Your Songs – Harry Connick, Jr.

Harry Connick, Jr. - Your Songs  artwork

Your Songs

Harry Connick, Jr.

Genre: Jazz

Price: $ 10.99

Release Date: September 22, 2009

© ℗ 2009 Sony Music Entertainment

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Meghan and Harry meet Beyonce at ‘Lion King’ premiere

Meghan Markle and Prince Harry greet Beyonce and Jay-Z at the star-studded premiere of ‘The Lion King’ in London. Rough Cut (no reporter narration).


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When Harry Met Sally – Rob Reiner

Rob Reiner - When Harry Met Sally  artwork

When Harry Met Sally

Rob Reiner

Genre: Comedy

Rental Price: $ 3.99

Release Date: July 12, 1989


Meg Ryan and Billy Crystal star as two best friends of the opposite sex in the blockbuster, heartwarming romantic comedy When Harry Met Sally. Harry Burns (Crystal–Analyze This) and Sally Albright (Ryan–In the Land of Women) meet when the share a car on a trip from Chicago to New York right after both graduate from college. As the two build their lives and careers in Manhattan, they find love and heartache–with other people–but their paths continue to cross and their friendship continues to grow over the years … until they confront the decision whether to let their friendship develop into romance.

© © 1989 Warner Bros. Entertainment Inc. All Rights Reserved.

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Best of the Big Bands – Harry James

Harry James - Best of the Big Bands  artwork

Best of the Big Bands

Harry James

Genre: Jazz

Price: $ 9.99

Release Date: May 29, 1990

© ℗ Originally released 1939, 1941, 1942, 1945, 1946, 1948. All rights reserved by SONY BMG MUSIC ENTERTAINMENT. Originally released prior to 1972. All rights reserved by SONY BMG MUSIC ENTERTAINMENT. (P) 1990, 2007 SONY BMG MUSIC ENTERTAINMENT.

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Harry Potter hopes to give ‘Pokemon Go’ a run for its money

Game ‘Harry Potter: Wizards Unite’ to offer something new to the Augmented Reality (AR) market. Rough cut (no reporter narration).


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The Harry James Orchestra: The Best of the War Years – The Harry James Orchestra

The Harry James Orchestra - The Harry James Orchestra: The Best of the War Years  artwork

The Harry James Orchestra: The Best of the War Years

The Harry James Orchestra

Genre: Jazz

Price: $ 9.99

Release Date: September 17, 2001

© ℗ 2001 Stardust Records

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Best of the Big Bands – Harry James

Harry James - Best of the Big Bands  artwork

Best of the Big Bands

Harry James

Genre: Jazz

Price: $ 9.99

Release Date: May 29, 1990

© ℗ Originally released 1939, 1941, 1942, 1945, 1946, 1948. All rights reserved by SONY BMG MUSIC ENTERTAINMENT. Originally released prior to 1972. All rights reserved by SONY BMG MUSIC ENTERTAINMENT. (P) 1990, 2007 SONY BMG MUSIC ENTERTAINMENT.

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Stevie Nicks Says Harry Styles Was in ‘NSYNC At Rock and Roll HOF Induction

[[tmz:video id=”1_53ws7v4l”]] Stevie Nicks just got inducted into the Rock and Roll Hall of Fame for a second time … but that doesn’t mean she’s an expert on music history.  We got this funny video of Stevie after Friday night’s induction ceremony…

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Stevie Nicks Accidentally Refers to Harry Styles as NSYNC Member at Hall of Fame Ceremony

Harry Styles, Stevie Nicks, 2019 Rock & Roll Hall Of Fame Induction CeremonyHarry Styles and Stevie Nicks are making headlines for the funniest reasons.
On Friday night, the One Direction and Fleetwood Mac singers had the crowd experiencing a vast range of…


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Will Royals Harry and Meghan seek ‘normality’ for their baby?

With the birth of his first child expected next month, Queen Elizabeth’s grandson Prince Harry and his wife Meghan will have to decide how “normal” a life they want the future seventh-in-line to the British crown to have. Rough cut (no reporter narration).


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Sensation Comics #1 – William Marston & Harry Peter

William Marston & Harry Peter - Sensation Comics #1  artwork

Sensation Comics #1

William Marston & Harry Peter

Genre: Graphic Novels

Publish Date: October 18, 2016

Publisher: DC Comics

Seller: DC Comics.


The origin of Wonder Woman continues from ALL STAR COMICS #8! The Amazon Princess arrives in Man's World with the wounded Steve Trevor. This story also explains the origin of Wonder Woman's secret identity of Diana Prince and features the first appearance of Wonder Woman's Invisible Jet!

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Granny’s boy N’Keal Harry ready to rise at NFL combine

Harry is giving his first NFL paycheck to his Caribbean-born grandmother, and it could get a lot bigger with a strong performance at the combine.
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Prince Charles Reveals That Meghan Markle & Prince Harry Might Name Their Baby Kylie Or Shane!

Prince Charles is getting cheeky about the new royal baby.


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Meghan Markle & Prince Harry Are Moving From Kensington Palace To Windsor Estate

Meghan Markle and Prince Harry are moving!


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Blue Light, Red Light – Harry Connick, Jr.

Harry Connick, Jr. - Blue Light, Red Light  artwork

Blue Light, Red Light

Harry Connick, Jr.

Genre: Jazz

Price: $ 9.99

Release Date: September 24, 1991

© ℗ 1991 Sony Music Entertainment Inc.

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‘RHONY’ Star Ramona Singer the Latest ‘Housewife’ to Hook Up with Harry Dubin

We probably shoulda put a graphic warning on this … but yeah, that’s Ramona Singer heading down the well-beaten ‘Housewives’ path to Big Apple bachelor Harry Dubin’s lips. We got these shots of Ramona and Harry devouring each other’s faces in…

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Prince Harry Is Having A Blast In Zambia Hanging Out With Circus Performers!

Prince Harry is certainly staying entertained on his solo trip to Zambia!


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Thomas Markle Says Meghan Markle and Prince Harry Have Put Up a “Wall of Silence”

Thomas Markle, Meghan MarkleThomas Markle is speaking out once again about his now-distant relationship with his daughter, Meghan Markle.
On Saturday, The Mail on Sunday posted an interview with the former lighting…


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‘RHONY’ Star Ramona Singer the Latest ‘Housewife’ to Hook Up with Harry Dubin

We probably shoulda put a graphic warning on this … but yeah, that’s Ramona Singer heading down a well-beaten ‘Housewives’ path to Big Apple bachelor Harry Dubin’s lips. We got these shots of Ramona and Harry devouring each other’s faces in…

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Lord of the Flies – Harry Hook

Harry Hook - Lord of the Flies  artwork

Lord of the Flies

Harry Hook

Genre: Action & Adventure

Price: $ 4.99

Release Date: March 16, 1990


When their plane crashes, 25 schoolboys find themselves trapped on a tropical island, miles from civilization. At first, they welcome their new freedom. But soon they discover that trying to survive is anything but fun and games. Ralph and his friend, Piggy, organize the boys according to the values of the civilization they left behind. Working together, they have a better chance of getting food, getting water and getting rescued. But another boy, Jack, embraces the savagery of his new surroundings. One by one, he lures the other boys into his camp. Donning war paint and spears, everyday life becomes a spectacle of sadistic games, rituals and punishments.

© © 1990 CASTLE ROCK ENTERTAINMENT.

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A Traditional Christmas Carol Collection from The Sixteen (Digital Only) – Harry Christophers & The Sixteen

Harry Christophers & The Sixteen - A Traditional Christmas Carol Collection from The Sixteen (Digital Only)  artwork

A Traditional Christmas Carol Collection from The Sixteen (Digital Only)

Harry Christophers & The Sixteen

Genre: Classical

Price: $ 7.99

Release Date: January 1, 1990

© ℗ 2005 The Sixteen Productions Ltd

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Tom Felton Says He’d Return As Draco Malfoy If ‘Harry Potter And The Cursed Child’ Became A Movie

Tom Felton talks with Access and reveals he’d return to play Draco Malfoy if “Harry Potter and the Cursed Child” became a movie. Plus, he tells all about his new YouTube Premium series, “Origin,” which is out now.


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Prince Harry Reveals How Prince Charles Reacted When Asked To Walk Meghan Markle Down The Aisle

Prince Harry is grateful for his father’s support. In the new BBC One documentary “Prince, Son and Heir: Charles at 70,” the Duke of Sussex recalled the moment he asked Prince Charles to escort his then-bride-to-be, Meghan Markle, down the aisle in her own father’s absence. Find out what Charles told his son when presented with the request.


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Prince Harry Reveals What Happened When He Asked Prince Charles to Walk Meghan Markle Down the Aisle

Meghan Markle, Prince Charles, Royal WeddingMeghan Markle and Prince Harry’s royal wedding was a day to remember for all members of the family.
In BBC One’s documentary called Prince, Son and Heir: Charles at 70, Prince…


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Prince Harry & Meghan Markle Excitedly Cheer From The Stands At The Invictus Games

Prince Harry and Meghan Markle closed out the Invictus Games on a high note, animatedly cheering on the players in the wheelchair basketball finals. See how the royal couple interacted with the winning team, and find out what they’re up to next on their royal tour.


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Prince Harry Hugs Excited Fan & She Adorably Loses It

Happy tears! Prince Harry had quite the effect on a lucky
fan in Australia.


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Harry, Meghan and bump greeted in Australia

The Duke and Duchess of Sussex make their first public appearances in Australia since the announcement they were expecting a child.


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Meghan Markle Is Pregnant, Expecting First Child With Prince Harry

Meghan Markle, Prince Harry, Charlie van Straubenzee and Daisy Jenks WeddingMeghan Markle and Prince Harry are expecting their first child together!
Kensington Palace announced on Monday morning that the Duchess of Sussex is pregnant and due to give birth in the…


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Prince Harry Adorably Fixes Meghan Markle’s Windblown Hair

Prince Harry knows how to protect Meghan Markle against the
elements.


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The Mozart Project – Cliff Eisen, James Fairclough, Harry Farnham, Neal Zaslaw, Nick Till, Derek Beales, John Irving, David Henry Feldman, William Stafford & Simon P. Keefe

Cliff Eisen, James Fairclough, Harry Farnham, Neal Zaslaw, Nick Till, Derek Beales, John Irving, David Henry Feldman, William Stafford & Simon P. Keefe - The Mozart Project  artwork

The Mozart Project

The First Interactive Book on Mozart!

Cliff Eisen, James Fairclough, Harry Farnham, Neal Zaslaw, Nick Till, Derek Beales, John Irving, David Henry Feldman, William Stafford & Simon P. Keefe

Genre: Music

Publish Date: May 15, 2014

Publisher: Pipedreams Media

Seller: Pipedreams Media Limited


"A completely new kind of book " – Stephen Fry • 3hrs of Mozart’s Music • 25 Specially Filmed Performances, Documentaries and Demonstrations • 8hrs of Audio Extracts and Panel Discussions "Brilliantly Imaginative" – The Daily Telegraph ★★★★★ "Colourfully & inventively compiled" – BBC Music Magazine ★★★★★ "Challenges your imagination to keep up" – Sinfini Music Curated and authored by some of the most respected experts, The Mozart Project gives new insight into the life of a musical genius, providing the ultimate experience both in terms of contributors and the carefully selected playlist of music and images that they have chosen to feature throughout the book.  • 10 Chapters by 7 of the World’s greatest Mozart scholars • 3hrs of Mozart’s Music • 25 Specially Filmed Performances, Documentaries and Demonstrations • 8hrs of Audio Extracts and Panel Discussions • Mozart and Salieri , an Exclusive Play directed by Sir Jonathan Miller, starring Simon Russell Beale & Russell Tovey • Internet Connection Required for video content All performances and films were specially commissioned for the book and it includes twenty contributors from across the arts world including Sir Nicholas Hytner, Sir Jonathan Miller, Simon Russell Beale, Dame Felicity Lott, Sir Thomas Allen, Russell Tovey, contemporary eight-year-old prodigy Alma Deutscher, Paul Morley and many others. There is also expert analysis from leading Mozart authorities Cliff Eisen, Neal Zaslaw and John Irving; The Mozart Project provides an immersive experience for all music lovers and, crucially, brings high-quality classical music to the digital arena. The Mozart Project is designed exclusively for iPad and includes over three hours of music, two hours of streaming video, (filmed performances, demonstrations and short films) four hours of interviews extracts, and seven panel discussions chaired by Paul Morley. It also includes new and exclusive contributions from luminaries across the spectrum of classical music, giving a fascinating insight into Mozart’s life and works. Amongst the many highlights is an exclusive reading of Alexander Pushkin’s poetic drama Mozart and Salieri , which brings, for the first time, BAFTA award winning Simon Russell Beale as Salieri under the direction of Sir Jonathan Miller and stars HBO and BBC star Russell Tovey as Mozart.   Filmed highlights include performances from acclaimed period instrument group, Ensemble DeNOTE, exclusive access to the Mozart Autograph Vault in Salzburg and a look at the treasured Mozart related artefacts of a descendant of Mozart’s landlord. The Mozart Project also explores areas of controversy and intrigue: Does Pushkin’s diary confirm speculation over the Salieri poisoning? What can Pauli Hagenauer tell us about the Colloredo affair? Dispelling myths, and raising new questions, The Mozart Project casts new light over the life and music of one of the most iconic cultural figures of all time.

