021 for their first performances with a live audience. The world is still trying to emerge from all the covid restrictions but this is their chance. The U.S. has opened the doors and they go for it.

They will be one of the first artists to perform at the brand new SoFi stadium.

They are going to give it their all because things are still uncertain. Performing concerts with live audiences, being able to perform physically after such a long break and the fear or dread of NOT being able to perform again with an audience was the biggest thing weighing on them. Yoongi seemed optimistic and Namjoon said he hoped so but was afraid of having his feelings hurt again.

They realize their bodies are aging and that before the pandemic, as we know, they were driving their bodies into the ground physically with their grueling schedules.

It was 2 years between performances with a live audience – Love Yourself/Speak Yourself in Seoul, October 2019 to PTD LA, November 27, 2021.

Watching them prepare, as a group, for a major concert is awesome. These behind the scenes are very precious because they now know what it feels like to go through the motions of a live performance WITHOUT an audience.

The quality of their preparation and rehearsals increased. They had time to talk about the performance and production. They changed some things that they previously did during concerts. They said their energy levels were even higher than ever.

(PTD concert remix of Fire needs to be released this year. Just sayin.)

After they finally perform in front Army, they have mixed feelings. Relief, excitement, trepidation that this might be the last time. It was still a time when they didn't know if they'd get to perform again after PTD LA. One thing we learn is that they realized if they didn't get to perform once back in Seoul, that would be it for three years because of enlistment. Enlistment was the wall they faced every single day.

But as we know, the Seoul shows did go on in March 2022 and the Las Vegas shows in April and we also know how the rest of 2022 went.

We see them enjoying some free time in Los Angeles while in-between concerts, something they never got to do before. I think they made the free time a requirement when doing concerts. Their bodies needed to rest.

We see them win AOTY at the AMAs.

It is more serendipity because Namjoon mentioned a little bit before in this episode that he'd thought about quitting until he realized they belonged on that stage and knew that's what had to happen. Jin says the previous 2 years were a time for them to reorganize themselves and they were able to release Dynamite, Butter, Permission to Dance and reach even more overseas fans and make their concerts even more exciting.

Jungkook says they were not expecting to win AOTY at the AMAs. Winning Artist of the Year at the AMAs enabled them to view it as yet another door opening to their future.

Holding sold out concerts in huge stadiums, performing at the top of their game, winning huge awards at western award shows, these things legitimized them being asked to represent their country at the UN and other global and international diplomatic conferences.

I know... they were asked to do this BEFORE they won the Artist of the Year at the AMAs, and BEFORE the PTD shows, and it is because of what they'd accomplished before those things, but it further drives the point home that BTS will continue in the future to be a big player in the music industry worldwide and they already know this.

Jungkook says they aren't sure what the future holds yet but ignoring what's happened is not an option.

Tae says they want to remain the artists who impart a positive influence.

They have finally realized what their purpose is and they are realizing the influence they wield.

[thelensofyashunews]

G-EAZY RELEASES SEVENTH STUDIO ALBUM "FREAK SHOW" 

Today, multi-platinum selling superstar G-Eazy releases his 7th studio album, Freak Show.  The album marks an explosive return for the artist as his first full-length project in nearly three years and ushers him into a brand-new musical era as a creative.

Freak Show sees G-Eazy return with abundance, following a three-year hiatus to creatively refresh and process the devastating loss of his mother. The album spans the many musical sensibilities of his artistry, leaning into his roots with “Lady Killers III,” a reimagined version of his viral hit “Lady Killers II,” and a softer vulnerability in songs such as “Love You Forever,” in which he opens up regarding his grief of losing a parent. In “Love You Forever,” he shares “some days I try to ignore it/some days I’m not strong enough for it/I knew I’d have to write this/knew it’d be hard to record it/without breaking down in the moment.” The album title track “Freak Show” features hitmaker MC, French Montana and encapsulates the sound so many have grown to love G on. 

Last week, G released his newest single off the project, “Anxiety,” an upbeat track in which he addresses the ups and downs of his mental state. “Some days I’m high/Throw my pain away/Just to get by/It’s easier that way,” he confesses in the song’s chorus, going on to detail some of his most personal demons and the voice he battles in his own head. “Anxiety” serves as a poignant moment of self-reflection and honesty for G, giving fans a glimpse into his inner world.

In May, G-Eazy surprised fans with “Lady Killers III,” a brand-new version of his explosive viral hit, breathing new life into the much-loved track that has been taking the internet by storm in recent months. The original “Lady Killers Remix” experienced a major surge in viral popularity, rising to #2 on the Billboard TikTok chart, #4 on the Shazam U.S. Chart and #7 on the Shazam Global Chart. The song has broken into the Top 100 of Spotify’s Global Daily Streaming Chart and has led to record-setting engagement and total views on Tiktok after it was posted on his account. 

Earlier this Spring, G-Eazy released his brand-new single “Femme Fatale” featuring two-time GRAMMY nominated and multiplatinum artist Coi Leray and rap sensation Kaliii. Released via RCA Records, “Femme Fatale” is the first new music from the artist in over a year. Highlighting G-Eazy’s expansive musical influences, the track features a classic sample from legendary Caribbean reggae funk group 20th Century Steel Band song “Heaven and Hell Is On Earth.”  The single arrived alongside an artistically styled lyric video that introduces fans to a new creative era for G-Eazy. SPIN said the song was  “easily on track to be one of the year’s most-played summer jams, with feminist power lyrics marbled into a signature Bay Area-style, womp-filled, with a hyphy-sounding beat.”

G-Eazy has also announced his “Freak Show” world tour across North America, Europe, Australia, and New Zealand.Kicking off in Berkeley, CA on October 24th, the 41-date tour will stop in major markets across North America including Los Angeles, New York City, Atlanta, Chicago, Dallas and more. The tour’s international leg will begin in Europe in 2025, including stops in Germany, France, Ireland and the UK before continuing on to dates in Australia and New Zealand. 

Presale tickets and VIP Package sales will begin Wednesday, June 12th at 10:00AM local time with tickets for general onsale starting Friday, June 14th at 10:00AM local time. For more information and to sign up for early access to US presale tickets, visit https://g-eazy.com/pages/tour.

