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Blimes And Gab Talk Being Featured On "Insecure," Their Statement Debut & Why They Call Method Man "Uncle"

Blimes and Gab 

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Blimes And Gab Talk Being Featured On "Insecure," Their Statement Debut & Why They Call Method Man "Uncle"

The lively duo talk to the Recording Academy about their dynamic friendship, their epic first-time meet-up, comedic nerdom, intersectional identities in rap music and more

GRAMMYs/May 2, 2020 - 01:57 am

To call Blimes Brixton and Gifted Gab a dynamic duo would be a severe understatement. Brixton is a San Francisco battle rapper who Method Man personally recruited to help judge his "Drop The Mic" celebrity rap battle show he co-hosted with Hailey Bieber. Gab, meanwhile, hails from Seattle ahd has opened up for DJ Quik, Rakim, Cam’ron and other hip-hop heavyweights.

Whenever these two take hold of the mic, musical chemistry erupts and oozes into humorous, clever and uplifting rhyme. Their debut album, Talk About It, arriving some time in the summer, encapsulates the mood of a West Coast summer and their warrior-like rise while rolling out head-boppin’ beats that feature funky baselines and ear-catching instrumentals, effortlessly playing off of each other like you and your best friend would. As songwriters, they pay tribute to their idols, Tupac among them, but also claim their stake with striking delivery. They are here to defy expectations placed on them on sight alone by those who would doubt the prowess of female-identified rappers. 

It's a no-brainer, then, that the pair's highly chantable track "Feelin It" caught Issa Rae’s ear, and was subsequently featured on the producer and actor's hit half-hour HBO dramedy, "Insecure," which follows a fictionalized version of Rae as she grapples with romance, friendship and life in the hood as a 30-something-year-old in Los Angeles. The opportunity is an "insane" one, says Blimes, who is an invested fan of the show.

The placement won’t be their last encounter with television—Blimes and Gab are on the road to their own TV show with renowned writer and producer Nelson George ("Hip-Hop Evolution," "A Ballerina's Tale"). Below, Blimes and Gab tell the Recording Academy about their epic first-time meet-up and delve into topics like comedic nerdom, intersectional identities in rap music, why they call Method Mad "Uncle" and what it’s been like to transition from songwriting to screenwriting.

How are you two?

Blimes: We're doing pretty good. It's weird to be apart for so long since we spend almost every day together back in L.A. We're definitely taking this time to recharge, reset and do a lot of admin work, a lot of content, and get this album ready for rollout.

I want to go all the way back to your start. How did you two meet?

Blimes: We met on Facebook in, I think, 2016. A mutual friend of ours, somebody that we had both worked with before, I had seen that she and Gab collaborated with each other and somehow we became friends via seeing each other's work online. It took us a year to actually be in the same city, to meet up and hang out. The first night we ever hung out I was in Seattle working on a documentary. I worked in production while I tried to get my music career off the ground. I was in town and I was like, "Gab, we got to link. I'm here. Let's kick it." We were able to meet up. That night just went down in the history books. We made zero music but we made the best of friends. Gabby showed me all over Seattle. She was like the mayor of the city. Everywhere we went, people knew who she was and what her name was. People were calling, "Hey, Gab. Hey, Gabby" from this shop and that shop and offering food from their shops and coffees and weed and everything they had to offer. I was like, "Okay. I'm hanging out with the right girl. I'm hanging out with the right person in Seattle, for sure."

That night we went out to a club. After the club was let out ... Mind you, we're in this club. It's popping. It's called the 95 Slide in Seattle. It doesn't exist anymore due to gentrification, but the 95 Slide was popping that night. We casually walk past Macklemore. Gab's like, "Oh, this is Ben. Ben, this is Blimes." Super casual. Her mayor of the city persona was going hard. Then as the club let out, a giant street brawl ensued. We were very entertained. Some of Gab's friends were in the fight. It was intense. Afterwards we were all amped up on watching this fight and we left. We were going to leave that area to go to an after party. When we were leaving, somebody kicked us out of the car. We're in a car full of Gab's friends. I've been drinking. Gabby's been smoking, like the usual. That was our usual repertoire at the time. I jumped out and I chased a girl down. We ended up in a quarrel fist-to-cuffs with this young lady, and Gab had my back. We walked away the victors of the match.

I'll always remember, though, this girl's boyfriend wanted to jump in for the fight. A crowd had formed around us and out of the crowd somebody yells, "Not Gabby, okay?" and knocked the boy clean out. There's Seattle. Mayor of Seattle title cemented in that moment. I was like, "All right, you truly are the mayor of Seattle." We gathered up dogs and tacos and called it a night.

