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The Skilla Baby Interview: Chain Snatching Incident, Sada Baby vs Adam22, Working with Opps & Mo Hotney 4 Streams • 4 years ago

Skilla Baby talks to Adam and AD about Sada Baby x Adam beef, jail stories, new label deal, calls out Adam for being messy, and more!

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00:00 Intro
0:05 Skilla's thoughts on Sada Baby being offended by something No Jumper posted
7:54 Getting pulled over in Detroit and being recognized 12, telling him to keep making music and stay out of trouble
9:20 Skilla admits he would work with his own opps if it made sense and always putting business first
17:15 Not wanting to be famous, being treated like a zoo animal, and family he barely knows asking for money
18:20 Skilla on being influenced by Sada Baby who gave him a huge co-sign
21:53 Skilla emphasizes that he is on "rapper time" right now
23:13 Skilla talks about getting into it in jail
25:21 Skilla speaks on giving Lando Bando his flowers and Detroit not having too many media outlets at the moment
26:01 Skilla on everyone in Detroit wanting to be a rapper compared to people in LA who will pick up a camera, start a blog, etc. to gain success in the industry
27:26 Skilla talks wanting to be a stadium artist and not liking club walkthroughs
28:39 Having a good head on his shoulders because he was raised right and surrounding himself with people who will push him toward something positive
29:43 First job at a chicken spot, Sada Baby being the person to tell him to quit his job because he saw Skilla's talent and determination
34:40 Skilla talks wanting to be extremely hands on with the business side of his music and vocalizing that to the label
35:50 Skilla on his experience signing to a label, bidding war, and having one of the best lawyers in Detroit
39:20 Skilla speaks on to what extent he actually needs a label, whether or not gatekeepers still exist in the industry
41:02 Skilla says it's pointless for artists to do interviews before building leverage
46:12 His relationship with his father
48:15 Skilla on what ended his hoop dreams, how a sport could start to feel like a job, and rappers wanting to be athletes and athletes wanting to be rappers
51:35 Skilla reacts to Adam doing his thing outside of No Jumper
52:31 Skilla on having his side bandaged up in a music video from getting s__ , Adam suggests he should move out of Detroit
54:54 Skilla on wanting to have a big 2023 and his new project dropping soon
57:10 Skilla calls Adam messy and says something is always going down at No Jumper

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A Brief History of Rage Against the Machine Hotney 4 Streams • 4 years ago

A not-so-brief documentary about Rage Against the Machine. Produced and written by Matt Beat. Check out @rageagainstthemachineofficial's music here: https://open.spotify.com/artis....t/2d0hyoQ5ynDBnkvAbJ
Related: Prophets of Rage - Topic, @AudioslaveOfficial, @RATMVEVO
My other channel: @iammrbeat
My band: https://open.spotify.com/artis....t/62BsMJGRfRgX5rmsSP

This video is dedicated to Nolan Rogers.

Sources/further reading:
https://www.ratm.com/bio/
https://www.britannica.com/top....ic/Rage-Against-the-
https://en.wikipedia.org/wiki/....Rage_Against_the_Mac
https://en.wikipedia.org/wiki/....Rage_Against_the_Mac_discography
https://musicianguide.com/biog....raphies/1608003295/R
https://www.allmusic.com/artis....t/rage-against-the-m
https://jhiblog.org/2020/04/22..../its-coming-back-aro
https://www.vulture.com/2016/1....1/rage-against-the-m
http://www.musicfanclubs.org/r....age/articles/kerrang
https://happymag.tv/engineerin....g-the-sound-rage-aga
https://faroutmagazine.co.uk/r....age-against-the-mach
https://www.billboard.com/musi....c/rage-against-the-m
https://ultimateclassicrock.co....m/rage-against-the-m
https://www.kerrang.com/featur....es/a-deep-dive-into-

#rage #musicdocumentary #ratm

Los Angeles, California
1991

Two friends who had known each other since the sixth grade, Zack de la Rocha and Tim Commerford, meet a drummer named Jon Knox. Knox told them that his old bandmate, Tom Morello, was looking to start a new band after their old band, Lock Up, had broken up. Morello invited de la Rocha and Commerford, as well as a drummer named Brad Wilk, for a jam session. De la Rocha and Commerford actually used to be in a band together back in junior high, but other than that, the four had never played together before. The jam session turned into multiple jam sessions, and the next thing ya know, they had a band. De la Rocha would be the vocalist and provide the lyrics, which would undoubtedly be politically charged most of the time. By the way, he had been in multiple bands before this. Morello would play guitar. Commerford would play bass. Wilk would play drums.

They named themselves “Rage Against the Machine.” Apparently that name was originally supposed to be the name of a song and album de la Rocha had written for his previous band, Inside Out. Apparently this dude named Kent McClard also coined the phrase in a 1989 article in his zine called No Answers. Regardless, over the years many of their fans would come to view “The Machine” as any system or organization that was responsible for injustice in the world. “Rage Against the Machine” ended up being a pretty fitting name.