[jknerd]

DISNEY STUDIO AU OC: Jolly Wings

Full Name: Jolly Wings

Other Names: Jolly Roger (stage name), Aunt Jolly

Schools: Acme Middle School (graduated), S. Symphony High School (graduated)

Occuaption(s): Sub-vocalist of Wings’ Wink (retired), Solo Singer (former), talent manager

Residence: Spoonerville, Ohio

Family: Bliss Wings (oldest sister), Glory Wings-Goof (older sister), George G “Goofy” Goof (brother-in-law), Debbie (niece), George Jr Goof (nephew), Maxine Goof (niece), Gloria Goof (great niece)

Relationships: George G “Goofy” Goof (first and longtime unrequited love->friend), Clarabelle Heifer (acquaintance), Sylvia Marpole (one-sided rival->acquaintance), Peg Pete (acquaintance), Big Time (boyfriend)

Likes: Goofy, singing, dancing, her job as talent manager, guys with black hair and “cute laughter”

Dislikes: Being bossed around, Bliss’ nagging, fear of being hated by Goofy or Maxine

Jolly Wings was a sub-vocalist of Wings' Wink consisted with her and her two older sisters; Bliss and Glory B. Sister-in-law of Goofy, aunt of Debbie, George Jr, and Maxine. She is currently a talent manager where Maxine later joins to work. Not many have known but only FEW knows Jolly's longtime unrequited crush on Goofy (especially Clarabelle). 

With her two older sisters, they formed a girl band “Wings’ Wink” and received a status as sub-vocalist of the group. Being the youngest of the group, she was forced to maintain the image of “cute and innocent” one by the recording company. At some point, she encountered Goofy who was working as talent and also a student of college. Goofy has become her first friend and companion she could talk to when feeling stressed. Through this, Jolly developed romantic feelings for him. However, when hearing Glory B becoming pregnant with Goofy’s child, she felt betrayed and upset she refused to contact with her older sister. While Bliss became a songwriter, Jolly debuted as solo singer under the stage name “Jolly Roger” in a concept of rebellious girl, receiving more popularity. When Glory B passed away, Jolly did not attend her funeral as it could mean she would see her and Goofy’s children. When the tabloids made a false article about Goofy and Clarabelle’s scandal, Jolly was immediately hostile towards Clarabelle but relieved to learn the scandal was not true.

At some point, Jolly Wings retired as a singer and worked as talent manager. There were few occasions she have noticed Maxine’s talent; one is where she and her father danced with Powerline on stage at Los Angeles, California during the girl’s summer vacation. The second was College X-Game where Maxine won the competition against Bradley Uppercrust III. When the Disney Studio wish to have Maxine debuted, they hired Jolly as her manager. When meeting Maxine in person for the time as she was introduced as her aunt, Maxine happily hugged her, much to her surprise. Though, when seeing Maxine performing or displaying her talents, Jolly felt the bitterness as she views Maxine as perfect combination of Goofy and Glory B. Later, it is revealed that Jolly has been giving Maxine’s informations to the Beagle Boys, the hip-hop-rap-pop group who was envious of Maxine’s growing popularity. As Jolly interact with Maxine more, the less she felt bitter and grew to genuinely care for her niece. But, the conflict rise when Maxine received her first award in music as Beagle Boys sold Maxine’s informations of current house she stays, her private accounts, and her love life before telling Maxine that Jolly has been working for them by gaining her informations and secrets. However, Maxine surprised the Beagle Boys and Jolly by saying she already knew everything (including Jolly’s feelings for Goofy), because she asked Bradley to spy on them as she, in fact, has not entirely trusted Jolly who has not been in her family life until now. Maxine also added that nothing would ever distract her from what she enjoys as she won’t tell the entire thing to her father Goofy.

Since then, Maxine has not calling Jolly “aunt” as she referred her by a name as the only time she would talk to her aunt is during work outside college. Interpreting this as renouncing her, Jolly has grown immense remorse of her actions and starts to put efforts to reconcile with Maxine. Finally turning to Goofy for help and told him everything that happened, Goofy was not angry but still upset. However, he advised her to talk to Maxine and see whether his daughter could forgive or not. Jolly tearfully apologized, confessing her actions were because of her obsession with him, finally able to tell him what she have felt. Goofy apologized for unable to see through her clearly and is glad that she is willing to be close to Maxine as a family. Eventually, she and Maxine finally able to talk as Maxine told her that while the betrayal still hurts, she never hate her aunt as the reason why she avoided her was because knowing her feelings for Goofy and her resentment of Glory, Maxine thought that keeping the distance or renouncing her would make Jolly feel better. Though, Maxine added that Jolly might have to avoid Pete or Peg for a while because he snitched on his wife about Jolly’s betrayal to Maxine and Peg was absolutely UPSET.

Later, Jolly also reconnected with her older sister Bliss and encountered her daughter Debbie. In some occasions, Jolly is seen stopping her sister from trying to break Debbie and Duke apart. Finally able to move on from her first love, Jolly awkwardly but genuinely bonds with Sylvia who eventually married Goofy. At some point, Jolly properly meets two boys who have feelings for Maxine; Rox and Bradley. When asking the latter how did he find out about her, Bradley explained of his sharp profiling and analysis of her, the Beagle Boys, deducting her lifestyle and her feelings for Goofy, which greatly scared her as she replied she “doesn’t want to be his enemy”. Fortunately, she is currently in a healthy relationship with the leader of Beagle boys, Big Time, who has let go of his obsession in success.

[cyarskj1899]

Rage Against the Machine's lost Calgary recording sessions

For 10 days in the spring of 1992, the almost-unknown band came to Calgary to begin work on their first, eponymous album

Oct 05, 2022  •  October 5, 2022  •  6 minute read

It was April 29, 1992. Los Angeles was burning.

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However, the band that would go on to channel the rage of the L.A. Riots into a career as one of the biggest rock acts of the 1990s wasn’t even there for it. The four members of Rage Against the Machine were in Alberta, on the shores of Lake Louise, when they first heard the news.

Ronnie Champagne remembers the moment well.

“They’re on a pay phone in front of the Chateau and (lead singer) Zack (de la Rocha) is talking to his roommate. And his roommate is screaming, ‘They’re burning the mother—- down!’” said Champagne.

“And Zack’s looking at us, and I see the look in his eyes, and I know what that look is. That’s terror.”

The irony is not lost on Champagne.

“That thing that they were fighting — fight the power, fight the man — they weren’t even there in the riots because they were there with me, up here in Calgary.”

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Calgary fans were looking forward to hearing the band play live at the Saddledome in March 2023 — a concert that had twice been postponed since 2020. But this week the band cancelled the remainder of their 2022-23 tour as de la Rocha is dealing with a serious leg injury sustained three months ago.

It’s a sure bet most fans don’t know about the band’s early connection to this city.

For 10 days in the spring of 1992, a then almost-unknown Rage Against the Machine (hereafter referred to just as Rage) came to Calgary to begin work on their first, eponymous album.

Champagne had been tapped by the band’s record label Epic as a possible producer. While based in Los Angeles in the late 1980s, he’d found success as a producer and engineer with bands like Alice in Chains and Jane’s Addiction.

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“He called me up and said, ‘Where the f— are you? I’ve got this band. I don’t know what the hell it is. I don’t know what to do with it. Are you interested in hearing it?’

“I said, ‘Yeah, Fed Ex me up a cassette.’ ”

Champagne said he listened to the tape and right away he knew exactly what it was.