That's an epic meeting story. Now, you two are some of the artists people heard for the first time on "Insecure." How was it to be a part of that? 

Gab: I mean, man, Issa Rae is a legend, you know what I'm saying? I mean, you can't get on any social media or anything without hearing about the show and its impact and everything. To just be a part of the culture and a show like that is definitely a dope experience and hella humbling, you know? Like Blimes was saying earlier, it's been over a week and people are still reaching out to us and congratulating us and stuff, so it's been really, really dope. I can't wait to see how that catapults us.

Blimes: This has been a goal for me since I saw the billboard that "Insecure" was [going to be on] HBO. I was like, "Oh my God. This is insane." I would love to be a part of this in some way because I've been a fan since  "Awkward Black Girl," Issa Rae's web series on YouTube, you know? To watch somebody take it from that level to the cream of the crop of television on HBO has been insane. I've been watching for a long time and I am very invested.

Last episode we were left wondering if Lawrence and Issa could have a round two together. Are you pro-Lawrence and Issa or not?

Blimes: Man, I love Issa and Lawrence's chemistry. I really enjoy watching them with other people, but every time they get together, the writing really supports their love. You can't help but want to see them together.

Gab: I'm too early in the show to form a true opinion just yet.

One of you is from the Pacific Northwest and the other is from the Bay Area. What are your respective influences, musically?

Gab: I love West coast hip-hop. Really I just love hip-hop, in general. Hip-hop and R&B are my go-to, you know what I'm saying, vibes. From a Northwest Pacific standpoint, really just ... How do I put it? Seattle is really like a melting pot of sounds and art, you know what I'm saying? Not just musical art. It's like there's a bunch of sculptures and painters and performing artists that come out of Seattle, as well as a lot of athletes.

I think just being immersed in the Seattle life, especially how it was before the gentrification, it's kind of hard to, when someone comes to Seattle now—I mean, you can paint the picture from someone that's from Seattle and knows the old Seattle, but it's such a different place now, you know? It's a very tech city and a lot of the culture and the things that made Seattle what it was are kind of dwindling away. I really get my inspiration kind of from the old Seattle and from growing up in the Center district, being the hub, the black hub of Seattle and the arts and just everything that comes along with it. 

Do you feel like the music scene there has been affected by gentrification?

Gab: Yes and no. I think it's gotten ... I'll say the Seattle scene is, specifically the hip-hop scene, has definitely grown a whole lot in the last 10 years. Just from it being a tech city and lots of people moving into the city and definitely bringing more people to the shows. Now people talk about Seattle hip-hop. It was never in a conversation like that before. Now Seattle has made a name for themselves with all the people that have came out of Seattle and have been doing big things from like even before Macklemore [and] Blue Scholars.

Blimes, your influences?

My dad's been in blues, funk and soul bands my whole life, so I grew up on blues and funk and soul, lots of B.B. King, Buddy Guy. Bill Withers is one of my pop's favorites. Then growing up in the Bay area, it's a huge music hub. I started listening to hip-hop from a very young age. I can remember being like in first grade and reciting all the lyrics to TLC's "Waterfalls." TLC was huge for me, a huge influence for me. If we're talking Bay area specific, Mac Dre. I love, love, love this group called GO DAV. The reason that I loved them so much was because they were my age when I was listening to them, so I was in high school. They were on the radio and they also went to school with my girlfriend, so they were like just arm's distance away, but doing amazing things in music. They're witty and silly and funny. I feel like they were also must have been big fans of Mac Dre because it was all about the comical lines and silly, witty punch lines, you know? Still gangster, but still that hint of comedy in everything.

Same with E-40, who I'm not a die-hard fan of, and I don't want to go on anybody's sh*t list for saying that. At that time, I was just a little bit more into kind of lyrical miracle type stuff, you know? I was super fked with Jurassic 5, Jay-Z and what people would call the old Kanye. Strong female artists, vocalists like Tracy Chapman, she's my ultimate dream collab. I would love to do a call with Tracy Chapman one day. I've heard she's pretty untouchable, but yeah. My dad's band, Tommy Castro and the Painkillers, I grew up just on the side of the stage idolizing those guys. They were fking super cool, slicked-back hair, pompadours, sharkskin suit and all the just cool dudes.