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Harry Nile: Seattle Blues (Original Recording) – Original Radio Broadcast

Original Radio Broadcast - Harry Nile: Seattle Blues (Original Recording)  artwork

Harry Nile: Seattle Blues (Original Recording)

Original Radio Broadcast

Genre: Arts & Entertainment

Price: $ 14.95

Publish Date: July 26, 2018

© ℗ © 2018 Radio Spirits

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Josie and the Pussycats (2001) – Deborah Kaplan & Harry Elfont

Deborah Kaplan & Harry Elfont - Josie and the Pussycats (2001)  artwork

Josie and the Pussycats (2001)

Deborah Kaplan & Harry Elfont

Genre: Comedy

Price: $ 4.99

Release Date: April 11, 2001


Discover the sexy all-girl rock band that's a national sensation. "The purrr-fect mix of sexy, cool comedy," says KMAX-TV. Hot newcomers Josie (Rachael Leigh Cook), Melody (Tara Reid) and Val (Rosario Dawson) are three small-town musicians with big dreams but little future. Then fate gives the Pussycats the chance of a lifetime when band manager Wyatt (Alan Cumming) of Mega Records signs them overnight to an awesome recording contract. Suddenly, Josie and the Pussycats are living life in the fast lane with sold-out concerts, a number one single and global stardom. But it's not all limousines and private jets. The Pussycats soon discover they're being played like pawns in an evil plot by the record label's maniacal CEO Fiona (Parker Posey) to control the youth of America.

© © 2001 Universal Studios. All Rights Reserved.

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‘Happy Together’ Stars On Their CBS Comedy; Felix Mallard On If His Character Is Like Harry Styles

At the CBS upfronts, “Happy Together” stars Damon Wayans Jr., Amber Stevens West and Felix Mallard dish to Access about their new comedy about a pop star who goes to live with his accountant and his accountant’s wife. With Harry Styles a producer on the show, did Felix get to chat with him about his character, Cooper? “Happy Together” premieres Mon., Oct. 1 at 8:30/7:30c on CBS.


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Young Thug ft. Lil Uzi Vert “Up,” Curren$y & Harry Fraud ft. Action Bronson “Scarab 38” & More | Daily Visuals 7.3.18

Source: Lil Uzi Vert seen performing at Coachella weekend 2 Day 3 Featuring: Lil Uzi Vert Where: Indio, California, United States When: 24 Apr 2017 Credit: WENN.com Uploaded By Godspeed

Young Thug and Lil Uzi Vert have some interesting taste in fashion as you may know so if you think about it, it was only a matter of time before the two linked up to style on their haters.

In their collaborative clip to “Up” the ATL and Philly rappers seem to go with An American Horror Story theme in which the thick monsters in the video have demonic features but that stripper pole seems kosher enough so…

Curren$ y and Harry Fraud meanwhile take us back to a simpler time when VHS tape picture quality relied on that almighty “Tracking” button in their grainy clip to the Action Bronson assisted “Scarab 38.”

Check out the rest of today’s drops including work from Khalid featuring 6lack & Ty Dolla $ ign, 24Hrs, and more.

YOUNG THUG FT. LIL UZI VERT – “UP”

CURREN$ Y & HARRY FRAUD FT. ACTION BRONSON – “SCARAB 38”

KHALID FT. 6LACK & TY DOLLA $ IGN – “OTW”

LIL BABY FT. HOODRICK PABLO JUAN – “BOSS BITCH”

24HRS – “RAIN”

FAMOUS DEX FT. NBA YOUNGBOY – “IN THE BANK”

Photo: WENN

The Latest Hip-Hop News, Music and Media | Hip-Hop Wired

Prince Harry & Meghan Markle To Tour Australia, Fiji, Tonga & New Zealand This Fall

Kensington Palace says Prince Harry, and his wife, the former actress Meghan Markle, will be touring Australia, Fiji, the Kingdom of Tonga and New Zealand this fall.


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Prince Harry Returns To The Spotlight For Charity Gala Less Than 3 Weeks After Royal Wedding

Prince Harry is back! The Duke of Sussex, who is rumored to have just returned from a secretive honeymoon with bride Meghan Markle, attended a summer gala dinner for UK charity OnSide Youth Zones in London on June 7, sporting a wedding band on his finger. See where he and Meghan will make their next appearance as newlyweds!


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The Marina – Curren$y & Harry Fraud

Curren$  y & Harry Fraud - The Marina  artwork

The Marina

Curren$ y & Harry Fraud

Genre: Hip-Hop/Rap

Price: $ 6.99

Release Date: May 30, 2018

© ℗ 2018 Jet Life Recordings

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Prince Harry & Meghan Markle Vs. Prince William & Kate Middleton: How Their Weddings Compared

See Prince Harry and Meghan Markle’s wedding compared to Prince William and Kate Middleton’s ceremony in 2011.


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Royal Wedding: Gabriel Macht, Victoria & David Beckham Share Well Wishes For Harry & Meghan

“Suits” alum Meghan Markle said “I do” to
her Prince in front of a celeb crowd on Saturday, and now the couple’s wedding guests are sharing
their love for the pair on social media.


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Royal obsessed ‘When Meghan met Harry’ podcast

These podcasters record every week from across the Atlantic to obsess over every detail about the upcoming royal wedding between Meghan Markle and Prince Harry.


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Meghan Markle’s Father, Who Has Never Met Prince Harry, Will Walk Her Down The Aisle

Her mom will have another role in the ceremony, according to the palace.
Style and Beauty – Fashion News, Celebrity Style and Fashion Trends
FASHION NEWS UPDATE-Visit Shoe Deals Online today for the hottest deals online for shoes!

Lifetime’s “Harry & Meghan” premieres in Beverly Hills

The stars of the upcoming release explained the challenges they faced when making the film. Rough cut (no reporter narration)


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Everything We Know About Prince Harry and Meghan Markle’s Honeymoon

Prince Harry, Meghan MarkleForget about the upcoming royal wedding; let’s talk about the honeymoon!
While excitement is certainly growing in regards to Prince Harry and Meghan Markle’s romantic ceremony…


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His and her trailers drop for Lifetime’s ‘Harry & Meghan: A Royal Romance’

New trailers are released for Lifetime’s romantic drama ‘Harry & Meghan: A Royal Romance.’ Rough Cut – no reporter narration.


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Harry Styles, Katy Perry, And More Celebs Come Together In New MLK Video Tribute

Stevie Wonder enlists Harry Styles, Katy Perry, Demi Lovato, and more celebrities for a video tribute honoring the 50th anniversary of Martin Luther King Jr.’s death.
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Fergie Shares A Harry Potter-Themed Photo Of Son Axl Jack On Her Birthday

Fergie is feeling the magic on her birthday!


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Meghan Markle & Prince Harry Visit Scotland In Style

Meghan Markle and Prince Harry had their first official visit to Scotland on Tuesday. Watch to see what the couple did while visiting Edinburgh and the stylish looks they rocked!


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101 Amazing Harry Potter Facts (Unabridged) – Jack Goldstein, Frankie Taylor

Jack Goldstein, Frankie Taylor - 101 Amazing Harry Potter Facts (Unabridged)  artwork

101 Amazing Harry Potter Facts (Unabridged)

Jack Goldstein, Frankie Taylor

Genre: Arts & Entertainment

Price: $ 3.95

Publish Date: August 1, 2013

© ℗ © 2013 Andrews UK Limited

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Your Songs – Harry Connick, Jr.

Harry Connick, Jr. - Your Songs  artwork

Your Songs

Harry Connick, Jr.

Genre: Jazz

Price: $ 10.99

Release Date: September 22, 2009

© ℗ 2009 Sony Music Entertainment

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Prince Harry interviews Barack Obama

Britain’s Prince Harry interviews former U.S. president Barack Obama for BBC Radio’s Today programme, touching on social media and his career. Jayson Mansaray reports.


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Prince Harry, Meghan Markle Release Official Engagement Photos

Prince Harry and Meghan Markle’s official engagement photos are out … but some folks are looking right through ’em … asking if Meg’s outfit is fit for a princess. Kensington Palace released the royal couple’s professional portraits Thursday, taken by…

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Harry Potter and the Deathly Hallows, Part 1 – David Yates

David Yates - Harry Potter and the Deathly Hallows, Part 1  artwork

Harry Potter and the Deathly Hallows, Part 1

David Yates

Genre: Kids & Family

Price: $ 14.99

Rental Price: $ 5.99

Release Date: November 19, 2010


Harry, Ron and Hermione set out on their perilous mission to track down and destroy the Horcruxes–the keys to Voldemort's immortality. On their own, without the guidance or protection of their professors, the three friends must now rely on one another more than ever. But there are Dark Forces in their midst that threaten to tear them apart. Meanwhile, the Wizarding world has become a dangerous place for all enemies of the Dark Lord. The long-feared war has begun and Voldemort's Death Eaters seize control of the Ministry of Magic and even Hogwarts, terrorizing and arresting anyone who might oppose them. But the one prize they still seek is the one most valuable to Voldemort: Harry Potter. Harry's only hope is to find the Horcruxes before Voldemort finds him. But as he searches for clues, he uncovers an old and almost forgotten tale–the legend of the Deathly Hallows.

© © 2010 Warner Bros. Entertainment Inc. All Rights Reserved. Harry Potter Publishing Rights J.K. Rowling. Harry Potter characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. All Rights Reserved.

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Harry Potter and the Half-Blood Prince – David Yates

David Yates - Harry Potter and the Half-Blood Prince  artwork

Harry Potter and the Half-Blood Prince

David Yates

Genre: Kids & Family

Price: $ 14.99

Rental Price: $ 3.99

Release Date: July 15, 2009


Emboldened by the return of Lord Voldemort, the Death Eaters are wreaking havoc in both the Muggle and wizarding worlds and Hogwarts is no longer the safe haven it once was. Dumbledore is intent upon preparing Harry for the final battle that he knows is fast approaching. He needs Harry to help him uncover a vital key to unlocking Voldemort's defenses–critical information known only to Hogwarts' former Potions Professor, Horace Slughorn. Meanwhile, teenage hormones rage across the ramparts as Harry's long friendship with Ginny Weasley is growing into something deeper. But standing in the way is Ginny's boyfriend, Dean Thomas, not to mention her big brother Ron. Ron's got romantic entanglements of his own to worry about, with Lavender Brown lavishing her affections on him, leaving Hermione simmering with jealousy yet determined not to show her feelings. One student, however, remains aloof with far more important matters on his mind. He is determined to make his mark, albeit a dark one.

© © 2009 Warner Bros. Entertainment Inc. HARRY POTTER characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. All Rights Reserved.

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Harry Styles – Harry Styles

Harry Styles - Harry Styles  artwork

Harry Styles

Harry Styles

Genre: Pop

Price: $ 9.99

Release Date: May 12, 2017

© ℗ 2017 Erskine Records Limited, under exclusive license to Columbia Records, a Division of Sony Music Entertainment

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Watch Prince Harry & Meghan Markle Goof Off Behind-The-Scenes Of Their Engagement Interview

Prince Harry and Meghan
Markle clearly have the look of love — and it was completely obvious after
their microphones were turned off following their BBC interview on Monday.


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Harry Potter and the Order of the Phoenix – David Yates

David Yates - Harry Potter and the Order of the Phoenix  artwork

Harry Potter and the Order of the Phoenix

David Yates

Genre: Kids & Family

Price: $ 14.99

Rental Price: $ 3.99

Release Date: July 11, 2007


Lord Voldemort has returned, but few want to believe it. In fact, the Ministry of Magic is doing everything it can to keep the wizarding world from knowing the truth – including appointing Ministry official Dolores Umbridge as the new Defense Against the Dark Arts teacher at Hogwarts. When Professor Umbridge refuses to train her students in practical defensive magic, a select group of students decides to learn on their own. With Harry Potter as their leader, these students (who call themselves "Dumbledore's Army") meet secretly in a hidden room at Hogwarts to hone their wizarding skills in preparation for battle with the Dark Lord and his Death Eaters. . New adventure – more dangerous , more thrilling than ever – is yours in this enthralling film version of the fifth novel in J.K. Rowling's Harry Potter series. A terrifying showdown between good and evil awaits. Prepare for battle!

