Who is lv from coolio

I just moved out of my old spot, which was my apartment. I always wanted to do this so I think it will be fun. I found music through my parents. I got to hear a lot of interesting things that way, but my personal journey with music and being able to really seek it out and buy the things I want probably started when I was in middle school.

I was one of the only Black people in my school where I was going. They also looked different, they were like a little bit more diverse [of a] crowd. I was just kind of sick of sticking out all the time. But it was through that, that I found At The Drive In and a ton of other bands that really changed my life. I read that your mother was a Jubilee singer. Legacy is something that weighs heavy on me.

Like, I always grew up hearing about my mom singing when she was younger and all over North Carolina. Everyone knew my mother, and I would remember being a kid and every time we go home in North Carolina, I was listening to her sing in all these huge churches.

As I got older, I learned more about my mom's side of the family, and all of these people who were tremendous singers and vocalists and guitar players and bass players, and all the way back as far as like anyone can think. And this is like Chitlin' Circuit, era, Black music in the South.

My first solo project I ever put out was a six-song folk album that was all about just connecting country music and blues and all of these like super Black sounds together. It's definitely in the backdrop of the music I make. On "Lemonworld," you changed the line from "I was a comfortable kid" to "I'm an uncomfortable kid, but I don't think about it much anymore.

Like before I really started taking music seriously, I was very precious. And I felt like I was trying to be this person that I really didn't like. And a lot of the record was about saying goodbye to that. It's like me sneaking in saying that I'm growing, I'm moving on, and I'm feeling better about who I am and I'm more comfortable now.

It's just fun songwriting to put your own kind of feel into it and to reference things. I always kind of think of it as like sending smoke signals up to people that I want to work with one day, like there's shit that I did in the National record purely because I wanted Aaron Dessner to hear it. I guess subconsciously, I want people to catch t, but I don't plan for that, you know? Oh, I'd love to. I mean, I just don't think Aaron has ever considered doing that with me. She probably would imagine he's pretty busy, but I would love to work with him.

Would you be down to work with me? Like at all? I went for like almost two weeks in February and recorded 17 songs. And then me and Brian DiMeglio started mixing it right after that. And he and I shot a bunch of versions back and forth, like over the next month, probably a month and a half.

And then we got it mastered by Jesse Cannon, who's in New York and he's a great engineer. It's a cool studio up there. And then, I circled back up with Jamie and we were like, cool, we've got a record.

Let's see if we can build a team around it and see if we can find the label. We shopped it for a long time and no one really was that into it, to be honest. Like, I think people thought it was cool, but maybe it just wasn't the right time or something.

And then we just kept on going and we got some booking help and eventually like we got it to Will and then he was really, really into it, like super pumped. And that was honestly like right before we put out Pretty Boy. So we were shopping the album around for almost a year. It must have been frustrating to have this whole album ready to go without actually releasing it!

I really felt like I wanted to take the time, I know I've seen a lot of bands release music and I've been in a lot of bands that released music and we always did it way too fast. And Jamie gave me great advice.

She was like, "We should take our time. Like if it takes a year, like it takes a year. They're like, we're gonna just get it to as many people as we possibly can. Eventually, we found somebody, but I think in that year I also locked down the Pretty Boy project and recorded it.

So, we had a label to do one release and I think that was like a really great thing to happen. I think it was like a good way to introduce my music. So it all worked out somehow. There are several left-field experiments like "Flagey God" and "Mossblerd. I really wanted the album to be like an exploration of sounds. And I feel like I naturally am writing a lot of different things all the time.

Like it's always been hard for me to just be write hardcore songs or just punk songs or whatever. I felt like with songs like "Kelly Rowland" and "Mossblerd" and some of the more beat-driven ones, it's hard for me to say that there's like a through line between those and like the rock songs. But I remember looking back at the projects and saying, "I don't have to be afraid that all these songs sound different" because the through line I think is just me, just that I made them.