The list goes on and I'm sure I'm forgetting some really important people, per usual, but yeah hella groups. I loved groups, the Roots, Pharcyde, Jurassic Five and then producer/rapper duos like Missy Elliott and Timbaland.

Your debut's coming out this summer, congrats. It's called Talk About It. What was your vision behind it?

Blimes: Well, in order to talk about it, you got to be about it. Me and Gab have loved to prove time and time again that we're about it. I think we did that with our single "Come Correct." There's really strong scrutiny on rappers who identify as female right now where you come out and you have to prove yourself. There's almost like this idea of you're like an over-sexualized female rapper or you're not and over-sexualized ... What people would call over-sexualized. I don't prescribe to that specific category, calling it that, because I feel like women can talk about whatever the fk they want in music. That's why we're making it, so that we can express ourselves. I feel like there's a lot of categorization that happens. People love to talk about it. People love to talk about what women are doing in hip-hop because it's this idea that it's new or that women are finally breaking out in hip-hop or that there's this new wave of talent. That talent's always been there. It's just that we haven't been accepted and allowed. Gab, you want to help me out on this one?

Gab: Women have been around in hip-hop since the very beginning. It's not like we just decided to pick this thing up recently. In most male-dominated fields, the women in it always have to constantly prove themselves all the time. I mean, now we're kind of to a point where people are preferring to hear women rap. I don't like the term "female rapper" because that's just dumb to me. There's really no reason to put your gender in front of your occupation or your skill, whatever. Now people seek to hear women on tracks, which we didn't even really hear about before. No one was really like, "I only want to listen to girls rap." You know what I'm saying? You hear that more and more nowadays, so that's dope. At the same time, you put in all this work and they still always have something to say or always something to talk about. I think the vision behind it is just they're always going to have something to say, always going to have something to talk about, so might as well give them something to talk about. Let's let this music talk about it.

What I love is that you do it through your skits, also. You bring up some commentary on gender. You're both female, one of you identifies as gay, do you feel like you're continuing to open doors for underrepresented voices in hip-hop or do you just see yourself as doing your thing and it is what it is?

Blimes: I'll start real quick just by saying that I'm the queer one. I'm the gay in the room. [Laughs.] I would love to open all the doors that I can for the folks that are underrepresented in hip-hop, in the world, anywhere that I can, you know? That makes me truly joyous and happy. In terms of being queer and being a rapper, for so long people have tried to box me into that category, much like the female rapper category. For me, I feel like the way that I can contribute to the LGBTQ community is if I make it in the mainstream. I feel like to make it in the mainstream it's not a tattoo that I need to wear on my forehead that says that I'm gay, which is also in the skit that we're writing for our TV show about face tattoos and hanging up our characteristics for the mainstream to digest easier.

I feel like I don't need to wear that as a tattoo on my forehead to represent my community. I feel like I do get to open those doors just by making it as a queer person. It's not really my goal to wear that flag in front of my name because I want to be accepted as a human. I want to be accepted as a rapper. I don't want to be accepted as a queer rapper. I think that does more for my people, for my other queer folks if I do and I'm being digested by listeners that are straight and gay. 

Gab: Just man, that was profound, Blimes. You're absolutely right. I mean, I can't really speak on it because I'm not gay. I'm just an ally, you know? I don't give a fk. It doesn't change my perception to find out who you make love to. It's like the term "female rapper." You look at me, you know what I'm saying. No one says "female doctor." No one says "female janitorial company." It's just what you do. I tell people all the time when they'll be standing out and stuff, I'm like, "Relax. I'm regular, too." I appreciate the love and it's humbling and everything, but I'm just a regular. I'm going to try to be as regular as I can for as long as I can. A different term would just be just being yourself.

I really don't try to change myself in any scenario. I think that's kind of something that's lacking a lot. You can tell when people are not being true to themselves. It's like, "Damn, that must suck to really just have to wake up in the morning and put on the mask on your face." That's tiresome. Just be you. I think that's the truest, you know what I'm saying, the biggest strength you can have is just being yourself. If nothing else, I'm not really looking to be a role model or anything. If you can get something out of whatever it is that I give you, it's just to be you. That'll get you, you know what I'm saying? That'll get you where you need to go.

Blimes: Gabby's fking phenomenal at that and teaches me about that all the time. People can smell it from a mile away when you're not being genuine or nothing. A really positive lesson about working together, too, is that when we're together, we bring out the truth in each other. I think that when "Come Correct" came out and people saw us together and saw how genuine it was ... Honestly that song came together so organically from the moment of induction in the studio where we practically freestyled the whole thing in like two hours. Or the music video that we shot on a whim in four hours. Then we threw the thing out on a Friday night and by Sunday it had like five million views on Facebook. What people could see from that or what people picked up on is that we were just being ourselves. We were just staying true to the type of music and the type of lyricism and skill that we grew up on.