© © HARRY POTTER characters, names and related indicia are trademarks of and (c) Warner Bros. Entertainment Inc. Harry Potter Publishing Rights (c) J.K. Rowling. Harry Potter and the Order of the Phoenix & Package Design (c) 2007 Warner Bros. Entertainment Inc.

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Prince Harry to wed Meghan Markle at Windsor

The wedding of Britain’s Prince Harry and his fiancee Meghan Markle will take place in May at St George’s Chapel in Windsor, a spokesman for the prince said on Tuesday. Scarlett Cvitanovich reports.


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Prince Harry and Meghan Markle are engaged

Britain’s Prince Harry and American actor Meghan Markle are engaged, according to a statement from Kensington Palace. The wedding will take place in spring 2018.


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Diana would’ve been ‘best friends’ with Markle: Prince Harry

Prince Harry tells the BBC that his late mother Diana would have been ‘best friends’ with his fiance Meghan Markle, as Markle shows off her dazzling three-stone engagement ring that includes two diamonds taken from the personal collection of Diana. Rough Cut (no reporter narration).


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Harry Potter and the Goblet of Fire – Mike Newell

Mike Newell - Harry Potter and the Goblet of Fire  artwork

Harry Potter and the Goblet of Fire

Mike Newell

Genre: Kids & Family

Price: $ 14.99

Rental Price: $ 3.99

Release Date: November 18, 2005


When Harry Potter's name emerges from the Goblet of Fire, he becomes a competitor in a grueling battle for glory among three wizarding schools – the Triwizard Tournament. But since Harry never submitted his name for the Tournament, who did? Now Harry must confront a deadly dragon, fierce water demons and an enchanted maze only to find himself in the cruel grasp of He Who Must Not Be Named. In this fourth film adaptation of J.K. Rowling's Harry Potter series, everything changes as Harry, Ron and Hermione leave childhood forever and take on challenges greater than anything they could have imagined.

© © 2005 Warner Bros. Entertainment Inc. HARRY POTTER characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. All Rights Reserved.

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Harry Potter and the Chamber of Secrets – Chris Columbus

Chris Columbus - Harry Potter and the Chamber of Secrets  artwork

Harry Potter and the Chamber of Secrets

Chris Columbus

Genre: Kids & Family

Price: $ 14.99

Rental Price: $ 3.99

Release Date: November 15, 2002


Harry Potter's adventures continue… After a long summer with the horrid Dursleys, Harry Potter is thwarted in his attempts to board the train to Hogwarts School of Witchcraft and Wizardry to begin his second year. Harry's only transportation option is a magical flying car, but, unfortunately, it crashes into a valuable (and clearly vexed) Whomping Willow. Still, all this seems like a day in the park compared to what awaits Harry that fall within the haunted halls of Hogwarts. Chilling, malevolent voices whisper from the walls only to Harry, and it seems certain that his classmate Draco Malfoy is out to get him. Soon it's not just Harry who is worried about survival, as dreadful things begin to happen at the school. The mysteriously gleaming foot-high words on the wall proclaim: "The Chamber of Secrets Has Been Opened. Enemies of the Heir, Beware." But what exactly does it all mean? Harry, Hermione, and Ron do everything that is wizardly possible–including risking their own lives–to solve this 50-year-old, potentially deadly mystery.

© © 2002 Warner Bros. Entertainment Inc. Harry Potter characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. All Rights Reserved.

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Harry Styles and Camille Rowe, It’s Outta the Bag, They’re Dating!!!

Harry Styles and Victoria’s Secret Angel Camille Rowe are TOTALLY dating … no dude holds a bag unless it’s his GF. Harry and Camille were spotted at an L.A. restaurant Monday and all but confirmed rumors they’ve been dating. Not even a…

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Harry Potter and the Prisoner of Azkaban – Alfonso Cuarón

Alfonso Cuarón - Harry Potter and the Prisoner of Azkaban  artwork

Harry Potter and the Prisoner of Azkaban

Alfonso Cuarón

Genre: Kids & Family

Price: $ 9.99

Rental Price: $ 3.99

Release Date: June 4, 2004


In Harry Potter and the Prisoner of Azkaban, Harry, Ron and Hermione, now teenagers, return for their third year at Hogwarts, where they are forced to face escaped prisoner, Sirius Black, who poses a great threat to Harry. Harry and his friends spend their third year learning how to handle a half-horse half-eagle Hippogriff, repel shape-shifting Boggarts and master the art of Divination. They also visit the wizarding village of Hogsmeade and the Shrieking Shack, which is considered the most haunted building in Britain. In addition to these new experiences, Harry must overcome the threats of the soul-sucking Dementors, outsmart a dangerous werewolf and finally deal with the truth about Sirius Black and his relationship to Harry and his parents. With his best friends, Harry masters advanced magic, crosses the barriers of time and changes the course of more than one life. Directed by Alfonso Cuarón and based on J.K. Rowling's third book, this wondrous spellbinder soars with laughs, and the kind of breathless surprise only found in a Harry Potter adventure.

© © 2004 Warner Bros. Entertainment Inc. Harry Potter characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. All Rights Reserved.

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Harry Potter and the Sorcerer’s Stone – Chris Columbus

Chris Columbus - Harry Potter and the Sorcerer's Stone  artwork

Harry Potter and the Sorcerer’s Stone

Chris Columbus

Genre: Kids & Family

Price: $ 14.99

Rental Price: $ 3.99

Release Date: November 16, 2001


In this enchanting film adaptation of J.K. Rowling's delightful bestseller, Harry Potter learns on his 11th birthday that he is the orphaned first son of two powerful wizards and possesses magical powers of his own. At Hogwarts School of Witchcraft and Wizardry, Harry embarks on the adventure of a lifetime. He learns the high-flying sport Quidditch and plays a thrilling game with living chess pieces on his way to face a Dark Wizard bent on destroying him. For the most extraordinary adventure, see you on platform nine and three quarters!

© © Harry Potter And The Sorcerer’s Stone 2006 Warner Bros. Entertainment Inc. Harry Potter Publishing Rights J.K. Rowling. Harry Potter characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. All rights reserved.

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Prince Harry Hanging With Obama And Biden At Invictus Games Will Warm Your Heart

Swoon.
Fashion News, Celebrity Style and Fashion Trends – HuffPost Style
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Meghan Markle Aces Her First Official Appearance With Prince Harry

So pretty in plum.
Fashion News, Celebrity Style and Fashion Trends – HuffPost Style
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Prince Harry Meets With Wounded Veterans Ahead Of The Invictus Games

This year the vets compete in Toronto in 12 sports.
Fashion News, Celebrity Style and Fashion Trends – HuffPost Style
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Harry Styles, Live Nation Sue Concert Merch Bootleggers in Nashville

Harry Styles is taking a stand against Nashville bootleggers ahead of 2 big concerts he has coming up in Music City. Live Nation, Harry’s tour promoter, just filed a lawsuit against anonymous makers of unauthorized Styles concert merch. Harry’s playing…

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Veteran actor Harry Dean Stanton dies at 91

Harry Dean Stanton, star of “Repo Man,” dies at age 91. Bob Mezan reports.


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Actor Harry Dean Stanton Dies at 91

Harry Dean Stanton died Friday of natural causes at Cedars-Sinai Hospital in Los Angeles. Take a look back at his most memorable roles from “Big Love” to “Pretty In Pink” to “Twin Peaks.”


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Harry Potter and the Deathly Hallows – Part 2 – David Yates

David Yates - Harry Potter and the Deathly Hallows - Part 2  artwork

Harry Potter and the Deathly Hallows – Part 2

David Yates

Genre: Kids & Family

Price: $ 9.99

Rental Price: $ 3.99

Release Date: July 14, 2011


"Harry Potter and the Deathly Hallows – Part 2," is the final adventure in the Harry Potter film series. The much-anticipated motion picture event is the second of two full-length parts. In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry Potter who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord Voldemort. It all ends here.

© © 2011 Warner Bros. Ent. Harry Potter Publishing Rights J.K.R. Harry Potter characters, names and related indicia are trademarks of and Warner Bros. Ent. All Rights Reserved.

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Prince William & Prince Harry Open Up About Princess Diana’s Death

Princes William and Harry have spoken candidly about the death of their mother, Princess Diana, in an interview marking 20 years since she was killed in a car crash, paying tribute to the actions o…


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Grown-Up Harry Potter Fans Now Have Their Own Lingerie

We knew this day would come.
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Ranking The Young Men Of Dunkirk, From Harry Styles To Everyone Else

A ranking of the young, indistinguishable cast of ‘Dunkirk,’ from Harry Styles to everyone else.
News

iHeartRadio Music Festival: Pink, Coldplay, Miley Cyrus, Harry Styles & More To Perform

Pink, Coldplay, The Weeknd, DJ Khaled, Miley Cyrus and Harry Styles will perform at the 2017 iHeartRadio Music Festival this fall.


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2 New Harry Potter Books Will Be Published In October

Two new books from the Harry Potter universe are set to be released as part of a British exhibition that celebrates the 20th anniversary of the launch of the series.


Access Hollywood Latest News

Harry Styles On His Acting Future After ‘Dunkirk’

On the red carpet at the “Dunkirk” premiere in New York City, Harry Styles talks with Access Hollywood about whether he has plans to continue acting. Plus, he discusses cursing in the film.
“Dunkirk” is in theaters on July 21.


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Harry Styles – Harry Styles

Harry Styles - Harry Styles  artwork

Harry Styles

Harry Styles

Genre: Pop

Price: $ 9.99

Release Date: May 12, 2017

© ℗ 2017 Erskine Records Limited, under exclusive license to Columbia Records, a Division of Sony Music Entertainment

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Devery Love, Dirty Harry

Balding mature centerfold Dirty Harry scores hefty when he seduces completely shaved young Latina Devory Love. This girl is seriously smoking hot, with a fantastic, curvy body with huge natural boobs. Harry warms her up with some oral sex, which is reciprocated in kind before Devory bends over, looking back over her shoulder and begging Harry to give it to her hard. Harry delivers a solid slot fucking, starting off hitting it from the rear and then pulling his model on top, ordering her to grind and buck on his hardened pecker. Soon the cum starts gushing out of Harry’s engorged bang hammer, all over his Latina hottie’s sexy face.

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22 Times Tumblr’s ‘Harry Potter’ Theories Blew Our Minds

A collection of “Harry Potter” fan theories posited by Tumblr users.
News

‘Harry Potter’ Play Tickets Sell Out in Hours


More than 175,000 tickets for ‘Harry Potter and the Cursed Child’ on London’s West End were snapped up in eight hours.

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International

Noah’s Ark: Survivors – Harry Dayle

Harry Dayle - Noah's Ark: Survivors  artwork

Noah’s Ark: Survivors

Harry Dayle

Genre: Science Fiction

Publish Date: August 12, 2013

Publisher: Shelfless

Seller: Shelfless Ltd


May 1st: the Earth is scorched by a stray asteroid, wiping out almost all life. Almost, but not quite all. Three thousand souls aboard a cruise ship visiting the north pole are spared by a freak of nature.  The ship’s first officer, Jake Noah, was looking forward to getting back to dry land once and for all. But then the world ended, and now he finds himself reluctantly in charge of the last handful of survivors of the human race.  The limited resources on board mean that just staying alive will be a struggle. With the threat of mutiny ever present, can Jake rise to the challenge and lead his crew and their passengers on a quest for safety, or will he take the easy option and leave anarchy and chaos to prevail?  Book one in the thrilling Noah's Ark series.

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The Mozart Project – Cliff Eisen, James Fairclough, Harry Farnham, Neal Zaslaw, Nick Till, Derek Beales, John Irving, David Henry Feldman, William Stafford & Simon P. Keefe

Cliff Eisen, James Fairclough, Harry Farnham, Neal Zaslaw, Nick Till, Derek Beales, John Irving, David Henry Feldman, William Stafford & Simon P. Keefe - The Mozart Project  artwork

The Mozart Project

The First Interactive Book on Mozart!