“The first thing I listened to was the words, and I said, OK, this is going to strike a chord with a lot of people, just because it’s truth,” said Champagne.

He also knew how he wanted to produce the record.

“The most important thing was staying true to its street feel,” said Champagne. “Because it sounded to me like hard electric protest songs. Like Woodie Guthrie with Marshall stacks. And I totally bought that instantly.”

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Since Champagne couldn’t fly down to L.A., the record label flew the band to Calgary.

Danny Patton, the owner of Airwaves Recording Studios, was tapped to help engineer the sessions.

“I remember the day they got here — or was it the day after? — they were all on the phone talking to their parents because there was a big earthquake that day,” said Patton.

He set them up in his studio, which was then located on 16th Avenue and 14th Street N.W. Like Champagne, Patton was also struck by Rage’s unique sound.

“I said, ‘It’s like Led Zeppelin with a rap singer.’ Back in the ’90s when that came out, nobody was doing that.”

He said at the time, he was a bit skeptical the rap-rock mashup with a heavy dose of swearing would even fly. “About a year later, boy was I wrong,” said Patton.

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Champagne had been listening to that cassette he’d received in the mail, making notes before the band arrived. As a producer, he wanted to capture the energy of their live sound and make it work on a recording. For him, that meant stripping down the sound a bit.

“There was a lot of stuff that was a little too progressive, because I believe Tom was coming out of a prog rock band at that time,” said Champagne. “It was really brainiac math. And I was like, you know, just simplify it so the words are hitting home. Take anything that would be superfluous and just chop it out.”

When the band arrived, Champagne recalls going over the arrangement of every track on what would become their 10-song debut album.

“It was everyone sitting in a circle,” he said. “It was as much discussion as playing. We probably worked on a song or two a day. Not full days or crazy hours — probably six-hour days.”

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After nearly 30 years, memories have faded a bit. While Champagne recalls recording all 10 songs that ended up on the first album at the 16th Avenue sessions, Patton said they only laid down three or four songs on master tapes which, he says, are long gone. He thinks the band may have taken those with them. But he still has a copy recorded on digital audio tape in his collection.

From his seat in the control room, Patton saw a band that was all business.

“I remember they were really straight,” he said. “Nobody was drinking or doing drugs. They seemed pretty normal.”

For Patton, the band’s guitarist, Tom Morello, really stood out.

“I always remember how the guitar player would kind of not want you to see what he was doing. If people were looking at him he’d turn around so you couldn’t see, because he had these pretty wild sounds.”

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In 2015, Morello would make the 40th spot on Rolling Stone’s list of the 100 greatest guitarists of all time.

Patton doesn’t remember Morello having many effects pedals to get his sound.

“I think he just had a unique way of playing guitar that nobody had really heard of before,” he said.

Champagne remembers de la Rocha’s raw power in the studio. “He doesn’t just sing, he commands the stage. He takes over.”

After those 10 days in the studio, Rage left town, and that was pretty much the end of Champagne’s work on the album.

In the end, the record label went with another Canadian producer, Garth Richardson, whose credits include Mother’s Milk by the Red Hot Chilli Peppers, and Alice Cooper’s Constrictor.

But how does Champagne feel about that?

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“That’s just business baby,” he said. “I’ve done whole records and by accident somebody left my name off. That’s happened to almost everyone I know. It’s no big thing. The people I work with — they know.”

The album, ultimately recorded at the legendary Sound City Studios, was released in November 1992, and it went all the way to No. 1 on the Billboard Heatseekers chart.

Champagne said the intention of the Calgary sessions was not to cut the album, but rather to prepare for recording.

“They sounded good and everything but it was never intended to be a released product,” he said. “It was more of a working situation, like you would do in a rehearsal studio.”

Patton said when he finally did hear the completed album, it wasn’t all that different than the tracks they had laid down. Many of Champagne’s suggestions and arrangements — that stripped down raw sound — were on the final cut.

“I didn’t really hear anything any different,” said Patton. “So I thought, jeez, we actually probably could’ve done that record. But whatever.”

brthomas@postmedia.com Twitter: @brodie_thomas

[dweemeister]

November 14, 2023

By Adam Elder

(BBC Sport) — On a Saturday evening in February 1990, many of the United States' finest footballers stepped on to A&M Studios' historic soundstage in Los Angeles.

A month before John Barnes would implore his England team-mates to "hold and give, but do it at the right time" in a studio in Berkshire, the United States team recorded their own rap - one they hoped would make the sport famous at home.

In a moment, some of Hollywood's biggest celebrities would walk through the door to join them.

The plan was to record a novelty music video for a star-studded jock jam called Victory. The track celebrated the United States' first trip to the World Cup in 40 years, long before any of these players were born.

Never mind fame, though. In 1990, making football a little less hated in the United States would have counted as a runaway success.

Americans mostly considered football a fringe concern - if they even considered it at all. Baseball, American football and basketball were the "real" American sports.

For most of the 20th century, football in the States was for "the others", to put it politely: expats, cab drivers, dishwashers, exchange students, leftists, intellectuals, Euro snobs and the like.

Still the US Soccer Federation was constantly thinking about how to grow the game.

Werner Fricker, the federation's stern but visionary president, had cannily realised Fifa's desire to wring American dollars out of the world's most popular sport. By 1988, he had guided the United States to victory over Brazil and Morocco to win the right to stage the 1994 World Cup.

But Fricker knew a World Cup in the States faced scepticism. He wanted to prove the hosts had a team good enough to qualify on merit.

He put up his own money to fund a push to qualify for the 1990 event. If the United States succeeded it would be the first time they had made the World Cup since Brazil 1950, where they earned their place via a second-place finish in a three-team pool.

"Werner refused to accept that qualification wasn't doable," said Kevin Payne, former director of marketing and national administrator for the Federation. "He knew what needed to be done, and that past attempts were amateurish."

Fricker made Bob Gansler the team's first full-time coach. A tough yet erudite German-Hungarian immigrant, Gansler's knowledge of American youth football ran deep.

The team picked by Gansler, many fresh out of college, had been raised during the North American Soccer League's Pele-led glory days and were a clean slate from past failures to reach the World Cup.

They had chips on their shoulders for all sorts of other reasons though.

Many of them were second-generation immigrants, their parents and family lives different from an 'apple pie' American ideal. They loved a sport that many around them reviled and yet there was no nationwide outdoor league for them to play in.