And that it's my story and my voice and my experiences. I think beyond that, there's no sonic element that makes everything similar. I'm just kinda pulling it together. That kind of storytelling about your own life is very rooted in rap. Was that contrast deliberate? I think that was very deliberate. One thing that I love about hip-hop for me is, I know what's going on. Like, shit is very clear. All of the messages are sharp and succinct and clear and if you're not familiar with the lexicon, I guess that's a barrier, but if you are familiar, you can know what's happening.

And I feel like in rock music, you could be talking about anything in a rock song, but if it's arranged right, it can just be great. And I wanted to bring that type of approach that's normally used in hip-hop with writing lyrics and making things super clear and concise. Like there's no intros, it's just like, boom, like we're in the song [and] I'm rapping, you know?

That was something I wanted to do a lot. I did it on "Mossblerd" too. Cause I thought that shit was genius. Like those DaBaby songs are so simple and they start so fast and so quickly, it's like a freight train.

And I was like, "How can we do that in a pop punk format? Those were some ways that I was like, "Maybe I can smash these two ideas together. When you're writing, are you thinking in terms of "this is my National song, this is my weird trap song? So I normally start with a loop or a piano part. Once I work that section, I just start collecting sections, like, so like literally in project files.

Then, once I like have as many sections and ideas collected, I just start arranging them and when I can hear it and I can look at it and say like, "Oh, it would be sick if I was rapping. Or if there was a drum and bass beat here. But I definitely don't think like, "Oh, let me make [this kind of] song. Many of our most popular forms, pop-rock-dance-soul-funk-gospel-country-folk-blues, hip-hop, all seem to be rooted in Black people. Or at least shaped by formative Black artists.

I think that it's kind of strange and impossible to be expected to stay within a genre. And I feel like genres, and how they've played out, just in the categorization for Black artists, it's all just kind of set up so we'll lose.

Like, these are huge, super future-facing pop records, you know? I don't see how naming them all Urban [helps]. I think that Black people that are just, you know, the shit and it shouldn't be weird to see Black rock bands. Like, there should be tons of them.

It shouldn't be weird for them to also have hip-hop influences. And also just like how genres grow to impact your life and how you see yourself and the contributions that your community makes.

I ended the song talking about my nephew who is a pretty outstanding rapper. But I remember being 16 and Black, and I know a lot of young Black guys that all thought they were going to be rappers and we were just going to sell drugs and just be rappers you get that from the shit you see on TV. And it's all tied back to genres and what we're telling people that they can accomplish.

So it can be kind of dangerous. That's why when people ask me, Oh, what's it like making "genre-defying rock music. Do you have a message for them, the kind of thing you wish you heard when you were 16 and thinking you were going to be a rapper? And I remember seeing Bloc Party and TV on the Radio and bands that had people that looked like me and how much it meant to me.

And I think that was really important and something I've just learned in making music is that sometimes you just have to be your own biggest fan, and you have to build the thing that no one else knows is real yet. Posted 5 Dec 5 Dec Sat 5 Dec at am.

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But he still hasn't met her. Rasheed: Paul was a DJ. He had a record collection and I had a record collection, so we used to see who could pull the hottest sample out. That whole choir that you hear was actually me — I did all the parts from soprano down to tenor to the bass. Coolio: I had actually gone over that day to pick up a check from my manager. I was getting ready to go back to my car — and I remember this clearly — there was a Chevy Biscayne that was parked next door; I was looking at that, and I was asking the neighbor if he wanted to sell it.

Coolio: I sat down and I started writing. Hearing the bass line, the chorus line and the hook, it just opened up my mind. I thought about it for a minute, and then I wrote the whole rest of the song without stopping, from the first verse to the third verse. You know, I like to believe that it was divine intervention.

Coolio: I did a couple of rough passes on the vocal, L. This is a song for the neighborhood! Rasheed: Paul took the demo and shopped it to a couple of films, one of which was Dangerous Minds. And then Dangerous Minds upped the ante on the price. They were afraid that the movie was going to flop; they were terrified. They had snatched the movie off from testing, and they were trying to figure out what to do, because they had to put it out.

Rasheed: The song was recorded in four different studios, including my home studio; it just all came together to create a really good sound.

Coolio: But the thing was, we still had to get Stevie to sign off on it. She made a call to him, got a meeting with Stevie and talked him into it. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying.

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