Their first performance was in “somebody’s living room” in Orange County, California. After that, they quickly gained a following. Not wasting any time, they recorded a 12-song demo, releasing it on cassette tape in December 1991. Throughout early 1992, the band sold the tape for $5 at their live shows, eventually selling more than 5,000 copies of them. Oh by the way, if you have one of them, ya might want to hold on to it. I saw one sold online for hundreds of dollars.

Anyway, the artwork featured images of stock market reports with a single match. The band also printed the statement “No samples, keyboards or synthesizers used in the making of this recording,” which would be printed on all later recordings they released. In the liner notes, they also referred to themselves as “Guilty Parties,” which would also be printed for all later recordings they released.

Oh, and they also sent the demo album to many major record labels, and while several wanted to sign them, they ended up signing with Epic Records. In April, they recorded their debut album at Sound City Studios in L.A. They ended up re-recording seven of the twelve songs that were on their demo. De la Rocha wrote the lyrics, which were obviously politically motivated and attacked multinational corporations, cultural imperialism, and government oppression. They seemed to represent a leftist voice that had become less prominent in the 1990s. Tom Morello’s guitar work was inventive, to say the least. In the studio, he was constantly experimenting with the weird new sounds his guitars could make. Garth Richardson produced. After leaving the studio, the band hit the road, playing a notable show opening for Porno for Pyros at one of their first ever gigs. In October, they toured Europe, and by that time the hype for them was already building.

Epic released their self-titled debut studio album on November 3, 1992. The first single, “Killing in the Name” ended up being a huge radio hit.

The Lumineers: NPR Music Tiny Desk Concert Hotney 4 Streams • 4 years ago

This performance was recorded on Feb. 28, 2020. We will continue releasing Tiny Desk videos of shows that had already been taped. In light of current events, NPR is postponing new live tapings of Tiny Desk Concerts. In the meantime, check out Tiny Desk (home) concerts! They’re recorded by the artists in their home. It’s the same spirit — stripped-down sets, an intimate setting — just a different space.

Did you know you can watch new Tiny Desk concerts on npr.org ONE WEEK before they go up on YouTube? Click here: https://www.npr.org/tinydesk

Follow NPR Music:
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April 6, 2020 | Josh Rogosin -- The Lumineers showed up at the Tiny Desk with family, friends and crew who travel with the tight-knit touring band. One special guest in particular was Lenny, the toddler son of lead singer Wes Schultz. As soon as Bob Boilen met Lenny, Bob searched for every toy he could find on the shelves behind his desk to entertain the restless tyke.

I've always been struck by how this band can make a crowd of 6,000 fans feel like an intimate jam session. Halfway through The Lumineers' set at the Newport Folk Festival in 2013, the entire band moved to the very back of the enormous crowd. I remember marveling that the worst spot in the field miraculously became the best.

Much of The Lumineers' Tiny Desk comes from the band's third LP, III, which tells a story of addiction in three acts. They began with gut-wrenching renditions of "Gloria" and "Leader Of The Landslide"(accompanied by a cassette recording of crickets made on iPhones and dubbed to play on a boombox). The third track is also from III, but was an assignment from director M. Night Shyamalan. He tasked Schultz and his suspender-clad writing partner, Jeremiah Fraites, with composing a song for the end credits of a film. "Jer and I worked really hard on that, and then he didn't need it," Schultz confessed. The result is the stark and haunting "Salt And The Sea,"which strikes a different chord than any other song they've written.

It wouldn't be a Lumineers show without a foot-stompin' sing-along to end the set, which came with their crowd-pleasing hit "Stubborn Love". Stelth Ulvang demonstrated a level of barefoot acrobatics unrivaled at the desk thus far, not an easy feat (or should I say, feet). Right after the Tiny Desk concert, the band and entourage rushed off to play a little club in town called the Capital One Arena for another intimate show in front of 20,000 fans.

SET LIST
"Gloria" "
"Leader of the Landslide"
"April (instrumental)"
"Salt And The Sea"
"Stubborn Love"

MUSICIANS
Wesley Schultz; guitar, vocals; Jeremiah Fraites: drums, piano, vocals; Stelth Ulvang: piano, accordian, vocals; Lauren Jacobson: violin, piano, vocals; Byron Isaacs: bass, vocals; Brandon Miller: percussion, guitar, vocals

CREDITS
Producers: Josh Rogosin, Morgan Noelle Smith, Kara Frame; Creative director: Bob Boilen; Audio engineers: Josh Rogosin, Patrick Boyd; Videographers: Kara Frame, Maia Stern, Bronson Arcuri; Editor: Melany Rochester; Associate Producer: Bobby Carter; Production Assistant: Shanti Hands; Executive producer: Lauren Onkey; VP, programming: Anya Grundmann; Photo: Bob Boilen/NPR