[lena-ibarra]

ana de armas + she/her + cis-woman  –  have you seen magdelena "lena" ibarra around los angeles? the thirty three year old is usually jamming to daddy lessons by beyonce ft. the chicks. word around the city is that they’re determined yet, they can also be snarky, but you didn’t hear that from me. they’re currently an executive assistant  and are typically seen walking the streets of los angeles with their favorite daily planner. when i think of them, i think of color coded schedules, beer bottles with peeled off labels and riding a motorcycle in heels. let’s hope the city treats them good! 

penned by nika ✨

basics →

name: magadelena "lena" ibarra age: thirty-three gender & pronouns: cis-woman, she/her birthday: october 17, 1989 hometown: miami, fl current residence: los angles, ca current occupation: executive assistant romantic orientation: hetero-romantic sexual orientation: straight relationship status: single as a pringle

fun facts →

likes: dogs, thai food, rock music, country music, reading, color coded planners & organization, anything that makes her heart race, proving people wrong dislikes: cats, rap music, cuban sandwhiches, know it alls, chocolate cake, peppermint prized possessions: her motorcycle, daisy & her first edition copy of the scarlet letter wouldn't be caught dead without: her planner, a pen, and a bag of mike and ikes

background →

magdelena ibarra--lena, as she would be known-- was born to Selena & Raul Ibarra as their only daughter. Only child, which was in stark contrast to the dreams that had held for their family. They had been envisioning a dynasty, one that could stand the test of times--and trends--to remain on top. selena was a former singer turned entrepenuer who created the nation's first fair-paying streaming service, melodia. it had taken the industry like wildfire and while it had not surpassed spotify, it absolutely held a name for itself. raul had been her manager in her younger days--a rare case of when a working relationship could transition flawlessly into true love. lena, despite the parentage she had, was hardly musical. she couldn't hold a beat, had no idea how to read music and couldn't understand rhythm for the life of her. her parents weren't sure where they went wrong, but always tried to love her regardless. er, well they always loved her--but sometimes, well, it was hard to celebrate a daughter that couldn't carry the family talent. most especially for selena, who always envisioned doing a comeback tour with her daughter at her side. the last chance for lena to make her family proud was becoming the next ceo for melodia--and boy did her parents know it, at every turn, she was enrolled in business classes. young entreupener programs. internships for middle schoolers. even a business camp to support the up and coming. and boy did lena hate it. for how type a and organized she was, she couldn't stand how her parents aimed to control her. she was a free spirit, an adreneline junkie--she needed to chart her own path. she flat out rejected their offers, and begrudgingly went to the things she couldn't escape. but at 18, she determined that her life was hers and hers alone--and she would not let her parents make her a puppet. dramatic? sure, but that was lena ibarra--if she could have carried a tune, broadway would be shaking in their kinky boots. so off she went, far from miami and the comfort of her family, to los angeles, where celebrities were a dime a dozen and no one would give a shit what the last name ibarra was. she applied for any posiiton she could find at a record studio--only because she did know the industry but not because she felt it would be her calling, finally working her way up to executive assistant to the president. no one would even bat an eye at her, for how unimportnat her position was. just how she liked it.

plots →

friends from either la or miami

enemies/folks she has anamosity with

locals she's close with (bartenders, coffee shops, mechanics etc)

clients from the record shop she has built connections with

gimme angst!!!

gimme fluff!!

gimme romance!!!!

gimme lust!!!

basically i am happy to get creative plz

[ausetkmt]

Published Sept. 29, 2022Updated Sept. 30, 2022

It started in 1995 in a home in Los Angeles’ Hollywood Hills, where two roommates — a music producer and a D.J. — used to compete over who could find the best sample from their record collections.

One day, Paul Stewart, the D.J., conceded that his roommate, the producer Doug Rasheed, had bested him when Rasheed put on a vinyl copy of Stevie Wonder’s 1976 album “Songs in the Key of Life.”

The track that Rasheed played, “Pastime Paradise,” opened with a mournful synth loop that replicated the sound of a string section. The song that it inspired, “Gangsta’s Paradise,” would change both of their lives and catapult an up-and-coming West Coast rapper named Coolio to global stardom.

Coolio, born Artis Leon Ivey Jr., died on Wednesday in Los Angeles at age 59; the cause has not been disclosed. The rapper had a handful of hits before and after “Gangsta’s Paradise,” but nothing in his career would top the popularity and cultural influence of that track, which was featured in the 1995 movie “Dangerous Minds” and went on both to win a Grammy and inspire a Weird Al Yankovic parody.

In recent years, Coolio had commented on the legacy of the song and its long shadow over the rest of his career, calling it, in one interview, both a blessing and curse (“More of a blessing than a curse,” he noted).

“That record: It took him over the top,” Rasheed, the song’s composer and producer, said in an interview on Thursday. “It made him a household name worldwide.”

Coolio’s opening words, which are based on Psalm 23, became one of the most widely remembered verses in ’90s rap: “As I walk through the valley of the shadow of death, I take a look at my life and realize there’s nothin’ left.”

The singer L.V. (born Larry Sanders), who features on the song, had already started collaborating with Rasheed on the track, he said in an interview, when Coolio wrote those lyrics. Listening to the Wonder song in that Hollywood Hills home, it had been L.V.’s idea to turn “Pastime Paradise” into “Gangsta’s Paradise.”

L.V. recorded multiple vocal tracks that Rasheed combined to sound like a large choir singing a haunting refrain, as well as the chorus: “Been spending most their lives living in a gangsta’s paradise.”

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The tale of how Coolio first heard the track differs depending on who is telling it. In L.V.’s version, L.V. brought the song, with his recorded vocals, to Coolio on a cassette tape, hoping to persuade him to collaborate on it after another rapper had turned him down. In Coolio’s account, according to a Rolling Stone oral history of the song from 2015, the rapper was visiting the Hollywood Hills home to pick up a check from Stewart, who was his manager, when he heard the track.

“I walked into the studio, and asked Doug, ‘Wow, whose track is that?’” Coolio told Rolling Stone. “Doug said, ‘Oh, it’s something I’m working on.’ I said, ‘Well, it’s mine!’”

Coolio recalled writing his verses in one session, rapping about chasing his dreams and the uncertainty of whether he would live to 24 years old. (He was in his early 30s at the time, but 24 rhymed better, he said in a 2015 radio interview.)

The reinterpreted song still needed to get a green light from Wonder’s camp. But, Rasheed recalled, Wonder was turned off by the profanity and violence expressed in the lyrics. The producer asked Coolio for a rewrite, and the rapper agreed. The other catch: Wonder’s music publishing company would receive three-quarters of the publishing proceeds.

“The terms were a little harsh, but without them approving it there’s no hit,” Stewart, who managed both Coolio and L.V. at the time, said in an interview on Thursday.

Stewart shopped the song around and found a very interested party in MCA Records, which was producing the soundtrack for “Dangerous Minds,” starring Michelle Pfeiffer as a former Marine who becomes a teacher at an underfunded Bay Area high school. (The movie received mixed reviews, with The Los Angeles Times film critic Kenneth Turan calling it “stereotypical, predictable and simplified to the point of meaninglessness.”)

