Sponsored message
Logged in as
Audience-funded nonprofit news
radio tower icon laist logo
Next Up:
0:00
0:00
Subscribe
  • Listen Now Playing Listen
  • Listen Now Playing Listen

This archival content was originally written for and published on KPCC.org. Keep in mind that links and images may no longer work — and references may be outdated.

KPCC Archive

Watch: Sir Mix-A-Lot, Seattle Symphony perform 'Baby Got Back' and 'Posse On Broadway'

The Seattle Symphony and rapper Sir Mix-A-Lot wowed a roomful of music fans Friday night with a full-figured performance of "Baby Got Back," complete with a stage-full of dancers from the crowd.

This story is free to read because readers choose to support LAist. If you find value in independent local reporting, make a donation to power our newsroom today.

The Seattle Symphony and 90s rapper Sir Mix-A-Lot wowed a roomful of fans Friday night with a full-figured performance of "Baby Got Back," complete with a stage-full of dancers from the crowd. It was all part of the Symphony's summer "Sonic Evolution" series, a 3 year-old project to feature Seattle's musical heritage by commissioning composers to produce orchestra music inspired by Seattle artists or songs.  

Mix-A-Lot and the symphony began with an orchestral version of "Posse On Broadway," then opened the floor to the orchestra's audience for Sir's signature body image anthem.

"Since tonight is orchestral movements from the 'hood night, I'm going to leave this open," he said. "If a couple ladies would like to get up on the stage..." 

The rest you can watch below: 

Video: Sir Mix-A-Lot, Seattle Symphony perform 'Baby Got Back'

London-based composer Gabriel Prokofiev, who has a background producing for the stage and the dance floor, composed the orchestral variations for Friday's performance. The grandson of famed composer Sergei Prokofiev outlined the challenge on his blog, saying that he was inspired by hip hop growing up:

So, the chance to compose an orchestral piece that is explicitly inspired by a hip-hop icon, was naturally very interesting to me, but, as is always the case with this kind of cross-genre project – quite dangerous, with the potential of being an embarrassing ‘cross-over’ rail-crash between two musical worlds. But I think these risks need to be taken; many musical innovations have been made in hip-hop music that can bring new energy, sounds and rhythm to the classical world. But it would essential that I was continuously critical of what I composed and make sure that the piece was had musical integrity. 

The result: a performance that Seattle won't soon forget.
Sponsored message

H/t: Rolling Stone

You come to LAist because you want independent reporting and trustworthy local information. Our newsroom doesn’t answer to shareholders looking to turn a profit. Instead, we answer to you and our connected community. We are free to tell the full truth, to hold power to account without fear or favor, and to follow facts wherever they lead. Our only loyalty is to our audiences and our mission: to inform, engage, and strengthen our community.

Right now, LAist has lost $1.7M in annual funding due to Congress clawing back money already approved. The support we receive from readers like you will determine how fully our newsroom can continue informing, serving, and strengthening Southern California.

If this story helped you today, please become a monthly member today to help sustain this mission. It just takes 1 minute to donate below.

Your tax-deductible donation keeps LAist independent and accessible to everyone.
Senior Vice President News, Editor in Chief

Make your tax-deductible donation today