Cliff Eisen, James Fairclough, Harry Farnham, Neal Zaslaw, Nick Till, Derek Beales, John Irving, David Henry Feldman, William Stafford & Simon P. Keefe

Genre: Music

Publish Date: May 15, 2014

Publisher: Pipedreams Media

Seller: Pipedreams Media Limited


"A completely new kind of book " – Stephen Fry • 3hrs of Mozart’s Music • 25 Specially Filmed Performances, Documentaries and Demonstrations • 8hrs of Audio Extracts and Panel Discussions "Brilliantly Imaginative" – The Daily Telegraph ★★★★★ "Colourfully & inventively compiled" – BBC Music Magazine ★★★★★ "Challenges your imagination to keep up" – Sinfini Music Curated and authored by some of the most respected experts, The Mozart Project gives new insight into the life of a musical genius, providing the ultimate experience both in terms of contributors and the carefully selected playlist of music and images that they have chosen to feature throughout the book.  • 10 Chapters by 7 of the World’s greatest Mozart scholars • 3hrs of Mozart’s Music • 25 Specially Filmed Performances, Documentaries and Demonstrations • 8hrs of Audio Extracts and Panel Discussions • Mozart and Salieri , an Exclusive Play directed by Sir Jonathan Miller, starring Simon Russell Beale & Russell Tovey • Internet Connection Required for video content All performances and films were specially commissioned for the book and it includes twenty contributors from across the arts world including Sir Nicholas Hytner, Sir Jonathan Miller, Simon Russell Beale, Dame Felicity Lott, Sir Thomas Allen, Russell Tovey, contemporary eight-year-old prodigy Alma Deutscher, Paul Morley and many others. There is also expert analysis from leading Mozart authorities Cliff Eisen, Neal Zaslaw and John Irving; The Mozart Project provides an immersive experience for all music lovers and, crucially, brings high-quality classical music to the digital arena. The Mozart Project is designed exclusively for iPad and includes over three hours of music, two hours of streaming video, (filmed performances, demonstrations and short films) four hours of interviews extracts, and seven panel discussions chaired by Paul Morley. It also includes new and exclusive contributions from luminaries across the spectrum of classical music, giving a fascinating insight into Mozart’s life and works. Amongst the many highlights is an exclusive reading of Alexander Pushkin’s poetic drama Mozart and Salieri , which brings, for the first time, BAFTA award winning Simon Russell Beale as Salieri under the direction of Sir Jonathan Miller and stars HBO and BBC star Russell Tovey as Mozart.   Filmed highlights include performances from acclaimed period instrument group, Ensemble DeNOTE, exclusive access to the Mozart Autograph Vault in Salzburg and a look at the treasured Mozart related artefacts of a descendant of Mozart’s landlord. The Mozart Project also explores areas of controversy and intrigue: Does Pushkin’s diary confirm speculation over the Salieri poisoning? What can Pauli Hagenauer tell us about the Colloredo affair? Dispelling myths, and raising new questions, The Mozart Project casts new light over the life and music of one of the most iconic cultural figures of all time.

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Harry Connick Jr. to host daytime show with comedy, music

FILE - In this June 7, 2015 file photo, Harry Connick Jr. presents the award for best revival of a musical at the 69th annual Tony Awards at Radio City Music Hall, in New York. Connick Jr. will host a new daytime show, "Harry," that is set to debut in Sept. 2016. (Photo by Charles Sykes/Invision/AP, File)LOS ANGELES (AP) — Harry Connick Jr. is adding the title of daytime show host to his resume.



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The New ‘Harry Potter’ E-Books Have 223 Enhancements — Here’s What We Know So Far

Apple will release a new series of “Harry Potter” e-books that come with exclusive enhancements, including annotations from J.K. Rowling.
News

‘This Is Our Guy’: Musicians Rally For Harry Nilsson, An Icon Who Dodged Fame

Two decades after his death, Harry Nilsson has become a common cause for a group of artists hellbent on getting him into the Rock and Roll Hall of Fame. (They even wrote a song about it.)

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Harry Potter and the Chamber of Secrets (Extended Version) – Chris Columbus

Chris Columbus - Harry Potter and the Chamber of Secrets (Extended Version)  artwork

Harry Potter and the Chamber of Secrets (Extended Version)

Chris Columbus

Genre: Kids & Family

Price: $ 9.99

Rental Price: $ 2.99

Release Date: November 15, 2002


Prepare for more magic and mystery with the return of Harry Potter and his friends! Harry (Daniel Radcliffe), about to embark in his second year at Hogwarts School of Witchcraft and Wizardry, receives an ominous warning not to return to the venerable school. Ignoring the warning, strange things start to happen when he returns…students and staff are being turned to stone and Harry keeps hearing a voice which seems to be coming from within the walls themselves! It's up to Harry and his two closest friends, Ron (Rupert Grint) and Hermione (Emma Watson), to discover the true source behind the terrible events that are terrorizing the school! Also starring Oscar and Emmy-nominated Richard Harris ("The Count of Monte Cristo," "Gladiator"), Oscar and Golden Globe-winner Maggie Smith ("Divine Secrets of the Ya-Ya Sisterhood," "Gosford Park"), Oscar-nominated Kenneth Branagh ("Wild Wild West," TV's "Shackleton") and Robbie Coltrane ("The World is Not Enough," "Message in a Bottle").

© © HARRY POTTER characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. Harry Potter Publishing Rights JKR. Harry Potter and the Chamber of Secrets & Package Design 2002 Warner Bros. Entertainment Inc.

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Harry Connick, Jr: In Concert On Broadway – Harry Connick, Jr.

Harry Connick, Jr. - Harry Connick, Jr: In Concert On Broadway  artwork

Harry Connick, Jr: In Concert On Broadway

Harry Connick, Jr.

Genre: Concert Films

Price: $ 9.99

Release Date: March 1, 2011


Harry Connick, Jr.'s concert with his Big Band and Orchestra was filmed on July 30 and 31, 2010 at the Neil Simon Theatre on Broadway. "Harry scores a knockout." – NY Times; "Dynamite!" – Variety

© © 2011 Sony Music Entertainment and Conn-X Productions, Inc.

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These Drawings Of Harry Potter As A Baby Will Break Your Heart

Fan art illustrations of Harry Potter as a baby with his parents Lily and James Potter are making us very emotional.
News

That Would Be Me – Harry Connick, Jr.

Harry Connick, Jr. - That Would Be Me  artwork

That Would Be Me

Harry Connick, Jr.

Genre: Pop

Price: $ 10.99

Expected Release Date: October 23, 2015

© ℗ 2015 Columbia Records, a Division of Sony Music Entertainment

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Duchess Kate, Prince William, Prince Harry bring style game to Rugby World Cup

Sporting royal blue, Duchess Kate and Prince William watched from the stands as Prince Harry delivered a speech at the opening ceremony.


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Prince Harry Then and Now: Proof the Royal Hasn’t Changed Much in 31 years

Prince Henry Charles Albert David of Wales turns 31 today! And, after taking a look at the royal ginger's baby photos, it's clear that Harry hasn't changed much in his three-plus decades (aside from swapping…


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We Figured Out Which ‘Harry Potter’ Houses The ‘Twilight’ Characters Belong To

We played Sorting Hat to divide the ‘Twilight Saga’ characters into their appropriate ‘Harry Potter’ houses.
News

7 Fascinating Harry Potter Fan Theories That Will Blow Your Mind

Attention: Today is James Severus Potter's first day at Hogwarts. J.K. Rowling alerted fans via Twitter this morning: I'm in Edinburgh, so could somebody at King's Cross wish James S Potter good luck for me?…


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This Classroom ‘Harry Potter’ Tribute Is Too Cool For School

A special education teacher named Stephanie Stephens from James L. Capps Middle School turned her classroom into a ‘Harry Potter’ dreamscape.
News

Harry Styles — Another Epic Onstage Fall (VIDEO)

Harry Styles just can’t seem to get the hang of walking onstage without falling down. Styles was performing Thursday night in Toronto when he tried to do a  hop of some sort, but couldn’t stick the landing.  Just…

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Haze – “London Boy” (Prod Harry Fraud)

London rhymslayer Haze shifted his showboating to The Golden State for his latest offering where he is hanging and recording with the likes of French Montana and Travi$ Scott. Over a HarryFraud-produced track Haze whips the foreign around Los Angeles as he breaks down all the reasons the ladies should add a “London Boy” to their stable. Stay tuned for more from Haze’s upcoming October release, “Visionary.”

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All-Star Comics (1940-) #8 – William Moulton Marston & Harry G. Peter

William Moulton Marston & Harry G. Peter - All-Star Comics (1940-) #8  artwork

All-Star Comics (1940-) #8

William Moulton Marston & Harry G. Peter

Genre: Graphic Novels

Publish Date: November 18, 2014

Publisher: DC Comics

Seller: DC Comics


The very first appearance and original origin of Wonder Woman, which continues into SENSATION COMICS #1 and WONDER WOMAN #1!

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Colin Farrell Joins Harry Potter Spinoff ‘Fantastic Beasts’ (Exclusive)


Eddie Redmayne, Katherine Waterston, Ezra Miller and Alison Sudol are starring in the Warner Bros. film.

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International

Here Are Harry Potter’s Best Birthday Presents EVER, Ranked

In honor of Harry Potter’s birthday, we ranked all of his birthday presents from the series.
News

50 ‘Harry Potter’ Questions You Can Never Ask J.K. Rowling Again

In honor of the legendary ‘Harry Potter’ author’s 50th birthday, here’s a helpful list of questions about the Wizarding World (and beyond) you should never bother asking her again.
News

Harry Potter and the Sorcerer’s Stone (Extended Version) – Chris Columbus

Chris Columbus - Harry Potter and the Sorcerer's Stone (Extended Version)  artwork

Harry Potter and the Sorcerer’s Stone (Extended Version)

Chris Columbus

Genre: Action & Adventure

Price: $ 14.99

Release Date: November 16, 2001


Based on the wildly popular book by J.K. Rowling, nominated for three Academy Awards and ranked third highest in total worldwide box-office! Harry Potter is a young boy who, on his eleventh birthday, discovers that he is the orphaned son of two powerful wizards and has unique magical powers of his own. He is summoned from his dreary life as an unwanted child to become a student at Hogwarts' School of Witchcraft and Wizardry, where he meets several friends who become his closest allies, and who help him solve the mystery of the Sorcerer's Stone! All-star cast includes Alan Rickman (Galaxy Quest, Dogma); Oscar-nominated Richard Harris (Gladiator, Unforgiven); Robbie Coltrane (From Hell, The World Is Not Enough); John Cleese (Rat Race, TV's Monty Python's Flying Circus); Academy Award winner Maggie Smith (Divine Secrets of the Ya-Ya Sisterhood, Gosford Park); Daniel Radcliffe (The Tailor of Panama), Rupert Grint and Emma Watson.

© © HARRY POTTER characters, names and related indicia are trademarks of and Warner Bros. Entertainment Inc. Harry Potter Publishing Rights JKR. Harry Potter and the Sorcerer’s Stone & Package Design 2001 Warner Bros. Entertainment Inc.

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The Complete Harry Potter Film Music Collection – The City of Prague Philharmonic Orchestra, Nic Raine, James Fitzpatrick & Evan Jolly

The City of Prague Philharmonic Orchestra, Nic Raine, James Fitzpatrick & Evan Jolly - The Complete Harry Potter Film Music Collection  artwork

The Complete Harry Potter Film Music Collection

The City of Prague Philharmonic Orchestra, Nic Raine, James Fitzpatrick & Evan Jolly

Genre: Classical

Price: $ 19.99

Release Date: March 13, 2012

© ℗ 2012 Silva America

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Open audition for new Harry Potter spin-off attracts thousands of girls

Thousands of girls aged between eight and 12 show up for the open auditions for a new Harry Potter, hoping to get the main part in the upcoming film. Jacob Greaves reports.


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Harry Potter and the Deathly Hallows, Part 2 – David Yates

David Yates - Harry Potter and the Deathly Hallows, Part 2  artwork

Harry Potter and the Deathly Hallows, Part 2

David Yates

Genre: Action & Adventure

Price: $ 14.99

Rental Price: $ 3.99

Release Date: July 15, 2011


"Harry Potter and the Deathly Hallows – Part 2," is the final adventure in the Harry Potter film series. The much-anticipated motion picture event is the second of two full-length parts. In the epic finale, the battle between the good and evil forces of the wizarding world escalates into an all-out war. The stakes have never been higher and no one is safe. But it is Harry Potter who may be called upon to make the ultimate sacrifice as he draws closer to the climactic showdown with Lord Voldemort. It all ends here.

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Oh, My Nola – Harry Connick, Jr.

Harry Connick, Jr. - Oh, My Nola  artwork

Oh, My Nola

Harry Connick, Jr.

Genre: Jazz

Price: $ 9.99

Release Date: January 30, 2007

© ℗ 2006, 2007 SONY BMG MUSIC ENTERTAINMENT

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Only You – Harry Connick, Jr.

