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
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.
Rotimi On Performing At ESSENCE Fest, Growing Up African-American & More
The Nigerian-American singer and actor sat down with the Recording Academy to talk about what inspired his latest album, 'Walk With Me'
In 2015, Rotimi stepped into the New Orleans Superdome for the first time to experience the magic of ESSENCE Fest. Four years later, in 2019, the "Love Riddim" singer returned to the celebration as a performer, something he said was spoken into existence.
"Last year me and my manager had a conversation and I said, 'Listen, I'm going to be on the [ESSENCE] mainstage this year. 365 days later, we did it," Rotimi told the Recording Academy at the 25th annual ESSENCE Fest.
Rotimi, also an actor on Starz' "Power," has evolved since his last album, 2017's Jeep Music, Vol.1. The singer said he really hit home with its follow-up, the recently released Walk With Me, a project he worked hard for, putting in hours in the studio after filming on set.
"Walk With Me is the first time I actually felt like I was giving myself as an artist, and personally I feel like with everything else I have going on I wanted to show people that this is really what I do," he said. "I wanted people to understand who Rotimi is, who Rotimi was before, who I want to be and just understand my growth and the journey and my passion for what I do."
Part of why the album felt like such a representation of him is because it embodies beats of his African roots, something he said was very present growing up Nigerian-American.
"I grew up with a lot of Fela Kuti and I grew up with Bob Marley," he said of his musical roots. "But I also grew up with Carl Thomas and Genuine and Usher, so there was a genuine mixture of who I am and what I've grown up to listen to. The actual Walk With Me project was a mixture of influences of Akon and Craig David."
Joan as Police Woman
Quarantine Diaries: Joan As Police Woman Is Bike Riding, Book Reading & Strumming D'Angelo
As the coronavirus/COVID-19 pandemic continues to rock the music industry, the Recording Academy reached out to a few musicians to see how they were spending their days indoors
As the coronavirus/COVID-19 pandemic continues to rock the music industry, the Recording Academy reached out to a few musicians to see how they were spending their days indoors. Today, singer/songwriter Joan Wasser of Joan as Police Woman, whose forthcoming covers album, COVER TWO, includes tracks by The Strokes, Prince, Talk Talk, and more, shares her Quarantine Diary.
Thursday, April 2
[10 a.m.-12 p.m.] Went to bed at 4 a.m. last night after getting drawn into working on a song. Put on the kettle to make hot coffee while enjoying an iced coffee I made the day before. Double coffee is my jam. Read the news, which does not do much for my mood. Catch up with a few friends, which does a lot of good for my mood. Glad it goes in this order.
[12 p.m.-2 p.m.] Make steel cut oats with blueberries, raspberries, strawberries, fresh ginger, fresh turmeric, a sprinkling of cinnamon and cardamom, and of course, coconut butter to melt on top. If you’re not into coconut butter (sometimes marketed as coconut "manna"), I’d suggest just going for it and getting it (or ordering it) and putting it on your sweet potatoes, your oats, anywhere you’d put butter. I’m not vegan but I do enjoy hearing the tiny scream uttered by a strawberry as I cut into it.
Contemplate some yoga. Contamplate meditating. Do neither. Resume work on the song I want to finish and send today. I have a home studio and I spend a lot of my time working on music here. The song is a collboration sent to me from Rodrigo D’Erasmo in Milano that will benefit the folks who work behind the scenes in the music touring system in Italy.
[2 p.m.-4 p.m.] I traded in a guitar for a baritone guitar right before all this craziness hit but hadn’t had the time to get it out until now. I put on some D’Angelo, plugged into my amp and played along as if I were in his band. Micahel Archer, If you’re reading this, I hope you are safe and sound and thank you immensely for all the music you've given us always.
[4 p.m.-6 p.m.] Bike repair shops have been deemed "necessary," thank goodness, because biking is the primary way I get around and I need a small repair. I hit up my neighborhood shop and they get my bike in and out in 10 minutes, enough time to feel the sun for a moment.
I ride fast and hard down to the water's edge and take in a view of the East River from Brooklyn. There are a few people out getting their de-stress walks but it is mostly deserted on the usually packed streets.
[6 p.m.-8 p.m.] Practice Bach piano invention no. 4 in Dm very, very, very slowly. I never studied piano but I’m trying to hone some skills. Realize I’m ravenous. Eat chicken stew with wild mushrooms I made in the slow cooker yesterday. It’s always better the second day.
[8 p.m.-10 p.m.] Get on a zoom chat with a bunch of women friends on both coasts. We basically shoot the sh*t and make each other laugh.
Afterwards I still feel like I ate a school bus so I give into yoga. I feel great afterwards. This photo proves I have a foot.
[10 p.m.-12 a.m.] Record a podcast for Stereo Embers in anticipation of my new release on May 1, a second record of covers, inventively named COVER TWO. Continue to work on music (it’s a theme).