The music video, directed by Antoine Fuqua and featuring a severe-looking Pfeiffer staring down Coolio, initially received a pass from MTV, Stewart recalled, until MCA arranged to advertise the video on the channel, generating interest from viewers.

MTV picked it up, and “it was the most phenomenal takeoff of a record that I’ve ever seen,” Stewart said. “Gangsta’s Paradise” spent three weeks atop Billboard’s Hot 100 and was named the chart’s No. 1 song at the end of the year. It won the Grammy for best rap solo performance in 1996.

Then came Weird Al.

The musical parody artist and his team approached Coolio to get his blessing to make their own version of the song — “Amish Paradise” — Rasheed said, but the rapper refused. Knowing that legally speaking, Weird Al didn’t need their green light, Rasheed gave them his approval, despite Coolio’s skepticism.

“I think he just didn’t want to be made light of,” Rasheed said. To Coolio, his collaborators explained, “Gangsta’s Paradise” spoke to the real hardships and fears around street life in a way that seemed to resonate with people from different walks of life.

“A lot of people say it saved them from whatever demons they were dealing with, that they listened to the song and it helped them carry on,” Coolio said in the Rolling Stone oral history.

The “Amish Paradise” music video from 1996 opened with Yankovic in a broad-brimmed hat and a thick beard rapping, “As I walk through the valley where I harvest my grain.” In place of Coolio’s references to being “raised by the state” and finding protection in “the hood team,” Yankovic rapped about “milkin’ cows” and partying “like it’s 1699.”

Rasheed said that over time, he saw Coolio soften to the parody, viewing it as more homage than mockery. And in later interviews, the rapper said that he had changed his perspective on Yankovic’s song.

“I let that go so long ago,” Coolio told Vice in 2014. “Let me say this: I apologized to Weird Al a long time ago and I was wrong.” He added, “I listened to it a couple years after that and it’s actually funny,” adding an expletive.

In an interview with Newsweek a few months later, Yankovic said he was relieved. “I’m not the kind of guy that has beef with people, because I go out of my way to make sure that people are fine with what I do,” he said. “That was the one little moment in my whole history where there was a problem,” he noted, saying it was “very sweet” of Coolio to have told Vice he had made amends.

While “Amish Paradise” gave Coolio’s song a boost, the track was a smash on its own. L.V. remembered Coolio and his crew touring the world — Japan, France, Australia — and feeling like they were drawing “Michael Jackson-level” crowds that recited the lyrics along with them. Earlier this year, Coolio celebrated the song reaching a billion streams on YouTube.

“He put some magic on that track,” Rasheed said. “His voice, his delivery his cadence — it was something really special.”

[urbanthreads]

Rhythmic Echoes: The Evolution of Rap Music

Photo by Antoine J. on Unsplash

Introduction

Rap music has captivated audiences worldwide with its vivid wordplay, powerful rhythms, and messages. From the gritty streets of the Bronx to the star-studded Los Angeles studios, rap has evolved into a diverse and influential genre. Let’s take a walk down the memory lane and explore how rap music has evolved over the years.

The Roots: 1970s - Early 1980s

Rap music originated in the African-American communities of New York City in the 1970s. At block parties, DJs would play funk and soul records and isolate the percussion breaks to create a continuous beat. This technique, called “breaking”, inspired MCs (Master of Ceremonies) to speak over the beats, narrating stories or rhyming words. Pioneers like DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash are often credited with laying the foundation for rap music.

Golden Age: Mid 1980s - Early 1990s

The mid-1980s ushered in what many consider the “Golden Age” of rap. Rap music became more complex and sophisticated as artists like Run DMC, Public Enemy, and N.W.A addressed social and political issues, shedding light on racial tensions and police brutality. The storytelling aspect became prominent with the likes of Slick Rick and Big Daddy Kane. The East Coast – West Coast rivalry also emerged, setting a competitive atmosphere that fueled creativity.

Diversification: Mid 1990s - Early 2000s

The 1990s saw rap music splintering into various sub-genres. The East Coast, led by artists like Nas, Jay-Z, and The Notorious B.I.G., focused on lyrical sophistication and jazz-infused beats. Meanwhile, the West Coast, with artists like Tupac Shakur, Snoop Dogg, and Dr. Dre, favored funk samples and catchy hooks. The Southern rap scene also rose to prominence with Outkast and Goodie Mob pioneering the ‘Dirty South’ sound.

Commercial Boom: Mid 2000s - Early 2010s

Rap became a commercial juggernaut in the 2000s. Mainstream artists like 50 Cent, Eminem, and Kanye West achieved massive commercial success. Production value skyrocketed and collaborations with pop artists became commonplace. The genre diversified further, with the rise of alternative hip-hop acts like Kid Cudi and Lupe Fiasco.

Internet Era: Mid 2010s - Present

The Internet revolutionized the music industry, and rap was no exception. Platforms like SoundCloud and social media allowed independent artists to release music without a record label. This led to the rise of artists like Chance the Rapper and Tyler, The Creator, who built their careers online. Trap music, characterized by its use of 808 drums and hi-hats, also became a dominant sub-genre, with artists like Migos and Travis Scott at the forefront.

Contemporary Evolution: 2020s

As we move into the 2020s, rap music continues to evolve. The genre is becoming increasingly international with grime in the UK, drill in Australia, and various other styles around the globe. Additionally, the lines between genres are blurring, with artists like Lil Nas X and Post Malone blending rap with country and rock.

Conclusion

Rap music’s journey from the streets of New York to a global phenomenon is a testament to its adaptability and the raw power of rhythm and wordplay. As rap continues to evolve, it remains a voice for marginalized communities, a playground for experimentation, and an ever-changing reflection of society. Whether through poetic storytelling or pulsating trap beats, rap music is, and will continue

[zoomglobal]

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[digihindnews]

Biggie Small Net Worth 2023: How Much Money Did The Notorious B.I.G. Have?

Born in the heart of Brooklyn, Christopher Wallace, better known as Biggie Smalls, rose to fame as one of the most iconic rappers of the 90s. With a voice that commanded attention and lyrics that told tales of the struggles and triumphs of life, Biggie's impact on the music industry was undeniable. Even after his untimely death, his legacy lives on, and his music continues to inspire a new generation of fans.

How Much Money Did The Notorious B.I.G. Have?

At the time of his death, the Notorious B.I.G., an iconic American rapper, was worth $10 million. As of this writing, the circumstances surrounding his death from a drive-by shooting on March 9, 1997, at the age of 24 remain unknown.

Early Life Of Biggie Small

He was born Christopher George Latore Wallace on May 21, 1972, in Brooklyn, New York, and became known as The Notorious B.I.G. He was born to Voletta Wallace and Selwyn George Latore, two Jamaicans, and he was their only child. When he was just two years old, his father abandoned his family. As a child, Wallace lived in Clinton Hill, a neighborhood of Brooklyn not far from Bedford-Stuyvesant. In middle school, he excelled academically, earning a number of English-related awards.