Harry Connick, Jr. - Only You  artwork

Only You

Harry Connick, Jr.

Genre: Jazz

Price: $ 9.99

Release Date: February 2, 2004

© ℗ 2004 Sony Music Entertainment Inc.

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Harry Styles –- Can’t Pull Out of Epic Fall On Stage (VIDEO)

Harry Styles took a giant tumble during a concert, and it was absolutely crushing … to his ego. One Direction played San Diego Thursday night, and while they were singing “Through the Dark” … Harry went down like a…

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#OhNoHarry! One Direction’s Harry Styles falls off concert stage, inspires meme

“If anyone had a video of that, just delete it,” the pop star pleaded to concertgoers, but some of them didn’t listen.


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Harry Shearer Inks Deal to Return to ‘The Simpsons’


The lone holdout has inked the same deal as his fellow castmembers.

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Hollywood Reporter

The R-Rated ‘Harry Potter’ Cartoon Is Nasty Good Fun

A new R-rated animated version of ‘Harry Potter’ has been created by the interwebs, and it is deliciously terrible, just like ear wax-flavored jelly beans.
News

‘Harry Potter’ Is Heading To The Stage Next Summer – Here’s What We Know

‘Harry Potter And The Cursed Child’ will hit the London Stage next summer and new details are here.
News

McFly: 10th Anniversary Concert – Royal Albert Hall – McFly, Tom Fletscher, Danny Jones, Dougie Poynter, Harry Judd, James Bourne, Matt Willis, David Spearing & McBusted

McFly, Tom Fletscher, Danny Jones, Dougie Poynter, Harry Judd, James Bourne, Matt Willis, David Spearing & McBusted - McFly: 10th Anniversary Concert - Royal Albert Hall  artwork

McFly: 10th Anniversary Concert – Royal Albert Hall

McFly, Tom Fletscher, Danny Jones, Dougie Poynter, Harry Judd, James Bourne, Matt Willis, David Spearing & McBusted

Genre: Concert Films

Price: $ 19.99

Release Date: December 26, 2013


McFly document their recent show stopping 10th anniversary celebrations at London’s prestigious Royal Albert Hall. Across four incredible sold-out nights, the band – Tom Fletcher, Danny Jones, Dougie Poynter and Harry Judd – performed their greatest hits and exclusive tracks with their trademark showmanship, verve and personality. This film captures the excitement and energy of those shows and also includes their incredible, headline-making collaboration with ex-Busted members James Bourne and Matt Willis. Highlights across the release include a debut performance of ’Love Is On The Radio’, the first single from McFly’s forthcoming sixth album, while the main set each night ended with a specially-written musical number performed by Tom entitled ’McFly The Musical’ – telling the story of the band in his own inimitable, humorous style. One of the major talking points of the shows, one kept secret all the way up to opening night, was the ’McBusted’ team-up. Each night McFly were joined onstage by former Busted boys James Bourne and Matt Willis to perform the latter’s huge hits ’Year 3000’ and ’Air Hostess’ as well as McFly’s own ’Shine A Light.’

© © 2013 Super Records LLP

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From Harry Styles To Kanye West: Here Are The Most Stylish Men In Music

Here’s a look at the musicians in ‘GQ”s ‘Most Stylish Men Alive’ issue.
News

Blue Light, Red Light – Harry Connick, Jr.

Harry Connick, Jr. - Blue Light, Red Light  artwork

Blue Light, Red Light

Harry Connick, Jr.

Genre: Jazz

Price: $ 9.99

Release Date: September 24, 1991

© ℗ 1991 Sony Music Entertainment Inc.

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Your Songs – Harry Connick, Jr.

Harry Connick, Jr. - Your Songs  artwork

Your Songs

Harry Connick, Jr.

Genre: Jazz

Price: $ 7.99

Release Date: September 22, 2009

© ℗ 2009 Sony Music Entertainment

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Morgan Spurlock — Harry Styles Is Next to Bolt … In NEW Direction

Harry Styles is about to go the way of Zayn Malik — bolting from the ranks of One Direction … at least according to acclaimed director and honorary 1Der Morgan Spurlock.  Spurlock directed the docufilm…

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Is This The Lead Of ‘Harry Potter’ Prequel ‘Fantastic Beasts’?

An Oscar winner is reportedly the frontrunner to star in “Harry Potter” spin-off “Fantastic Beasts and Where to Find Them.”
News

This ‘Harry Potter’ Parody Of ‘Uptown Funk’ Is Everyone’s New Patronus

Time to shut down the Internet: KFaceTV released the “Uptown Funk” parody to end it all. It imagines what the toe-tapping hit from Mark Ronson and Bruno Mars would sound like if sung by Lord Voldemort. “Caught the kid, Boy Who Lived, Harry’s out of luck,” Voldemort sings. “With the Elder Wand, stop the Chosen One, maybe make a new Horcrux.” Yes, all of this, plus a band called Tom and the Riddles. Watch forever below.


Comedy – The Huffington Post
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The ‘Harry Potter’ Cast Had The Most Magical Reunion Ever

We solemnly swear that this is amazing.

Draco Malfoy was hanging out with the Weasleys in West Hollywood recently and decided to share the Hogwarts reunion on Instagram for all us Muggles to see. Ten points to Slytherin for that!

Joining actor Tom Felton in the photo were Rupert Grint, otherwise known as Ron, actress Bonnie Wright, perhaps better known as Ginny, and actor James Phelps, otherwise known as Fred. And something tells us they weren’t drinking butter beers:

Kim K stood me up. Outnumbered by 3 Weasleys. Ugh.

A photo posted by Tom Felton (@t22felton) on




In the caption, Felton also made light of Kim Kardashian’s new look, which has been compared to his in the “Harry Potter” movies. Felton previously told HuffPost Entertainment that Kardashian would be a Slytherin at Hogwarts, so apparently he was spot on. Phelps also shared a reunion photo of his own with a caption reading, “Mini family reunion…and Tom”:

Mini family reunion…and Tom. Great night with the gang

A photo posted by James Phelps (@jamesphelps_pictures) on



Accio good times, right? Though the group didn’t share many details of what they were up to, we’re guessing it was mischief managed.
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Kim Richards — Harry Hamlin Dirt All Made Up Just to Piss Off Lisa Rinna

Kim Richards is great at creating drama on “The Real Housewives of Beverly Hills” – and even better at creating stories … TMZ has learned. If you missed it … Richards accused fellow cast member Lisa Rinna of hiding a family secret…

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Taylor Swift — Shakes Off Harry Styles During Icy Encounter

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Harry Styles — CHAI STICKING … Plays Hockey at Jewish Center

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Harry Connick Jr., Eddie Redmayne

“American Idol” is back with a new season, which means HARRY CONNICK JR. is back in action and here to give Ellen a preview of what’s going down! Harry added a lot of personality and fun to the competition series when he joined as a judge last year, and…
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Harry Styles — Runs Into Not One, But Two Famous Exes

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15-Year-Old Cassidy Stay Is An Inspirational, Harry Potter-Loving Hero To Us All

This 15-year-old girl is definitely one of the bravest people on the planet.
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15-Year-Old Cassidy Stay Is An Inspirational, Harry Potter-Loving Hero To Us All

This 15-year-old girl is definitely one of the bravest people on the planet.
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‘Harry Potter’ Actor Dave Legeno Found Dead

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Don’t Act Your Age – Harry, Tonto, Paul and You

At age 44, the maverick satirical filmmaker Paul Mazursky wrote and directed Harry & Tonto, chronicled an old man’s unexpected late life struggle against society’s selfish coercive pressures to relocate, institutionalize, and infantilize him back into a state of docile dependency. This week, 40 years later, Mazursky, at age 84, himself, became the ultimate victim of aging but not the victim of ageism.

He beat ageism by not allowing others define him as “past his prime,” “last year’s model,”
“over-the-hill,” and any of the other euphemisms aspiring middle-aged combats use to push aside those who appear to block their own career paths. Robert McFadden wrote in his New York Times obituary:

Mr. Mazursky was a show-business rarity, almost never out of work in a run of six decades that began as a stage and screen actor in the early 1950s and was still adding credits at the time of his death… For all that, there was an ageless quality about him. Associates said he had boundless energy, the rapid patter of a stand-up comic and an actor’s gift for memory.

This was the parallel goal of Mazurky’s character Harry Combs of Harry & Tonto — the roles so poignantly played by 55-year-old Art Carney, who earned an Oscar for “Best Actor.” As a retired school teacher in his 70s, widower Harry was living in a decaying building where his apartment was a museum of memories — all artifacts of a life that had past. His existence was defined by his daily routine errands where he shared the sarcastic bitterness towards present society with other lonely disenfranchised seniors, by his nostalgia for his lost wife and profession, and finally by his loyal companion — a cat he named Tonto.

The other “lone rangers” he visits on the frontiers of old age search for lost purpose in their lives. They are dismayed over the changes in their lives ranging from lost loved ones to lost careers, ranting about those with greater control who seemed to be the source of their problems, from street muggers and politicians to their own offspring. At first we laugh at their eccentricities, but by the end of the film, they are no longer cyphers in an urban landscape but familiar friends with rich life dramas and current interests we have come to appreciate.

Harry’s opening soliloquy follows a mugging scene, a near hit by a speeding motorist, as he hums the tune “Boulevard of Broken Dreams” to his friend Tonto.

Would you believe it Tonto? Mugged four times this month… It was a wonderful neighborhood. It’s running down. Where would I go and live? I still know a lot of people around here. If you know people, that’s home.

Soon after he drifts to sleep, only to be forcibly evicted by police as a wrecking ball is about to raze his crumbling home.

Freed from this exile to memories, Harry begins an odyssey through the highly stressed, miserable, middle-aged lives of his well-educated children as they struggle with unhappy relationships and careers along with the distress of various other frustrated younger people — all eager to sell Harry things he doesn’t need and to warehouse him away from the mainstream. He wants to live on his own without controls. He wants to travel to new places. He wants to dance with an old lost girlfriend, Jessie, now suffering dementia — but who has flashing moments of recall with him when they dance. He wants to say farewell to the corpse of his lonely close friend, Jacob. He bonds with young people along the way and wants to return to teaching. Yet, with each effort, he is patronized and insulted by middle-aged people in airports, casinos, nursing homes, and morgues as he travels to visit friends. Harry is labelled as a bother to them and a confused, stubborn old man. The scolding refrain of these ageist antagonists as they attack Harry’s defiant desire for independence is “Harry, act your age!”

At same time, Harry also encounters many happy, healthy seniors engaged and enthusiastic about life, ranging from a used car salesman, an organic drug salesman, a Native American medicine man, and a cat sitter. Their retort to the “act your age” admonitions was always “I love my work!”

While we mourn the painful deaths of his close friend Jacob and his loyal buddy Tonto, by the end, we see that through Harry’s odyssey, he has returned to life in the present — regaining his wit and optimism. On the beaches of Santa Monica, as he writes to an old New York friend about his new life as a school tutor, he chases a cat identical to his lost pal Tonto — that takes him to a little girl on the beach who invites him to help her with her sandcastle. We once laughed at Harry, cried with Harry, but now we laugh with him. By the end, the once cynical Harry has returned to the mainstream of life and become the happiest character in the film.

Similarly, one can only imagine Mazursky happy and fulfilled. Soon after Harry & Tonto came out, film critic Richard Corliss reflecting on Blume in Love, I Love You Alice B. Toklas, and Bob & Carol & Ted & Alice wrote for the New York Times, that Mazursky had “created a body of work unmatched in contemporary American cinema for its originality and cohesiveness.” That was before he delivered such landmark social satires as An Unmarried Woman, Moscow on the Hudson, Down and Out in Beverly Hills, Scenes from A Mall, and Enemies: A Love Story, to name just a few classics of the 1980s before even considering his continuing contributions to biting social satire such as Larry David’s Curb Your Enthusiasm. He loved his work and refused to act his age.

Harry’s triumphant mission to be recognized as independent, intelligent contributor through late life was Mazursky’s own game plan. Other landmark films such as Sunset Boulevard or On Golden Pond show surrender to the ravages of age. The songbook of aging is vast but the lyrics offer no answer except the silent suffering of loss: “Sunrise, Sunset” (Fiddler on the Roof); “Turnaround Little Girl” (Perry Como); “When I Was 17” (Frank Sinatra); “The Circle Game” (Joni Mitchell); “No Time Left for You” (The Guess Who); “Time is on My Side” (Rolling Stones); “When I’m 64” (Beatles); “Hello in There” (John Prine); Your Were the Wind Beneath my Feet (Bette Midler). Mazursky offered a battle cry against age — don’t let your spirit die until the machine gives out.