[12 a.m.-2 p.m.] Tell myself I should think about bed. Ignore myself and confinue to work on music.
[2 a.m.-4 a.m.] Force myself into bed where I have many books to choose from. This is what I’m reading presently, depending on my mood. Finally I listen to Nick Hakim’s new song, "Qadir," and am taken by its beauty and grace. Good night.
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.
Hero The Band perform at the Recording Academy Atlanta Chapter Annual Membership Celebration
Photo: Marcus Ingram/WireImage
Report: Music & Culture Infrastructure Can Create Better "Future Cities"
How sound planning for a creative future in our urban areas makes all the difference for artists and musicians
The future, as they say, is now. And for music makers around the world, building a future for themselves often starts at home, in their local creative community and in the city where they live. While technology has expanded communication and made the world smaller, cities continue to grow, making planning for the future a critical cultural mission of the present.
To that end, a new report by global organization Sound Diplomacy titled "This Must Be The Place" examines, "The role of music and cultural infrastructure in creating better future cities for all of us." The 37-page deep dive into community planning and development highlights the importance of creative culture in what it calls "Future Cities."
"The government defines ‘Future Cities’ as 'a term used to imagine what cities themselves will be like," the report states, "how they will operate, what systems will orchestrate them and how they will relate to their stakeholders (citizens, governments, businesses, investors, and others),'"
According to the report, only three global cities or states currently have cultural infrastructure plans: London, Amsterdam and New South Wales. This fact may be surprising considering how city planning and sustainability have become part of the discussion on development of urban areas, where the UN estimates 68 percent of people will live by 2050.
"Our future places must look at music and culture ecologically. Much like the way a building is an ecosystem, so is a community of creators, makers, consumers and disseminators," the report says. "The manner in which we understand how to maintain a building is not translated to protecting, preserving and promoting music and culture in communities."
The comparison and interaction between the intangibility of culture and the presence of physical space is an ongoing theme throughout the report. For instance, one section of the report outlines how buildings can and should be designed to fit the cultural needs of the neighborhoods they populate, as too often, use of a commercial space is considered during the leasing process, not the construction process, leading to costly renovations.
"All future cities are creative cities. All future cities are music cities."
On the residential side, as cities grow denser, the need increases for thoughtful acoustic design and sufficient sound isolation. Future cities can and should be places where people congregate
"If we don’t design and build our future cities to facilitate and welcome music and experience, we lose what makes them worth living in."
For musicians and artists of all mediums, the answer to making—and keeping—their cities worth living in boils down to considering their needs, impact and value more carefully and sooner in the planning process.
"The report argues that property is no longer an asset business, but one built on facilitating platforms for congregation, community and cohesion," it says. "By using music and culture at the beginning of the development process and incorporating it across the value chain from bid to design, meanwhile to construction, activation to commercialisation, this thinking and practice will result in better places."
The report offers examples of how planners and leaders are handling this from around the world. For instance, the Mayor Of London Night Czar, who helps ensure safety and nighttime infrastructure for venues toward the Mayor's Vision for London as a 24-hour city. Stateside, Pittsburgh, Penn., also has a Night Mayor in place to support and inform the growth of its creative class.
What is a music ecosystem? We believe the music influences and interacts with various sectors in a city. We have designed this infographic to show how music ecosystems work and impact cities, towns and places: https://t.co/0DIUpN1Dll— Sound Diplomacy (@SoundDiplomacy) August 14, 2019
Diversity, inclusion, health and well-being also factor into the reports comprehensive look at how music and culture are every bit as important as conventional business, ergonomic and environmental considerations in Future Cites. Using the Queensland Chamber of Arts and Culture as a reference, it declared, "A Chamber of Culture is as important as a Chamber of Commerce."
In the end, the report serves as a beacon of light for governments, organizations, businesses and individuals involved in planning and developing future cities. Its core principals lay out guideposts for building friendly places to music and culture and are backed with case studies and recommendations. But perhaps the key to this progress is in changing how we approach the use of space itself, as the answer to supporting music may be found in how we look at the spaces we inhabit.
"To develop better cities, towns and places, we must alter the way we think about development, and place music and culture alongside design, viability, construction and customer experience," it says. "Buildings must be treated as platforms, not assets. We must explore mixed‑use within mixed‑use, so a floor of a building, or a lesser‑value ground floor unit can have multiple solutions for multiple communities."