Rap Career Biggie Small

After his release from prison, "Biggie Smalls" released "Microphone Murderer," a demo. The Source's Unsigned Hype editor featured Biggie after hearing the recording. The demo tape was also given to Uptown Records A&R and producer Sean "Puffy" Combs. After Combs signed Biggie, Heavy D & the Boyz featured him. Uptown fired Combs in 1993. He started Bad Boy Records soon. Wallace joined Combs' record label on launch day. Biggie's big break was appearing on Mary J. Blige's "Real Love" (remix). He garnered music industry notice as a guest performer. He remixed Craig Mack's "Flava in Ya Ear" with LL Cool J and Busta Rhymes in July 1994.

Biggie Small Net Worth 2023 Biggie released Ready to Die, his first solo album, on September 13, 1994. The Billboard Hot 100 ranked the song thirteenth. "Big Poppa" and "One More Chance" from the album reached #1. Over 1.1 million units were sold in 1995. It went six times platinum. Busta Rhymes said Wallace gave away free copies of Ready to Die from his residence for self-promotion and grassroots marketing. You may also like: - Actress Annie Wersching Cause Of Death: Annie Wersching Played a Variety of Characters in Movies And Television Shows - Is Mayim Bialik Married? Height, Age, Net Worth And More Information About Mayin Bialik Biggie became pals with Tupac Shakur and Shaquille O'Neal on his debut album. Biggie and O'Neal created "You Can't Stop the Reign." A second album from Notorious B.I.G., recorded over 18 months starting in September 1995. He visited New York, Trinidad, and Los Angeles. He also worked on Michael Jackson's ninth album, HIStory. Biggie was jailed in March 1996 for chasing and threatening to murder two autograph seekers in a Manhattan nightclub. Community service was 100 hours. Biggie was arrested for drug and firearm possession later that year. Biggie's meteoric rise elevated East Coast rap despite West Coast rap's peak popularity. As expected, coasts clashed. After a falling out and diss recordings, Tupac and the Notorious B.I.G. sparked the East Coast vs. West Coast hip-hop battle. On September 7, 1996, six bullets killed Tupac in a drive-by shooting. He died six days later. Biggie's family dismissed the murder rumors. Death To promote his second studio album and film the music video for its lead single Hypnotize, Death Wallace jetted off to the Golden State in February 1997. Since he was concerned for his safety, he hired security guards. Biggie was shot and killed in a drive-by outside a Los Angeles museum on March 9, 1997, six months after Tupac had been killed in the same way. Earlier in the night, he had presented Toni Braxton with an award at the Soul Train Music Awards. At 12:45 a.m., as Biggie was leaving an afterparty, a black Chevy Impala pulled up next to his truck. When an unknown assailant opened fire on Wallace's vehicle, four bullets struck his vehicle. Biggie was rushed to Cedars-Sinai by his crew, but he was pronounced dead at 1:15 a.m., at the age of 24. The funeral was held on March 18 in Manhattan, and 350 people attended to pay their respects, including Queen Latifah, Busta Rhymes, Salt-N-Pepa, and many more. Both rappers were brutally murdered, and no one has ever been brought to justice. There are many differing theories and perspectives on what really happened to the two men. On March 25, 1997, just 16 days after Wallace's death, his second solo studio album was released. It was certified Diamond in 2000, making it one of the rare hip-hop albums to reach the top spot on the Billboard album charts. In the end, this album would earn 11 platinum certifications. The Notorious B.I.G.'s rapping style was known for its relaxed flow, the apparent autobiographical nature of its dark lyrics, and its ability to tell stories. Several albums and compilations have been released in his honor since his passing. Biggie's estate would make tens of millions of dollars in the decades after his death. Posthumous album releases, re-releases, licensing deals, and other factors have helped increase Biggie's estate to an estimated $160 million today. His mom, Voletta Wallace, is in charge of the estate. Along with Biggie's former manager Wayne Barrow, a merchandising manager, and several lawyers, Biggie's widow Faith Evans helps manage the estate. Read Next:> Raquel Leviss Net Worth: When Did Raquel Leviss Join ‘Vanderpump Rules’?

Personal Life Of Biggie Small

The couple had broken up by the time Wallace and his high school sweetheart Jan had their first child, T'yanna, on August 8, 1993. On August 4, 1994, Biggie married R&B singer Faith Evans. Reports say the couple got married just days after meeting at a Bad Boy photo shoot. On October 29, 1996, Evans gave birth to Biggie's son, Christopher C.J. Wallace Jr.  After rumors spread that Evans had an affair with Tupac Shakur, she became embroiled in the East Coast vs. West Coast rivalry. As of Wallace's passing, he and Evans had been living apart but were not divorced.

Quick Facts

Net Worth in 2023 $160 million Full Name Christopher George Latore Wallace Nick Name Biggie Smalls, The Notorious B.I.G Birth Place  Brooklyn, New York, United States Birthday 21 May 1972 Death Date 9 March 1997 Age 24 years old ( 21 May 1972 – 9 March 1997) Occupation Rapper, Songwriter Sun Sign Gemini Spouse Faith Evans (m. 1994–1997) Height 6 feet 2 inches

Biggie Smalls’ Youtube Channel

https://www.youtube.com/watch?v=_JZom_gVfuw&t=12s He created his channel on YouTube on March 12, 2006, and as of February 1, 2023, it had over 1,876,433,514 views and 3.3 million subscribers. Follow us on Twitter to check out our latest updates on our social media pages. Read the full article

[mwplanet]

Win or His Loss?

Inside the controversies surrounding Drake and 21 Savage’s latest album, “Her Loss”

By Karissa Cruz

Cover of “Her Loss”

Photo via Spotify

Amidst the release of Drake and 21 Savage’s new album, several controversies have arisen between Drake, Vogue Magazine and other artists. Several artists are said to have been disrespected and thrown shade at throughout the chart-topping album, “Her Loss”. Artists like Megan Thee Stallion have fallen victim to the controversies surrounding the Torontonian artist's brand-new release. In addition to Drake receiving backlash for his shots at other artists, Vogue Magazine also filed a lawsuit against him and 21 Savage for their fake Vogue promotion poster. Despite the growing arguments with regards to the integrity of the album occurring on social media platforms, the album’s rapid success has evidently continued to overpower. 

November 4, 2022, marked the release of Drake and 21 Savage’s brand new collaboration, “Her Loss”. Streaming on all listening platforms, the love rap album features several themes - women, partying, misogyny, and money. Merely minutes following the release, multiple songs from the album blew up on TikTok, Twitter and Instagram. Over 70k creators from all around the world have recorded themselves lip-synching to songs like “Rich Flex”, comedically mimicking how they think Drake and 21 Savage must’ve looked whilst recording in the studio. However, the success of the album is not solely due to the catchiness of certain songs, in fact, its success is primarily the result of the gossip associated with its lyrics and covert references.