To be able to be recognized for that was a huge relief because we were like, "Okay, thanks. People do respect the real still. People do respect good lyricism still. People do respect women who are being themselves, who are not changing and augmenting their bodies still." Not to knock that ... It's yours. Do what you want with it, but it's so refreshing to know that we can have success being ourselves. If we get to show another woman that or another kid that or another teenage gay boy who hasn't come out yet or a trans person or a black woman or any kid, like you said, opening doors for people that are underrepresented ... If we get to show somebody that they can be themselves and have success at it, then sht, our job is done. It'd be nice to make some money and have a house and a family and sht, but that's goals to me.

We learn a lot about you two through the skits, outside the music. You're both super funny and we feel the chemistry. Not as many hip-hop artists are including skits like they used to back in the day. Did you always envision skits in your debut?

Gab: Definitely. I'm the comedy nerd. Like, stand-up comedy to slapstick. I'm a huge Adam Sandler fan. I love Eddie Murphy. I love Bernie Mac. I'm one of those people that probably in my past life, I was a comedian. It's a gift and a curse. I'm sure all comedians or true funny people can attest to that. It's a true blessing and a curse to be able to find the humor in anything. There's really no situation that can't be laughed or made a joke at. I've been at funerals and we're cracking jokes. I've had scenarios where maybe like we lose hella money and we're still able to find a joke in it. One of us gets hurt, you know what I'm saying? I don't know if it's not taking life too seriously or just a coping mechanism or whatever the case may be is, but comedy has always been a part of me.

One of my favorite artists is Ludacris. When he came out with Word of Mouf ... I can't remember what year it was, but mind you, I grew up in the church. I sang in the choir, played the instrument, was in church three to four days out of the week. This is when the anti-skip CD players came out. That was the big thing. You could run and dance and do your thing with the CD player. We always had his on and we had Word of Mouf in there. I used to sneak and listen to his CD at church, like really had to hide it because I know if my mom came and grabbed the headphones, I would be in hella trouble. That was a very vulgar album, but I just remember specifically the skits were hella funny. He always had skits. Ludacris and Eminem, Redman, they always had skits. I always loved the lyrical rappers with that funniness.

If you can make me laugh, I'll pretty much do anything for you, right? Truly. Yeah, so skits and just funny sht, like even if you see my videos, there's always a skit in my videos or something funny in it. Even in my rap I'll say something witty. That's just what it is. It was a no-brainer to have skits on this album, especially with it being called Talk About It . We got to really paint this picture for you exactly what we're talking about, you know? This is where we're at now, what we've done thus far, imagine where we can go with the skits. That translates into TV shows, movies and all the other sht. I'm really kind of showing skits more than anything really to show the personality of the artist.

On the album you have a bunch of great features, one of them being from Method Man. How was it working with him? 

Blimes: That sht was amazing. That sht was surreal. I still sometimes don't believe that it happened because, man, he straight up was like, "I love you. You're one of my favorite battle rappers to ever do it. Let me know if you ever need anything." He was like, "Okay. I'll sell some merch for you at a show. I'll carry some equipment." He said he would help me out with anything I ever needed and then he followed through on that. I got in the studio immediately the next day and started recording tracks and sent him that one, sent him Hot Damn. He was like, "I got you" and sent it back in three weeks with a verse done.

For him to extend the blessing ... You know, I hit him up about the remix and getting Gabby on it and to extend the blessing to Gabby, he was like, "Of course. Anything you want. I got you. Anything you all want, I got you. You guys are a team." Then we had the opportunity to go work with him on the set of "Drop The Mic," Gabby and I. After the taping he had us in the green room and he was just putting us up on game about the industry and what to do with our money. He's like an uncle, you know? To play into the auntie/uncle theme, that's Uncle Meth and he's got our back. 

Gab: Most definitely. Anybody that knows me knows that Method Man is one of my favorite people ever. For him to be on my top five favorite artists and just people in life and to know him and for him to respect what I do. It's just hella crazy, but at the same time, it's one of those things where it's like well yeah, because again, back to we're being ourselves and we're hella dope at what we do. It's natural that we would link with like-minded people. It's crazy that we can call Method Man family, but at the same time, of course it makes perfect fking sense. Now it's the point where like it's almost normal. Oh, Meth? Yeah, that's dope. We can really call him right now and he'll answer. To meet people like that in the industry and then especially people you idolize... They say you never want to meet your idols, but I'm so happy that he lived up to the potential. 