Dylan Thomas advised, “Do not go gentle into that good night. Old age should burn and rave at close of day; rage, rage against the dying of the light.” Many of us struggle with the cruel realities of aging through fear, avoidance, denial and spoofing, but few of us do it at all at once as Mazursky did in celluloid as well as in real life.

As a 20-year-old watching this film with my parents at a suburban Philadelphia theater, I came to further appreciate the later-life needs of seniors, including my parents — my parents as they resisted hasty late-life agendas scripted for them by callous health care providers and other impatient institutions. As a management scholar, I presented research that showed that workers in late life — including even CEOs — have much to offer through their elevated work ethic, accumulated life wisdom, insightful judgment, and mentoring spirit. Truly one of my “oldest” friends, financier Albert H. Gordon continued active through his final days at age 107, with his portfolio up 15 percent in final year of life, 2009, with the markets in turmoil… as well as he had done in 1929. His friend, former Goldman CEO John Whitehead at 92 continues active as well, as his fellow financier and fellow hero in World War II from Normandy Beach, Maurice (Hank) Greenberg, who heads the vibrant CV Starr at age 89. We could add to that the still very active and wise Jack Bogle (85), founder of Vanguard, or the active William Donaldson (83), our 27th Chairman of the SEC. Surely we have seen in the arts and in politics parallel priceless septuagenarians, octogenarians, and nonagenarians as choreographer Martha Graham (97) ; President Ronald Reagan (in office at age 78); Frank Lautenberg as senator until he was 89; and revered diplomatic Averill Harriman (94). Now how could someone seriously question 66-year-old Hillary Clinton’s candidacy on age concerns?

Dignity, independence, and continued contribution are easily as important to us as time for relaxation. Stress reduction is important at all ages. Attentive care for the disabled is vital for all ages but warehousing healthy older people does not reduce stress, and causes injustice plus waste. We need to reconsider our overly therapeutic society’s commercial push for convalescence and infantilizing recreation. Thus, for the last 34 years, I’ve required all my MBA students, largely aspiring leaders in their mid-20 to mid-30s, to view Paul Mazursky’s Harry & Tonto to see the world through the eyes of someone decades older.

Jeffrey Sonnenfeld is the Lester Crown Professor of Management Practice and Senior Associate Dean at the Yale School of Management. A past member of boards of the AARP and the National Council on Aging, he is the author of The Hero’s Farewell (Oxford University Press).
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Conversations with Echo & The Bunnymen’s Ian McCullouch, LP and Harry Dean Stanton, Plus a Nida/Schumann Download

MATT NIDA & LISA SCHUMANN’S “POLICY OF THRUTH” EXCLUSIVE DOWNLOAD

According to Matt…

“This track was mostly made using Piggy Tracker, which is a little sampler/tracker that runs on handheld games consoles like the Sony PSP. It took quite a few goes to get right; Depeche Mode are very good at disguising quite complicated arrangements with deceptively simple songs and melodies. ‘Violator’ was the first Depeche Mode album I bought, and is still my favourite today! ‘Policy Of Truth’ is the first track Lisa and I did together, and there’s more on the way, plus Lisa Schumann’s solo debut BE BOLD EP will be released the second week in June, as will 8-Bit Operators’ Depeche Mode Tribute.”

2014-06-03-EchoJune3.jpg

A Conversation with Echo & The Bunnymen’s Ian McCulloch

Mike Ragogna: Ian, you have a new album with Echo & The Bunnymen, Meteorites. How do you straddle the solo career and the band?

Ian McCulloch: Hopefully, quite well. I get asked this question a lot, it’s hard to give a definitive answer. Sometimes I feel I need… not so much a break from the Bunnymen, but I need to get certain songs out. The easiest way to explain it is sometimes I feel I write “I” songs and sometimes it feels like I’m writing “we” songs. They cross over slightly, for instance on this album there’s a lot of personal stuff. There’s something in it, maybe it’s the melody lines. There’s another way of describing that or explaining it which isn’t too flattering in one way, but with Bunnymen songs there’s less “woe is me,” or in fact, hopefully on this album no “woe is me,” which is kind of implies that I write my solo stuff “woe is me,” but I’m trying to eradicate that as well. I think that with solo stuff it’s more confessional and I’m kind of taking on blame for the way I am. But I think with the Bunnymen, whatever I say, even if it’s exposing my frailties, I do it in a more angst-ridding way.

MR: How does the process work with you guys creatively these days?

IM: I wrote most of this batch on a bass guitar that kind of didn’t need an app. I’ve started playing basslines on solo stuff and on some of The Fountain. I found I was fairly good at it in a hamfisted way. Basically, after finishing Pro Patria Mori in my flat–it’s a massive flat–in my superflat, which doesn’t mean I’m a mansion-owning Scouser, it’s just bigger than normal, but I’ve managed to turn it into a very… it’s not a hovel, but it’s lived in, if you know what I mean–but the only instrument in the building was a child’s piano with preset drumbeats, which I am going to master for the next album. It’s got about twelve white keys and seven of the black ones. I might write a symphony on it, or whatever Beethoven wrote, I’ll write a few of them. So the only other instrument was a bass guitar, a fairly crap one, a Stagg, it’s called, which is hardly Gibson. But it was the only instrument there, so I started playing that. It was the day after I finished Pro Patria Mori, which had taken so much out of me that I hadn’t even played. So I just started playing basslines, I didn’t know what they were for particularly but they just sounded different. I’d gotten used to [white bottle? 7:16] in that total way that can be brilliant but can also limit where you go. For every C there’s an A minor, for every A minor there’s an F and then a G. I suppose I wanted to break free of that a little bit, but also it was just because I picked up this thing and thought, “Bloody hell, these sound good. They’re cyclical basslines that kind of reminded me of early Bunnymen. I found I was playing in a different key, I got into writing songs in C, which seemed to suit the song but I want to sing the high stuff, and I found that writing things in C make it difficult to go up the octave in the way I can and historically get to do. But by playing these riffs with the open D-string, or playing the twiddly stuff on the G-string. I found that it gave me the octave thing I can do. A lot of people think it’s a hard excuse if it’s up in C, but all of the songs like “The Cutter,” “The Back Of Love,” a lot of those songs were written in D, so it enabled me to use the low voice and the open octave and even the very high falsetto stuff for backing vocals. So I was like, “Wow, this stuff sounds great,” and thne I did early demos of it, added some guitars, spiky, choppy stuff that I used to do early Bunnymen. I was like, “Wow, this sounds like the Bunnymen but now.” Then Youth got involved producing, and we added them to the demos and worked with a few things. They just brought this sound to it, using strings like spiky “Eh-eh-eh-eh,” which again was like the early stuff, it was related to it, but it was the in-laws rather than direct family, if you know what I mean. I went through maybe eighteen months or two years of melancholy depression depression, which I’ve gone to in the past, but it always came in waves, even as a kid, I knew it would come but the wave wouldn’t last that long. I actually enjoyed the waves of melancholy.

MR: What are some things that have happened that have been very significant to you as a professional musician over the years?

IM: One thing is that these waves kind of became tsunamis and I didn’t know when they were going to stop raging, I can’t even snap out of them sometimes. They’re very good for writing songs and stuff, especially the lyrical side, they’re really good for that. My wife used to say, “You do this on purpose, you get into this kind of down thing so you can write songs,” which I used to kind of half admit that was true. But I always seemed to be able to, if not console them, at least ride them. Then over the last few years I had some personal things I won’t go into, but I suppose trying to change your life by facing the waves and trying to prevent them going so long, I’m doing something about them, which could involve loads of things. Accepting that maybe it was more of a problem than something I could just say was part of my personality, no one wants to feel shite for more than a year non-stop. But I think without that I don’t think I would’ve come up with songs like “Meteorites” and “Is This A Breakdown?” So I knew I had to use the way I was feeling, that’s one aspect, and also feeling that a statement had to be made almost with this album, no jokes, no fluffy songs that didn’t really stack up, songs that I wanted people to hear. There were no “half-baked” things going on, I wanted to make sure every breath, every word, every letter counted.

MR: What advice do you have for new artists?

IM: Every now and then, I bump into people who I like. Glasvegas was one, I said to James [Allan], “Whatever you do, don’t wear white and don’t look like a geisha girl with your next record,” and guess what? He wore white with a little geisha parasol. I also said, “don’t ever go up your own ass and certainly not anyone else’s.” Unfortunately they have a Support Tour with U2 and there’s no margin when you do that. And Jake Bugg is someone I know, we met somewhere in London recently. I think Jake Bugg is fantastic, especially when he does the ballad-y kind of stuff, the slower, less skiffle-y Dylan stuff, which I like as well, but when he writes one of them beautiful ballads they’re kind of beyond his years in a way. I just think he’s great. I told him, “You seem as cool as you get, don’t listen to anyone’s advice apart of mine and don’t go up your own ass or anyone else’s.” That’s the advice I give. If you stick to that, hopefully you’ll still write the great melodies, but even if you don’t you can say to yourself, “I didn’t go up anyone’s ass.” That’s a great rule to live by I think, otherwise you’ve let yourself down. You’ve got to be strong enough to know when you’re good and when you’re brilliant. Jake Bugg is kind of knowing that. It’s going to be tough because he’s a solo act, leading a band. It’s hard when it’s your name and you can’t share that weight of your own sense of who you are. You can share that in a band because it then becomes… The Bunnymen, we know, there was always a underlined, shared knowledge of what we were and it can be defined by what you don’t do. There would be times you can’t possibly do that because it wouldn’t feel right, you know sometimes you can get manipulated, but we were always the vocal bastards of that kind of scene and music. “We don’t do cowboy hats, we don’t do religion, and we don’t do arse licking, never mind arse fucking buttholing.”

MR: Well, I think that answered all of my questions. It’s been an honor talking to you.

IM: Wait, Mike, one question from me. What did you think of the album?

MR: Well, I think it might be my favorite from you guys in a long time. Hope that doesn’t hurt your feelings.

IM: It’s the best insult, you know?

MR: I think so. I’m just hesitant to commit because I need it to be part of my life a little longer.

IM: I agree. At the time, Ocean Rain was a classic but it certainly drones, and this is only fresh off the mixing desk and it already feels like a weighty album.

MR: Also, I think the depth of it reaches further than the others.

IM: Yeah, I agree.

MR: How do you feel about the influence you’re leaving? Echo & The Bunnymen has affected so many bands.

IM: It’s funny because a lot of it I wish I hadn’t influenced because there’s so much shite out there. Hopefully, I’ve influenced people to pout more when they’ve got a pair of lips. I do like the early stuff of Coldplay, the fact that Chris was open about how much we’d influenced him and his band. I think if we helped influence songs like “In My Place” or “Fix You,” then brilliant. I think we had more influence on American bands to be honest, or at least there were more American bands saying how much they loved us, like Pavement, or even the Pixies, at least when I’ve spoken to them they’ve said we were a massive influence. The Flaming Lips, a band I really like, Arcade Fire said we influenced them. I think they’re a great band, to be honest. So yeah, it’s great when you like the actual stuff you’ve influenced. With Arcade Fire I find myself thinking, “God, I wish we sounded like that.” People will say they sound like us. But yeah, I think this album will make people sit up. People like Chris Martin will envy being able to write a song like me. No one can get near that kind of stuff. The race is back on.

Transcribed By Galen Hawthorne

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A Conversation with LP

Mike Ragogna: LP, you just released your first full length album, Forever For Now. This is technically your debut album, isn’t it?

LP: Yeah, it’s my major label debut for sure. While it’s great to have an EP and all the stuff that goes with it, as well as the [Citibank] commercial with the song got that me touring a bunch, it definitely set me back making that record. And it’s hard to explain to people; people see no record as non-movement, you know? But there was a lot of movement. You feel like you’re making excuses sometimes, and you’re not, it’s just a process you have to get through. We really spent a lot of time on this record.

MR: Did you spend a lot of time on it also because you were in that mind of it being an introduction of LP, on an LP?

LP: [laughs] Somewhat, yes. You always feel like you want to make it perfect, but I think we also felt like there were different directions we could go, and we just started building it, like putting orchestras on it. It got pretty large. I guess we wanted to make it perfect, to pick the right songs and to complement my voice enough. We put a couple of them on there that were on the EP, as we always intended to. I was touring for a year for “Into the Wild,” and that set us back about a year from recording, and I started writing more songs.

MR: Did you have a goal for this album when you started out? What kind of journey did you take with it, in your opinion?