Ice-T In 1993
Photo by David Corio/Redferns
Nearly 30 Years After Their Debut, Body Count's 'Carnivore' Is The Thrash-Metal Band's Most Fully Realized Album
Led by iconic rapper Ice-T, the L.A.-based seven-piece keep their socially conscious themes consistent and the music louder than ever on their seventh studio album
In early 1992 Ernie Cunnigan visited the Burbank office of Howie Klein. The guitarist (who goes by Ernie C.) and the then-president of Reprise/Warner Bros. Records were listening to the upcoming self-titled debut from Cunnigan’s band, Body Count, fronted by his Crenshaw High School buddy Tracy Marrow, already famous as rapper Ice-T. Ice, with the savvy creative connectivity that guides his multi-hyphenate media career to this day, introduced his forthcoming metal band in 1991 via tracks on O.G. Original Gangster, his fourth album.
It's not unusual for high school pals to form a band. What was unusual, though, was that Body Count was a hardcore thrash metal band comprised of all-black musicians, with point-blank lyrics that were both insightful and incite-ful concerning racial and social inequities and the climate of America. Listening to the 18-track debut, Klein praised it, while voicing concern about the lyrics of "Momma's Gotta Die Tonight," a song about the matricide and dismemberment of a racist parent. Turns out it was the last track, a ditty called "Cop Killer," that should have given the executive pause.
While Klein was and remains stridently opposed to censorship and is a dedicated free speech advocate, Body Count, per the era, was released with a parental advisory sticker (as was Original Gangster). Less than two months after Body Count dropped, Los Angeles exploded in fiery violence in reaction to the acquittal of four policemen in the beating of Rodney King, as well as the shooting death of black teenager Latasha Harlins by a Korean grocer. (The grocer was given only probation.) It was the worst possible climate for "Cop Killer," with lyrics including "F**k the police, yeah!" and shout-outs to then L.A.P.D. chief Daryl Gates, Ice's "dead homies" and King. The blowback went all the way up to then-President George Bush, and though Time Warner supported Ice-T in his fight against the song's opponents, he eventually pulled the cut from new pressings of the album.
Currently, streaming services including Spotify and Apple Music offer the version sans the group's most (in)famous song, replacing "Cop Killer" with "Freedom Of Speech" from Ice's 1989 solo album, The Iceberg/Freedom of Speech...Just Watch What You Say, edited to add samples of Jimi Hendrix's "Foxy Lady" and the voice of political punker Jello Biafra. On YouTube, "Cop Killer" has more than 1.5 million views, with most of the comments thoughtful and positive, understanding the intentionally incendiary messages Body Count was delivering. Ultimately, if Body Count isn’t a classic record in the way that critics consider Nirvana’s Nevermind or Public Enemy's It Takes A Nation Of Millions To Hold Us Back to be, it’s an important and groundbreaking one. As Ice-T has said, Body Count is: "a protest record,” not the norm in the metal world, but still the way BC's songs operate today.
Indeed, 28 years later, things haven’t changed. Biafra is also on Body Count's powerful new album, Carnivore. Police actions like "stop and frisk" (the NYC law enforcement program that was proven to disproportionally target black and Latino men) wasn’t legally discredited until 2014. Body Count’s one-time bassist, Lloyd "Mooseman" Roberts III, was murdered in South Central Los Angeles in 2001 in an accidental drive-by; in the last 12 months, 126 black men were killed by guns in L.A. County, as opposed to 23 white men. And Ice-T and Body Count are still raging against the machine.
Ice-T enjoys pushing buttons lyrically, and if they’ve sometimes been heavy-handed or misguided ("KKK Bitch" or "Bitch In The Pit"), Ice-T is a politically eloquent, passionate and personal songwriter, which can be too easily overlooked given Body Count's volume-heavy metal chops and Ice's delivery, a speedy vocal style that’s been traditionally more aggro-rapping than melodic singing.
That said, Carnivore is Body Count’s best album to date; it’s the most fully realized musically, and there’s a cohesion to the vocals and music that led Body Count bassist Vincent Price to lay out the band’s growth in a Metallica timeline: "Manslaughter  was basically Kill ‘Em All; Bloodlust  was our Ride The Lightning, and Carnivore’s our Master Of Puppets."
He's not wrong, and though Ice-T’s more than 20-year stint as detective Odafin "Fin" Tutuola on Law and Order: Special Victims Unit has precluded lengthy Body Count tours, the buzz is loud for this seventh album.
Ice-T may be the original gangster, yet he’s patient, articulate and fervent in explaining songs and motivations to audiences and the press alike. "When I'm Gone," featuring Amy Lee of Evanescence, was inspired by the killing of Nipsey Hussle. It’s a reminder, as he says in the tune, to "tell the people that you love, that you love them now. … Don't wait; tomorrow may be too f**king late."
His prolific musical social criticism and seemingly left-leaning views are thoughtful and targeted, despite the vitriol of so many Body Count songs. In the nearly 30 years since founding his revolutionary band, Ice-T observes, "I think you’ve got less racism; less people, but more avid racism. It’s unnerving to think that we’ve come so far but there’s still so far to go." As he advised in a 2017 interview, "Don’t just be angry. Know what you’re talking about so you don’t alienate someone who should be an ally."