"Magic" is your latest single. I love it because it's so summer and I hope we're out by then so we can really vibe to it. Tell me what the inspiration behind that song is.

Blimes: "Magic" is really just the success story of what I hope our fans can relate to. I think that they have been able to, judging by how well this song has done and what the numbers have done across streaming platforms without a video or anything, which is kind of crazy to us. This song is about coming from nothing and making something out of it and putting in the work and getting on top. I think for a lot of people, whatever you do is relatable when you've achieved something, that feeling of, "Oh wow. I've accomplished this and I can be proud of myself. I can stop for a minute and kind of dance in that feeling of accomplishment." We wanted to make something that people can dance to while celebrating it.

It's an ode to the Bay Area, for sure, with the beat and Iamsu on it. I felt pretty excited to get to pay homage to the kind of music of kind of the hyphy movement that I grew up on when you have that flute in there in the beat. Then to get Iamsu from the Heartbreak Gang on it. Super hyped to be able to make an ode to the Bay.

Gab: Being from Seattle, we look at the Bay as kind of like our sister city. We've gotten a lot of influence from them. A lot of Bay Area folks move to Seattle. The influence is obviously just there from being in the West Coast, as well. When hyphy was popping off, you know what I'm saying, in the Bay in California, Seattle was definitely hyphy as fk too, so we definitely related on that level... You hear those flutes and you just want to dance.

You're working on a TV show with Nelson George. What can you tell me about that project?

Gab: We're playing together hella organically. At the time we were being managed by AJ Miller. He brought Nelson to our show. It was in L.A. at Gold Diggers. He came to the show and he asked AJ to link with us. We met [and] we ended up chopping it up for hours. We ended up ordering food. Nelson used to write, and probably still currently does, with Chris Rock and a bunch of other people. He's written so many books and interviewed pretty much everybody you could think of from James Brown to the current. He's really a hip hop and just a culture historian. For him to find interest in us on that level aside from our music was really dope. Blimes and I just being writer, in general, it really wasn't too crazy of a switch up to be able to write in that format, even though we've never done that before. It kind of came together so naturally just because we had it in us and to Nelson, to bring that out of us. For it to be Nelson to be the one that basically ... I fill like coach sounds so corny. It's more than that, you know what I'm saying? For him to really bump it up on that level is just crazy, you know what I'm saying?

I moved to L.A. for music and I never, not made a scene, but never wanted it to stop there. I never was like, "I'm going to just move to L.A. and rap," you know what I'm saying? I knew it would turn into other things. To be there for the time and to be able to do my music, but also write a TV show is crazy. It's really happening. We have a really dope team behind us. Shouts out to Pender, our manager, Juan, Eric, Gary, the whole squad. It really just came together just how it should be coming together. Hella natural, we're organic.

Blimes: We got two seasons outlined. We're pitching now. It's in some really, really influential people's hands, so at this point we've seen that anything is possible. When the two of us get together, it really feels like our friendship turned music bond was organic that it only makes sense that the TV show is happening in the same way. I would not be surprised at all if this went really far because of what we've seen be the catalyst toward people's interest in us is that we just make people want to talk about it. That's how you sell music and T.V. Not that we ever started this to be in the business of selling anything, but I'm really grateful that we get to sell our story, that people are interested in hearing about our story. It's true. It's all genuine. We're giving you the truth, you know? That's the most fun part, is that we get to write from such a genuine place.

Now that you're doing TV, has that changed the way you see yourselves as artists?

Gab: Yes and no. Yes because it's a total different art form and like I said, just from the formatting and knowing how to properly write a script and having to be super, super detailed. It's definitely sharpened my pen skills, just all-around writing, period. Also just 'cause like Blimes was saying, all of our writing comes from a real place. From the TV show to the way we met, everything just ... We really just led a crazy life. I don't know what it is ... but people just be drawn to us and scenarios. We got stories for days, to the point where it really takes us to have to have a brainstorming session or me smoking or something to really just get the stories flowing. So much sh*t just be happening. It's like this is really fking crazy, like we should be do a TV show. Now we writing a fking TV show and then we really just have this real-life stories. You also get to really just expand your creativity and just go for it and really just have no boundaries.