LP: I wanted the record to certainly have peaks and valleys; a landscape. I didn’t want it to be all the same song. We start really high with “Heavenly Light.” That’s an interesting choice for the opener, and I feel like that song kind of sets you up for the rest of the record, it pumps you up on a high note, then you can receive the rest. So when “Forever For Now” hits you, it’s almost like a lullaby. We go from sunrise to sunset, basically. The thing about “Into The Wild,” is that, while it was a commercial in the US, but I would say that ninety percent of the world has not heard that song. There are so many people that haven’t heard it, like in Europe, for example; that wasn’t a commercial in Europe, so people don’t know it. So I feel like if no one had heard “Into The Wild,” that that would have been the first single. And in a way it was; it was a bit of a setup for the record. That song has a lot of life left in it. I feel like “Into The Wild” and “Tokyo Sunrise” both deserve to be on an actual studio record. The EP was kind of like a teaser, and I really wanted a couple of those songs to be the studio record. Especially “Tokyo Sunrise.”

MR: You did two hundred and fifty shows a year, basically living out of a tiny van. I guess you could call those “Salad days.” What are the major differences for you now versus then?

LP: My days are slightly more structured now, which I think every artist really begs for and wants in their early years. That’s what getting more attention or being more popular gives you. It gives you more of a structure, and there are more things to do that you need to do like, for instance, this interview. Touring and shows are the life’s blood for most musicians I know. It’s the ultimate connection. You go from writing a song in a small room, to playing a song in a bigger venue to people, and that’s the journey and that’s the best part of getting yourself out there.

MR: How is your partnership with [Rob] Cavallo doing these days?

LP: It’s great. We became great friends during the making of this record. He’s a brilliant producer. He knows so much about music and about sound. He’s one of the very few producers that can do the old-school stuff and also understand Pro Tools and all that. It’s interesting to work with a master of sorts. I feel like there’s not that many of them out there, and he’s sonically brilliant.

MR: Were you tempted to re-record your hits with Rihanna and Christina Aguilera, “Cheers (Drink to That)” and “Beautiful People” for this project?

LP: No, not at all. Not even a little. They’re great, but one of the biggest things I discovered during the making of this record the last couple of years has been the difference between songs for me, and songs for other people. I can notice it in a heartbeat now. In fact, upon writing “Into The Wild,” “Someday” and “Wasted Love,” I really feel that no one but I can sing those songs. Like “Tokyo Sunrise” is one of those songs that I know is mine.

MR: When you did the first playback of that album, were there any surprises about yourself or any of the songs?

LP: I was kind of surprised where a couple of the songs took me. We went a little pop on some songs, which is probably my songwriting for other people creeping in a little bit, but that’s just part of who I am. I have a couple of different things in me insofar as how I write and what I like to hear. But when you have a record, it’s a lot of listening to the same songs, so it’s difficult to keep perspective. But if I remember correctly, when I hadn’t quite lost my perspective with this record after hearing it over and over, it packed a good wallop.

MR: Are there any songs in particular where you felt like, “Wow, I really discovered something about myself”?

LP: Yeah, “Tokyo” for sure is the apex for me in this record. I loved writing it and I loved singing it. It’s got a bit of a Fleetwood Mac vibe, which was a surprise, and was something I didn’t intend to do.

MR: Are there any songs on there which might be the closest or most personal to you?

LP: “Tokyo” and “Forever For Now” are very deep for me. I’m close with all of them, and “Into The Wild” for sure; I feel like I’ve got almost every part of my voice that I would want people to hear first. If I was trying to get people to know what I sounded like, I would play them that or “Tokyo.”

MR: Having just put out a project of twelve songs and bonus tracks, is there some kind of almost post-partum-like letdown that you feel?

LP: Absolutely. My friends can sense a kind of malaise, and I think it’s just what you go through right before a record comes out, because there’s no more talking about it. You get signed, there’s all this promise; you write songs, there’s all this promise; you record, there’s all this promise, promise, promise. And then you have this thing and it’s getting printed thousands of times on vinyl and CDs and now there’s no going back. You’re going to present this thing, and that’s it. It’s kind of like your kid going off to college, you know, you’ve done everything you can.

MR: In the same sense, parents sometime think, “Oh, maybe if I’d done this or that…” Chances are, every artist probably approaches their work and thinks, “Okay, it’s sort of finished…”

LP: Oh yeah, I feel like that. There are some things that I might change, but they’re there now, and I’m proud of this record. Records are good for showing where you were at a certain time, and I think this definitely shows that.

MR: Does it feel at all like the record is the skeleton and you’re going to “flesh it out” more with the live shows, etc.?

LP: Definitely. What’s interesting is that I haven’t really played a whole bunch of shows, especially the actual touring in clubs, which is when you really flesh out and kind of take on a new life, so to speak. That part’s exciting to think about; playing songs for people and seeing their responses makes you fall in love with the record again.

MR: What advice do you have for new artists?

LP: Write songs, and keep writing. Even if you think you wrote the best song you’ve ever written, keep writing. My record’s not even out yet, and I’ve started writing for myself again. You can’t go too long patting yourself on the back even if you wrote the greatest record ever. Radiohead didn’t just stand there and applaud themselves forever after they wrote The Bends. They kept writing and changing and I think that’s what you have to do regardless of what stage you’re at. So for new artists it’s really important to keep going and producing songs and trying them out on people. And play live, and get better at connecting with and playing for people, because people really notice it when you can perform well, and it helps a lot.

MR: Nice. You could easily slip into the role of mentor.

LP: Well, I do it naturally with my friends who are starting or trying to do stuff, so I’m sure when the opportunity arises, I do take it and will take it.

MR: So you’re not doing two hundred and fifty days a year anymore, but I imagine with the new album out, you’ll be supporting it with a tour?

LP: Definitely, that’s a major thing, and I’m very much looking forward to it. One of the things I do best as far as this whole thing goes is performing the songs. That’s the ultimate payoff for me. I feel my best when I can take it all the way there. It’s a really good feeling to write a song and then perform it, and I think a lot of performers would agree.

MR: Beautiful. What advice do you have for yourself at this point?

LP: I’d say don’t get too ahead of myself, and try to keep my expectations low and my work ethic high. That’s easy to say, but you start to get expectations, especially when good things happen and you think, “Oh, well maybe it could go this way.” I just want to enjoy what’s happening and be present and not get too ahead of myself. I hate anytime I get offstage and feel like I didn’t really “absorb” that experience. That’s my main goal, to absorb what’s happening around me as it’s happening.

MR: You’re absorbing a lot right now, aren’t you.

LP: Yeah, it’s good though. I just try to keep calm and get a little Buddhist about it, not too high or too low.

MR: You must be so stoked about this album, though.

LP: I am, and I look forward to people hearing it. It’s definitely a whole piece, which was the goal. Something you could play start to finish that all sounds good together.

MR: You’re awesome and I really appreciate your time. Hopefully the next time we talk, you’re a household name.

LP: Thanks, Mike. I really appreciate it, you’re so sweet. Talk soon!

Transcribed by Emily Fotis

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A Conversation with Harry Dean Stanton

Mike Ragogna: How fictional is Partly Fiction?

Harry Dean Stanton: It’s all fiction. It’s all a dream. Life is all a dream.

MR: How did the project begin?

HDS: It started with Sophie [Huber], we used to go out a long time ago. She was the whole thing.

MR: She directed the documentary.

HDS: Yeah.

MR: The documentary has been screened at over fifty festivals in the US and internationally. How do you think it went over?

HDS: I’ve been getting a good response from all over.

MR: You have a lot of well-known songs on here, many of them are almost classics. David Lynch is quoted as saying he loves your version of “Everybody’s Talkin’.”

HDS: Yeah, that’s a heroin song. It was written on heroin. Fred Neil and Lou [Casteou?] was an actor, they were friends, I think they were both on heroin when they got the idea. Harry Nilsson made a hit out of it, but he made a rock ‘n’ roll song, which is not a heroin song.

MR: The essence of it is in how you did it, right?

HDS: Yeah.

MR: You recorded “Blue Eyes Crying In The Rain,” which, when it’s sung by you, takes on a different kind of feel.

HDS: Yeah, that’s a good song. All the songs are well-written. That was a quote about the album, the writing of the songs let the songs sell themselves.

MR: They’re like self-reflections?

HDS: They’re all well-written.

MR: What did you relate to in each of the songs? That they were well-written or that they related to your life in some way?

HDS: “Blue Eyes Crying In The Rain” was related to Rebecca De Mornay, I used to go out with her, she loved the song.

MR: So a lot of these are very personal, with your memories relating to the music.

HDS: They’re songs I’ve heard over the years that resonated with me.

MR: You also recorded “Canción Mixteca” with Ry Cooder.

HDS: Yeah, that was on a soundtrack album, it was the theme song in Paris, Texas.

MR: Did it feel good recording it again for that project? Did it take you back?

HDS: Oh yeah, I love it, it’s a beautiful song.

MR: You do a couple of traditionals as well, for instance, “Danny Boy.”

HDS: That was actually written by an Englishman I think, but it has close Irish ties. It’s kind of the Irish national anthem. For years, I thought it was a mother singing to her son, “Danny Boy,” but it was a father who had lost two sons in two wars and this was his youngest son going into World War One. That’s what the song’s about.

MR: You have an interesting convergence of being an actor and being a musician. Do those two arts compliment each other? Like when you’re singing a song, do you think your acting abilities let you pull out the more emotionally significant lines, etc.?

HDS: Oh yeah, there’s no difference really. If you’re a good singer, you can be an actor. As a matter of fact, anybody can be a film actor. A man off the street can be a film actor if he’s got a good director.

MR: But certainly that’s not how you feel about your own career, right? You feel like you’re a good actor, no?

HDS: Oh yeah.

MR: But there are degrees of being able to interpret a script, I’m sure your musical interpretation gives you little more skill at acting.

HDS: Anybody can relate to any part that’s written, a murderer, a lover, an authority figure, it doesn’t matter, they’re all universal.

MR: The documentary has some of your friends as guests, Sam Shepard, Wim Wenders, Deborah Harry, and Kris Kristofferson. When you hear them talk about their interaction with you and what you mean to them, what do you think at this point? How does it affect you?

HDS: It’s a nice feeling. I like all of those people. What else can I say?

MR: Does it touch you on a deeper level because of the personal friendships and relationships you have with them?

HDS: Oh yeah, we’re all close friends.

MR: You’re accompanied by Jamie James and Don Was, what do you think of how the album turned out as far as musicianship?

HDS: I think it’s all good. I haven’t heard the album yet but I think I saw one cut of the film. They’re all great people, talented musicians, I’m very fortunate.

MR: Were there any roles that were particularly special to you?

HDS: Oh yeah, Paris, Texas is my favorite movie. All of them had something going on, all of them appealed to me.

MR: Sophie is very up front about her friendship with you, how you met in the nineties and have been friends ever since. She’s the one who came up with the idea to make this, but when you were recording the songs for this, did she have the idea of how this was going to turn out ultimately?

HDS: It all just developed and unfolded naturally.

MR: Were there any surprises for you in the documentary?

HDS: I can’t remember anything at the moment.

MR: That’s okay. Are there any songs on Partly Fiction that really, really resonate with you?

HDS: They all do. “Danny Boy,” “Canción Mixteca,” all of them do.

MR: What advice do you have for new artists?

HDS: Don’t try. Let it happen.

MR: And that’s how it happened with you?

HDS: Yeah, just let it happen. Everything unfolds, I had nothing to do with it.

MR: How did you get into music initially?

HDS: I don’t know, I was just born with a good ear. I was singing when I was six years old. When nobody was home, I would get up on a stool and sing. I was in love with an eighteen year-old house sitter. Her name was Thelma. I’d get up and sing. Who wrote that song? Early country western writers, “The Singing Brakeman” they called him. It was the first song I ever remember, “T For Texas.”

MR: Jimmie Rodgers, and he was an inspiration for you as a kid?

HDS: Yes, that was the first song I remember.

MR: Were you encouraged by your family to do more music?

HDS: My mother sang, she taught me some Irish songs. My mother was Irish. I sang with my brothers, we had a barbershop quartet. The three of us, and I forget who the fourth one was. In high school and college I always sang in glee clubs and barbershop quartets.

MR: Do you remember any of the songs?

HDS: Let’s see, there was a famous organization called Yhe Barbershop Singers of America, “Those good old songs for me, I love to hear those minor chords and four-part harmony.”

MR: What advice do you have for actors?

HDS: Play yourself. That’s what I do.

MR: Similar advice to the musicians.

HDS: Yeah.

MR: You’ve taken roles you’ve wanted to play and related to the parts, right?

HDS: I’ve made some good choices.

MR: What are some choices coming up after Partly Fiction is a hit?

HDS: I haven’t a clue.

MR: What do you want to do?