Within minutes of the release of “Her Loss”, Drake and 21 Savage set gossip sites and pop culture news aflame due to references ranging from Serena William’s husband, ​​Alexis Ohanian, to old quarrels within the rap industry, to an insult towards Megan Thee Stallion’s foot injury caused by Tory Lanez. 

Back in 2015 before Ohanian and Williams were together, Drake and Williams were exclusively dating. They broke up in 2015, and she later started seeing Ohanian in May of that same year. When she married Ohanian in 2017, Drake began to throw bitter shots at the couple. In “Her Loss”, specifically “Middle of the Ocean” at 3:35, Drake calls out the Reddit founder in the lyrics; "Sidebar, Serena, your husband a groupie; He claim we don't got a problem but; No, boo, it is like you comin' for sushi". Ohanian responds to the subtle diss in his tweet, saying, "The reason I stay winning is because I'm relentless about being the absolute best at whatever I do - including being the best groupie for my wife & daughter." This is not the first time that Drake has made subtly bitter comments towards Williams in his songs. He previously insulted the Olympian’s tennis career, claiming that he could beat her in a match in his 2013 track, “Worst Behavior”. 

Despite the disrespectful nature of the rapper’s lyrics, the jab at Ohanian and Williams’ relationship was not the main issue that occupies pop culture websites and gossip columns nowadays. Rather, Drake’s controversial covert remark towards Megan Thee Stallion, whose foot was allegedly shot by Tory Lanez back in 2020, has taken the spotlight. The rapper, Tory Lanez, is currently facing “one count of assault with a semiautomatic firearm and one count of carrying a loaded, concealed firearm in a vehicle”, according to a statement made by the Los Angeles County District Attorney’s Office. According to police reports, Tory was having an argument with a woman - identified as “Megan P” in a criminal complaint - in a SUV on July 12. As the woman exited the car, she was shot multiple times in the foot. Megan Thee Stallion, formally known as Megan Jovon Ruth Pete talked about the car incident during an Instagram Live on her verified account. She later posted a photo of her wound, which was deleted slightly after. In October 2020, legal authorities charged the rapper with felony assault, but he pleaded not guilty the following month. He is currently placed under house arrest as he waits for his trial after allegedly shooting Megan and assaulting the singer August Alsina in August 2022. If convicted, Lanez faces a maximum sentence of roughly 23 years. Amidst the allegations made against Tory Lanez and Megan’s public complaints, Drake threw his own shot at Megan through his lyrics in his new album, specifically in his song “Circo Loco”; “This b---h lie 'bout getting shots, but she still a stallion.” The singer responded to the underhanded insult on Twitter. She called Drake “lame”, and claimed that such conspiracy theories were weak and that they lacked proper facts or receipts. Artists like Sweetest Pie and other listeners shared their distaste for Drake’s biased lyrics against Megan. 

Like previous tracks, Drake’s songs have a history of calling out people who he feels have wronged him through his lyrics. Evidently, the success of his collaborative album with 21 Savage is not solely due to its acquired traction and fame on social media platforms like TikTok, but a large part of it is the controversies surrounding the lyrical references themselves. His album is no doubt a fan favourite, but the issues that it set aflame have definitely caused a divide amongst his supporters and supporters of those he covertly mentioned in his music. 

[whileiamdying]

The Story of ‘Gangsta’s Paradise,’ Coolio’s Biggest Hit

The 1995 song changed the rapper’s life, bringing a rush of stardom — along with a new level of success that he was unable to match again.

Coolio’s “Gangsta’s Paradise,” built off Stevie Wonder’s “Pastime Paradise,” held No. 1 on the Billboard Hot 100 for three weeks in 1995.Credit...Paul Bergen/Redferns, via Getty Images

By Julia Jacobs Sept. 29, 2022

It started in 1995 in a home in Los Angeles’ Hollywood Hills, where two roommates — a music producer and a D.J. — used to compete over who could find the best sample from their record collections.

One day, Paul Stewart, the D.J., conceded that his roommate, the producer Doug Rasheed, had bested him when Rasheed put on a vinyl copy of Stevie Wonder’s 1976 album “Songs in the Key of Life.”

The track that Rasheed played, “Pastime Paradise,” opened with a mournful synth loop that replicated the sound of a string section. The song that it inspired, “Gangsta’s Paradise,” would change both of their lives and catapult an up-and-coming West Coast rapper named Coolio to global stardom.

Coolio, born Artis Leon Ivey Jr., died on Wednesday in Los Angeles at age 59; the cause has not been disclosed. The rapper had a handful of hits before and after “Gangsta’s Paradise,” but nothing in his career would top the popularity and cultural influence of that track, which was featured in the 1995 movie “Dangerous Minds” and went on both to win a Grammy and inspire a Weird Al Yankovic parody.

In recent years, Coolio had commented on the legacy of the song and its long shadow over the rest of his career, calling it, in one interview, both a blessing and curse (“More of a blessing than a curse,” he noted).

“That record: It took him over the top,” Rasheed, the song’s composer and producer, said in an interview on Thursday. “It made him a household name worldwide.”

Coolio’s opening words, which are based on Psalm 23, became one of the most widely remembered verses in ’90s rap: “As I walk through the valley of the shadow of death, I take a look at my life and realize there’s nothin’ left.”

The singer L.V. (born Larry Sanders), who features on the song, had already started collaborating with Rasheed on the track, he said in an interview, when Coolio wrote those lyrics. Listening to the Wonder song in that Hollywood Hills home, it had been L.V.’s idea to turn “Pastime Paradise” into “Gangsta’s Paradise.”

L.V. recorded multiple vocal tracks that Rasheed combined to sound like a large choir singing a haunting refrain, as well as the chorus: “Been spending most their lives living in a gangsta’s paradise.”

The tale of how Coolio first heard the track differs depending on who is telling it. In L.V.’s version, L.V. brought the song, with his recorded vocals, to Coolio on a cassette tape, hoping to persuade him to collaborate on it after another rapper had turned him down. In Coolio’s account, according to a Rolling Stone oral history of the song from 2015, the rapper was visiting the Hollywood Hills home to pick up a check from Stewart, who was his manager, when he heard the track.

“I walked into the studio, and asked Doug, ‘Wow, whose track is that?’” Coolio told Rolling Stone. “Doug said, ‘Oh, it’s something I’m working on.’ I said, ‘Well, it’s mine!’”

Coolio recalled writing his verses in one session, rapping about chasing his dreams and the uncertainty of whether he would live to 24 years old. (He was in his early 30s at the time, but 24 rhymed better, he said in a 2015 radio interview.)