Blimes: I agree with Gab on pretty much all of that. I just think that the only thing, for me, that feels different from going from being a rapper to writing television and then eventually starring in the TV show is that now we have to work on the acting. 'Cause we're playing ourselves, it will be pretty natural. However, I know that I can perform in front of a camera. If we're talking rap sh*t, I can perform in front of a camera all day. When that camera comes around on me to act, it's a whole different story. I know, for a fact, that's a tool that I'm going to have to sharpen or I need to once we get this thing going. I'm excited for that and nervous—and I haven't been nervous about a performance in a long time. There's something about that that really lights a fire under your ass. 

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Quarantine Diaries: Teenear Is Reading, Doing Cardio & Making Acai Bowls

Teenear

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Quarantine Diaries: Teenear Is Reading, Doing Cardio & Making Acai Bowls

As the coronavirus/COVID-19 pandemic continues to rock the music industry, GRAMMY.com reached out to a few musicians to see how they were spending their days indoors

GRAMMYs/Aug 19, 2020 - 08:10 pm

As the coronavirus/COVID-19 pandemic continues to rock the music industry, GRAMMY.com reached out to a few musicians to see how they were spending their days indoors. Today, Miami-based pop/R&B upstart Teenear shares her Quarantine Diary. Teenear's latest single "Free" is available to hear now.

[6:30 a.m.] First thing that I do when I wake up is brush my teeth so I can get to the gym on time without my trainer yelling at me! 


[9:00 a.m.] As soon as I get back home, I hop on the treadmill to get my cardio out of the way. I've really been trying to make sure I stay active during this time of having to be stuck in the house! 

 
[12:00 p.m.] By this time, I'm hopping out of the shower, my adrenaline has finally gone down, and I'm able to make myself and Acai bowl and write in my journal. I also take this time to hit up my team and figure out what I have to get done for the day. 
 
[2:00 p.m.] I start reading the books that I read daily. One of the books I started reading recently is The 365 Bible, which gives you specific versus on each day, and it reads in chronological order of how all the stories actually went. Another book I’m into is The Purpose Driven Life by Rick Warren. This is one amazing book and I’m so happy my mom blessed me with this read! The last book I’m reading right now is A Singer's Compass that is actually written by my vocal coach Cassandra Claude. 

 
[4:00 p.m.] I’m getting dressed to go outside and shoot some content. Creating content from home has definitely become a huge daily task but I'm grateful for it because now I’m able to find new ways to be creative and showcase my personality to my fans.

 
[7:00 p.m.] I try to take this time meditate. Throughout this whole pandemic I’ve been trying to get into new things and meditation has played a big role in me figuring out a little bit more about myself and my surroundings. No, I’m not a yoga person yet! I have tried countless classes and it's not for me just yet, but one day I’ll get into it! 

 
[9:00 p.m.] Usually around this time, if I’m not sitting in a corner somewhere in the house singing, I’m most likely in my bathroom trying a new beauty product I just ordered online. The ads have gotten a little too good during this quarantine!

If you wish to support our efforts to assist music professionals in need, learn more about the Recording Academy's and MusiCares COVID-19 Relief Fund.

If you are a member of the music industry in need of assistance, visit the MusiCares website.

Roy Ayers, Method Man & Redman & More To Play Crate Diggers NYC Music and Record Festival

Roy Ayers

Photo by Scott Dudelson/Getty Images

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Roy Ayers, Method Man & Redman & More To Play Crate Diggers NYC Music and Record Festival

Presented by Discogs, the "largest vinyl collector’s festival series on earth" is coming to the Bronx on July 27

GRAMMYs/Apr 11, 2019 - 11:22 pm

Crate Diggers NYC, presented by renowned music database Discogs, and in association with Japanese audio company Audio-Technica, has announced the official music lineup for its New York City festival on July 27 at the New York Expo Center in the Bronx.

Funk icon Roy Ayers will headline the fest, with support from by Method Man & Redman, Rudimental, Smif-N-Wessun, Black Moon, Mad Skillz, Jurrasic 5's Soup Presents: The Fullee Love Collective, and more.

Entrance to the record fair is free to attend all day, and tickets for the fest cost $30 and go on sale Friday, April 12 at 10:00 am EST.  

Crate Diggers NYC welcomes record sellers from around the region, as well as rare-finds and freshly pressed vinyl collectors looking to add to their stock.

According to a release, Crate Diggers will offer more than "100 tables of vinyl for sale by some of New York’s most respected record dealers, some of the finest local DJs spinning wax all day, craft beer, great food and free admission from noon until close in a festival atmosphere."

Behind The Board: Get Into The Vinyl Groove With Producer/Engineer Jeff Powell
 

King Bach On His Comedy Album 'Medicine,' Loving Ludacris & Trying Not To Throw Up

King Bach

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King Bach On His Comedy Album 'Medicine,' Loving Ludacris & Trying Not To Throw Up

The YouTube and former Vine star opens up to the Recording Academy about creating his first comedy album, who he listened to growing up and why laughter has been a cure-all in his life

GRAMMYs/Oct 4, 2019 - 11:54 pm

Andrew Bachelor, otherwise known as rising comedy titan King Bach, is definitely on his way to achieving royalty. 

Starting out producing comedy sketches on YouTube, Bachelor eventually switched to the now-defunct short-form outpost Vine, where he'd go on to amass more than 15 million subscribers and more than five billion views. Nowadays, the funnyman is dipping his toes into the TV and music world, where he currently stars in IFC's variety sketch series "Sherman's Showcase," among other things.

Meanwhile, Medicine, which dropped in mid-August, is his debut comedy album, and is filled with 15 true-to-life tracks—with music videos—that skewer everything from his weak stomach ("Bulimic") to the lies people tell each other when they first meet ("Secrets"). 

Below, Bachelor opens up to the Recording Academy about why laughter is truly the best Medicine, who he listened to growing up and the different ways he utilizes social-media platforms to reach new audiences. 

What sparked the idea to make a comedy album?

I've always loved music, ever since I was younger. And when I started making the comedy skits, I actually thought of making a parody music video, and I just love putting together music that people just like to listen to and have fun with listening to it and having a laugh at the same time.

So I figured why not make original music that I own and, I could just share with everyone and not feel any type of way of me taking someone else's style. This is my style, my unique style. So yeah and then I figured it's a comedy album and they're saying laughter is the best medicine, so I named the album Medicine, because every track they're laughing at.

Who did you listen to growing up?

I listen to a lot of Ludacris, Ludacris is my favorite rapper since I was little. Just his style, his energy, I like songs that have a lot of energy behind them. Now music has changed though we realize, that energy has kind of tapered down a little bit. So most artists, it's a lot of mumbling going on, it's more like vibes and feeling it out as opposed to the lyrics. So I'm doing a mixture of both.

Yeah, we've been hearing a lot of "genre labels don't matter anymore" nowadays.

Yeah the whole thing is, what I realized in doing comedies, why it's so good, when you're laughing about a joke or anything, you forget all your problems. You forget about the bad day you had, you forget about your breakup, you forget about somebody who's passing. You just forget about everything and you're literally focused on that joke that that made you laugh in that moment. So that's the mood that I want people to feel like when they listen to the album, they can just forget about everything else and just enjoy the music and just stay present.

Have you personally used comedy as a coping mechanism?

Yeah, with everything, it kind of puts me in a better mood and lets me forget. The way I look at is, I'm being myself, I am being unique. Some people may find it funny but I'm being me, like these are my point of views. Every song on the album is a situation that happened in my life. So it's a situation that happened in my life and I took it and I found the comedy in it.

There's a song on there called "Bulimic." I have a very weak stomach and throughout the days I'm constantly trying to stop myself from throwing up. And it's just been something I've dealt with since I've been seven years old. So I tried to find the light of that and I made a song called "what you going to do if I throw up on you?"

Are any other themes that have come up repeatedly in your comedy that you've touched on with Medicine?

Yeah, there's a song on there called "Secrets," and it's about everyone letting out the secrets and being honest. And the way I directed in film, that music video was pretty much like a YouTube skit. The concept of the video was the speed dating situation, and everyone thinks that speed dating is going regular, but then the speed dating announcer, he announces that she puts truth serum in the guys drink. And it forces them to let out their deepest and darkest secrets. So these guys are confessing their secrets against their will. So that's how I kind of shoot my skits as well, I come up with a concept and I just shoot it around that.

You became pretty famous from using Vine, which sadly doesn’t exist any longer. Have you embraced the similar-minded Tik Tok to create the same short-form comedy? 

Yeah, listen, I'm a creator at the end of the day and I am on the social media application. So I'm on Tik Tok, I'm on Facebook, Twitter, Instagram, I'm on everything. And I'll just take one video and I'll just post it everywhere. So if someone only has Tik Tok, they're getting it on Tik Tok. If they only have Facebook, they're getting on Facebook, so I use them all. You name the app, I got it.