The reinterpreted song still needed to get a green light from Wonder’s camp. But, Rasheed recalled, Wonder was turned off by the profanity and violence expressed in the lyrics. The producer asked Coolio for a rewrite, and the rapper agreed. The other catch: Wonder’s music publishing company would receive three-quarters of the publishing proceeds.

“The terms were a little harsh, but without them approving it there’s no hit,” Stewart, who managed both Coolio and L.V. at the time, said in an interview on Thursday.

Stewart shopped the song around and found a very interested party in MCA Records, which was producing the soundtrack for “Dangerous Minds,” starring Michelle Pfeiffer as a former Marine who becomes a teacher at an underfunded Bay Area high school. (The movie received mixed reviews, with The Los Angeles Times film critic Kenneth Turan calling it “stereotypical, predictable and simplified to the point of meaninglessness.”)

The music video, directed by Antoine Fuqua and featuring a severe-looking Pfeiffer staring down Coolio, initially received a pass from MTV, Stewart recalled, until MCA arranged to advertise the video on the channel, generating interest from viewers.

MTV picked it up, and “it was the most phenomenal takeoff of a record that I’ve ever seen,” Stewart said. “Gangsta’s Paradise” spent three weeks atop Billboard’s Hot 100 and was named the chart’s No. 1 song at the end of the year. It won the Grammy for best rap solo performance in 1996.

Then came Weird Al.

The musical parody artist and his team approached Coolio to get his blessing to make their own version of the song — “Amish Paradise” — Rasheed said, but the rapper refused. Knowing that legally speaking, Weird Al didn’t need their green light, Rasheed gave them his approval, despite Coolio’s skepticism.

“I think he just didn’t want to be made light of,” Rasheed said. To Coolio, his collaborators explained, “Gangsta’s Paradise” spoke to the real hardships and fears around street life in a way that seemed to resonate with people from different walks of life.

“A lot of people say it saved them from whatever demons they were dealing with, that they listened to the song and it helped them carry on,” Coolio said in the Rolling Stone oral history.

The “Amish Paradise” music video from 1996 opened with Yankovic in a broad-brimmed hat and a thick beard rapping, “As I walk through the valley where I harvest my grain.” In place of Coolio’s references to being “raised by the state” and finding protection in “the hood team,” Yankovic rapped about “milkin’ cows” and partying “like it’s 1699.”

Rasheed said that over time, he saw Coolio soften to the parody, viewing it as more homage than mockery. And in later interviews, the rapper said that he had changed his perspective on Yankovic’s song.

“I let that go so long ago,” Coolio told Vice in 2014. “Let me say this: I apologized to Weird Al a long time ago and I was wrong.” He added, “I listened to it a couple years after that and it’s actually funny,” adding an expletive.

In an interview with Newsweek a few months later, Yankovic said he was relieved. “I’m not the kind of guy that has beef with people, because I go out of my way to make sure that people are fine with what I do,” he said. “That was the one little moment in my whole history where there was a problem,” he noted, saying it was “very sweet” of Coolio to have told Vice he had made amends.

While “Amish Paradise” gave Coolio’s song a boost, the track was a smash on its own. L.V. remembered Coolio and his crew touring the world — Japan, France, Australia — and feeling like they were drawing “Michael Jackson-level” crowds that recited the lyrics along with them. Earlier this year, Coolio celebrated the song reaching a billion streams on YouTube.

“He put some magic on that track,” Rasheed said. “His voice, his delivery his cadence — it was something really special.”

[thelensofyashunews]

DOJA CAT DROPS DELUXE ALBUM, Scarlet 2 CLAUDE 

GRAMMY award-winning global superstar Doja Cat drops her deluxe album, Scarlet 2 CLAUDE today via Kemosabe Records/ RCA Records. With this new release, Doja Cat also unveils the music video for her new track off the album, “MASC” featuring Teezo Touchdown. The music video was directed and shot in Los Angeles by Doja Cat and Jamal Peters and made its broadcast premiere on MTV Live, MTVU, and MTV Biggest Pop, as well as on the Paramount Times Square billboards. 

Last year, Doja Cat released her highly anticipated and critically acclaimed fourth studio album, Scarlet. The album featured smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at

the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot

100 Chart.  

Towards the end of 2023, Doja Cat completed her first-ever North American headline tour, The Scarlet Tour. This year, Doja Cat is set to headline the 2024 Coachella Music Festival on Sunday, April 14th and April 21st. At the start of this summer, Doja Cat will be embarking on the European/UK leg of her Scarlet Tour and performing at various UK music festivals starting on June 9th in Manchester, England before wrapping at the Wireless Music Festival on July 14th.

To purchase tickets, please visit https://www.dojacat.com/tour/.  

 

[novumtimes]

LL COOL J on surprising VMAs audience with Public Enemy appearance during performance

LL COOL J, who first gained fame in the 1980s, has been a trailblazer in hip-hop for decades. He is a member of the Rock and Roll Hall of Fame and a Kennedy Center honoree.  His performance on Wednesday at the MTV Video Music Awards was a nod to his storied career, but it was also a chance to introduce new music to his fans.  At the VMAs, the 56-year-old artist brought out fellow rap pioneers Chuck D and Flavor Flav of Public Enemy on the VMA stage, calling them “instrumental” in the early days of Def Jam.  “They were a couple of architects that were part of the building of Def Jam when we first started,” LL COOL J said. “Myself, Public Enemy, the Beastie Boys, and Slick Rick were the four that really were the bones of that label.” In addition to celebrating his past successes, LL COOL J’s latest album, “The FORCE,” marks his first new music release in over a decade. The album features collaborations with artists like Eminem, Busta Rhymes and Rick Ross. Reflecting on the creative process, LL COOL J said it was about staying true to himself while moving forward creatively. “The four [in The Force] stands for frequencies of real creative energy,” he explained. “I’m not going to strive to try to make a radio record. I’m not going to strive to try to follow trends, and I’m not going to try to recapture what I did before. I want to move the envelope forward.” After starring in NCIS: Los Angeles for over a decade, LL COOL J took time off from making music but returned with a renewed focus.  “You can’t be a part-time artist,” he said. “I said, you know what, I’m just going to chill … once I was done [with the show], I said, now I can get back in the studio.” As both a father and grandfather, LL COOL J spoke about balancing family life with his music career.  “When it comes to art, you really have to separate the two. You can’t sacrifice what you’re inspired to create because you have a family … The best way for me to take care of my family is to be true to my art.” LL COOL J’s “The FORCE” is now available.  More Analisa Novak Analisa Novak is a content producer for CBS News and the Emmy Award-winning “CBS Mornings.” Based in Chicago, she specializes in covering live events and exclusive interviews for the show. Analisa is a United States Army veteran and holds a master’s degree in strategic communication from Quinnipiac University. Source link via The Novum Times