So what's your strategy when deciding how to best utilize different apps?

I kind of see how the platform is being used and I kind of adapt to that. So Tik Tok is more music-based, so if I have an idea and it's music based and it's a fun, bubbly, energetic vibe that'll go on Tik Tok. So yeah definitely got to think about, it's like you got to know your audience.

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John Prine Talks 'My Kentucky Home, Goodnight' & Why He Wants To Benefit Coal Miners

John Prine

Photo by Danny Clinch

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John Prine Talks 'My Kentucky Home, Goodnight' & Why He Wants To Benefit Coal Miners

The GRAMMY-winning Americana figure opens up about his brand-new 7", how mining affected Muhlenberg County and why the Bluegrass State runs in his blood

GRAMMYs/May 14, 2019 - 10:28 pm

GRAMMY-winning country/folk hero John Prine is widely known for his 1970 song, "Paradise," a wistful ode to a now-extinct Kentucky town that was ravaged by the strip mining industry. Almost 50 years later, he’s revived the song to benefit the very same coal miners and their families in Appalachia.

This version of "Paradise" rounds out Prine’s new 7" single My Kentucky Home, Goodnight, which arrived on May 11. The A-side is a cover of Stephen Foster's Civil War-era classic, on the reverse, a new version of "Paradise” with folk/bluegrass artist Tyler Childers. Sales will benefit the Appalachian Citizens' Law Center, which provides legal representation to miners and their families.

While "Paradise" is full of warnings about the ruinous effects of mining on small-town America, Prine remains sympathetic to the miners themselves. Not only did they put their bodies on the line, but many have fallen into financial hardship as the coal industry increasingly turns to dust.

"Those miners were the hardest-working people," he tells The Recording Academy. "I'll always respect what they did to provide for their families." These two modest recordings connect Prine meaningfully with his past — and help extend a hand to a struggling American region.

Read on for an interview with Prine about the new 7", how mining affected Muhlenberg County and why the Bluegrass State runs in his blood.

On "Paradise," you evoked youthful summers in Muhlenberg County, Kentucky. What made you want to evoke the state again with "My Kentucky Home, Goodnight"?

I love this Stephen Foster song and I love Kentucky. I guess it runs in my blood. My dad had a great affection for his home state and passed that love to me and my brothers. I still have a lot of family there and try to get to the annual family reunion as often as I can.

"My Kentucky Home, Goodnight" traditionally kicks off the Kentucky Derby. Do you have memories of attending the Derby as a kid?

We never attended the Derby. I’m not sure if my family could have afforded to take everyone. My cousin Jackie always had a famous Derby party, but I was always on the road. One of these days, I definitely want to go. I always make a small bet with my brothers on Derby day just for the fun of it.

Your father, Bill, actually grew up in Paradise. Can you talk about him a little bit?

He was a larger-than-life character. He worked hard to provide for us and enjoyed his beer and country music. I think he might have believed that one day he would take us back to live in Kentucky. He would take us there on vacation every year and those car trips are still some of my best memories of growing up.

Proceeds from the single benefit Appalachian coal miners and their families. What makes you connect with their plight?

When you grow up knowing that your parents' home place no longer exists because of mining, it’s a hard reality to shake. A lot of families are affected by the declining industry now and others are left with black lung. Those miners were the hardest-working people and I’ll always respect what they did to provide for their families.

A brand-new version of "Paradise" rounds out Side B. Why do you think folks connect with that song so strongly?

It’s one of my songs that I really didn’t think would make it to the 21st century, like "Flag Decal." I guess the world really has not changed all that much. People are connected to wherever they call home and where their parents were born, and we still have environmental issues and industries that no longer provide good jobs for working-class people.

Why did you connect with Tyler Childers for this version of "Paradise"?

Tyler has opened a bunch of shows for us and we traveled together to New Zealand and Australia earlier this year. I think he is one of the finest young writers out there and he is a great fella to hang out with. He gets what country music is all about. Writing about the people and places you know best and the feelings that come from growing up in rural America.

You've got a lot on your plate these days — this new single, an international tour. What keeps you so busy and motivated?

I love that my audience has expanded. My fans from the 1970s are still with me and now they bring their kids and grandchildren. It gives me new energy to play my songs for a new audience. When we traveled to Australia and New Zealand at the beginning of the year, I got to play for fans that had waited 25 years to see me live. That was an amazing experience and has really given me motivation to write new songs and keep performing.

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