HDS: I can’t answer that, I have to wait and see what I do. The best approach was Jack Nicholson, I did Ride In The Whirlwind with him, you know that film? He called me and said, “I’ve got a part for you, but I don’t want you to do anything. Let the wardrobe do the character.” I’d been thinking along those lines anyway, so that solidified my whole approach to acting. I played myself and let the wardrobe do the character.

MR: And that’s exactly what you said toward the beginning of this interview, you just let things unfold.

HDS: Yeah, it’s a whole eastern approach. Taoism, Buddhism, and the real Jewish Kabbalah, not the organized one. Most Jews don’t get it and most Christians don’t get it either. The real Kabbalah is the same as Buddhim and Taoism.

MR: Are you pretty spiritual?

HDS: Spiritual, yeah, but I don’t believe in any religions. Not even the eastern ones. Once they’re organized, it’s all over.

MR: Do you think spirituality is at the bottom of your art? Do you think it’s what your creative juices come from?

HDS: Again, there’s no real answer to that. Everything unfolds naturally. Ultimately there’s no answer to the whole existence on the planet, really, there’s no answer to it. Nobody’s in charge. It all just happens.

Transcribed By Galen Hawthorne
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Conversations with Echo & The Bunnymen’s Ian McCullouch, LP and Harry Dean Stanton, Plus a Nida/Schumann Download

MATT NIDA & LISA SCHUMANN’S “POLICY OF THRUTH” EXCLUSIVE DOWNLOAD

According to Matt…

“This track was mostly made using Piggy Tracker, which is a little sampler/tracker that runs on handheld games consoles like the Sony PSP. It took quite a few goes to get right; Depeche Mode are very good at disguising quite complicated arrangements with deceptively simple songs and melodies. ‘Violator’ was the first Depeche Mode album I bought, and is still my favourite today! ‘Policy Of Truth’ is the first track Lisa and I did together, and there’s more on the way, plus Lisa Schumann’s solo debut BE BOLD EP will be released the second week in June, as will 8-Bit Operators’ Depeche Mode Tribute.”

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A Conversation with Echo & The Bunnymen’s Ian McCulloch

Mike Ragogna: Ian, you have a new album with Echo & The Bunnymen, Meteorites. How do you straddle the solo career and the band?

Ian McCulloch: Hopefully, quite well. I get asked this question a lot, it’s hard to give a definitive answer. Sometimes I feel I need… not so much a break from the Bunnymen, but I need to get certain songs out. The easiest way to explain it is sometimes I feel I write “I” songs and sometimes it feels like I’m writing “we” songs. They cross over slightly, for instance on this album there’s a lot of personal stuff. There’s something in it, maybe it’s the melody lines. There’s another way of describing that or explaining it which isn’t too flattering in one way, but with Bunnymen songs there’s less “woe is me,” or in fact, hopefully on this album no “woe is me,” which is kind of implies that I write my solo stuff “woe is me,” but I’m trying to eradicate that as well. I think that with solo stuff it’s more confessional and I’m kind of taking on blame for the way I am. But I think with the Bunnymen, whatever I say, even if it’s exposing my frailties, I do it in a more angst-ridding way.

MR: How does the process work with you guys creatively these days?

IM: I wrote most of this batch on a bass guitar that kind of didn’t need an app. I’ve started playing basslines on solo stuff and on some of The Fountain. I found I was fairly good at it in a hamfisted way. Basically, after finishing Pro Patria Mori in my flat–it’s a massive flat–in my superflat, which doesn’t mean I’m a mansion-owning Scouser, it’s just bigger than normal, but I’ve managed to turn it into a very… it’s not a hovel, but it’s lived in, if you know what I mean–but the only instrument in the building was a child’s piano with preset drumbeats, which I am going to master for the next album. It’s got about twelve white keys and seven of the black ones. I might write a symphony on it, or whatever Beethoven wrote, I’ll write a few of them. So the only other instrument was a bass guitar, a fairly crap one, a Stagg, it’s called, which is hardly Gibson. But it was the only instrument there, so I started playing that. It was the day after I finished Pro Patria Mori, which had taken so much out of me that I hadn’t even played. So I just started playing basslines, I didn’t know what they were for particularly but they just sounded different. I’d gotten used to [white bottle? 7:16] in that total way that can be brilliant but can also limit where you go. For every C there’s an A minor, for every A minor there’s an F and then a G. I suppose I wanted to break free of that a little bit, but also it was just because I picked up this thing and thought, “Bloody hell, these sound good. They’re cyclical basslines that kind of reminded me of early Bunnymen. I found I was playing in a different key, I got into writing songs in C, which seemed to suit the song but I want to sing the high stuff, and I found that writing things in C make it difficult to go up the octave in the way I can and historically get to do. But by playing these riffs with the open D-string, or playing the twiddly stuff on the G-string. I found that it gave me the octave thing I can do. A lot of people think it’s a hard excuse if it’s up in C, but all of the songs like “The Cutter,” “The Back Of Love,” a lot of those songs were written in D, so it enabled me to use the low voice and the open octave and even the very high falsetto stuff for backing vocals. So I was like, “Wow, this stuff sounds great,” and thne I did early demos of it, added some guitars, spiky, choppy stuff that I used to do early Bunnymen. I was like, “Wow, this sounds like the Bunnymen but now.” Then Youth got involved producing, and we added them to the demos and worked with a few things. They just brought this sound to it, using strings like spiky “Eh-eh-eh-eh,” which again was like the early stuff, it was related to it, but it was the in-laws rather than direct family, if you know what I mean. I went through maybe eighteen months or two years of melancholy depression depression, which I’ve gone to in the past, but it always came in waves, even as a kid, I knew it would come but the wave wouldn’t last that long. I actually enjoyed the waves of melancholy.

MR: What are some things that have happened that have been very significant to you as a professional musician over the years?

IM: One thing is that these waves kind of became tsunamis and I didn’t know when they were going to stop raging, I can’t even snap out of them sometimes. They’re very good for writing songs and stuff, especially the lyrical side, they’re really good for that. My wife used to say, “You do this on purpose, you get into this kind of down thing so you can write songs,” which I used to kind of half admit that was true. But I always seemed to be able to, if not console them, at least ride them. Then over the last few years I had some personal things I won’t go into, but I suppose trying to change your life by facing the waves and trying to prevent them going so long, I’m doing something about them, which could involve loads of things. Accepting that maybe it was more of a problem than something I could just say was part of my personality, no one wants to feel shite for more than a year non-stop. But I think without that I don’t think I would’ve come up with songs like “Meteorites” and “Is This A Breakdown?” So I knew I had to use the way I was feeling, that’s one aspect, and also feeling that a statement had to be made almost with this album, no jokes, no fluffy songs that didn’t really stack up, songs that I wanted people to hear. There were no “half-baked” things going on, I wanted to make sure every breath, every word, every letter counted.

MR: What advice do you have for new artists?

IM: Every now and then, I bump into people who I like. Glasvegas was one, I said to James [Allan], “Whatever you do, don’t wear white and don’t look like a geisha girl with your next record,” and guess what? He wore white with a little geisha parasol. I also said, “don’t ever go up your own ass and certainly not anyone else’s.” Unfortunately they have a Support Tour with U2 and there’s no margin when you do that. And Jake Bugg is someone I know, we met somewhere in London recently. I think Jake Bugg is fantastic, especially when he does the ballad-y kind of stuff, the slower, less skiffle-y Dylan stuff, which I like as well, but when he writes one of them beautiful ballads they’re kind of beyond his years in a way. I just think he’s great. I told him, “You seem as cool as you get, don’t listen to anyone’s advice apart of mine and don’t go up your own ass or anyone else’s.” That’s the advice I give. If you stick to that, hopefully you’ll still write the great melodies, but even if you don’t you can say to yourself, “I didn’t go up anyone’s ass.” That’s a great rule to live by I think, otherwise you’ve let yourself down. You’ve got to be strong enough to know when you’re good and when you’re brilliant. Jake Bugg is kind of knowing that. It’s going to be tough because he’s a solo act, leading a band. It’s hard when it’s your name and you can’t share that weight of your own sense of who you are. You can share that in a band because it then becomes… The Bunnymen, we know, there was always a underlined, shared knowledge of what we were and it can be defined by what you don’t do. There would be times you can’t possibly do that because it wouldn’t feel right, you know sometimes you can get manipulated, but we were always the vocal bastards of that kind of scene and music. “We don’t do cowboy hats, we don’t do religion, and we don’t do arse licking, never mind arse fucking buttholing.”

MR: Well, I think that answered all of my questions. It’s been an honor talking to you.

IM: Wait, Mike, one question from me. What did you think of the album?

MR: Well, I think it might be my favorite from you guys in a long time. Hope that doesn’t hurt your feelings.

IM: It’s the best insult, you know?

MR: I think so. I’m just hesitant to commit because I need it to be part of my life a little longer.

IM: I agree. At the time, Ocean Rain was a classic but it certainly drones, and this is only fresh off the mixing desk and it already feels like a weighty album.

MR: Also, I think the depth of it reaches further than the others.

IM: Yeah, I agree.

MR: How do you feel about the influence you’re leaving? Echo & The Bunnymen has affected so many bands.

IM: It’s funny because a lot of it I wish I hadn’t influenced because there’s so much shite out there. Hopefully, I’ve influenced people to pout more when they’ve got a pair of lips. I do like the early stuff of Coldplay, the fact that Chris was open about how much we’d influenced him and his band. I think if we helped influence songs like “In My Place” or “Fix You,” then brilliant. I think we had more influence on American bands to be honest, or at least there were more American bands saying how much they loved us, like Pavement, or even the Pixies, at least when I’ve spoken to them they’ve said we were a massive influence. The Flaming Lips, a band I really like, Arcade Fire said we influenced them. I think they’re a great band, to be honest. So yeah, it’s great when you like the actual stuff you’ve influenced. With Arcade Fire I find myself thinking, “God, I wish we sounded like that.” People will say they sound like us. But yeah, I think this album will make people sit up. People like Chris Martin will envy being able to write a song like me. No one can get near that kind of stuff. The race is back on.

Transcribed By Galen Hawthorne

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A Conversation with LP

Mike Ragogna: LP, you just released your first full length album, Forever For Now. This is technically your debut album, isn’t it?

LP: Yeah, it’s my major label debut for sure. While it’s great to have an EP and all the stuff that goes with it, as well as the [Citibank] commercial with the song got that me touring a bunch, it definitely set me back making that record. And it’s hard to explain to people; people see no record as non-movement, you know? But there was a lot of movement. You feel like you’re making excuses sometimes, and you’re not, it’s just a process you have to get through. We really spent a lot of time on this record.

MR: Did you spend a lot of time on it also because you were in that mind of it being an introduction of LP, on an LP?

LP: [laughs] Somewhat, yes. You always feel like you want to make it perfect, but I think we also felt like there were different directions we could go, and we just started building it, like putting orchestras on it. It got pretty large. I guess we wanted to make it perfect, to pick the right songs and to complement my voice enough. We put a couple of them on there that were on the EP, as we always intended to. I was touring for a year for “Into the Wild,” and that set us back about a year from recording, and I started writing more songs.

MR: Did you have a goal for this album when you started out? What kind of journey did you take with it, in your opinion?

LP: I wanted the record to certainly have peaks and valleys; a landscape. I didn’t want it to be all the same song. We start really high with “Heavenly Light.” That’s an interesting choice for the opener, and I feel like that song kind of sets you up for the rest of the record, it pumps you up on a high note, then you can receive the rest. So when “Forever For Now” hits you, it’s almost like a lullaby. We go from sunrise to sunset, basically. The thing about “Into The Wild,” is that, while it was a commercial in the US, but I would say that ninety percent of the world has not heard that song. There are so many people that haven’t heard it, like in Europe, for example; that wasn’t a commercial in Europe, so people don’t know it. So I feel like if no one had heard “Into The Wild,” that that would have been the first single. And in a way it was; it was a bit of a setup for the record. That song has a lot of life left in it. I feel like “Into The Wild” and “Tokyo Sunrise” both deserve to be on an actual studio record. The EP was kind of like a teaser, and I really wanted a couple of those songs to be the studio record. Especially “Tokyo Sunrise.”

MR: You did two hundred and fifty shows a year, basically living out of a tiny van. I guess you could call those “Salad days.” What are the major differences for you now versus then?

LP: My days are slightly more structured now, which I think every artist really begs for and wants in their early years. That’s what getting more attention or being more popular gives you. It gives you more of a structure, and there are more things to do that you need to do like, for instance, this interview. Touring and shows are the life’s blood for most musicians I know. It’s the ultimate connection. You go from writing a song in a small room, to playing a song in a bigger venue to people, and that’s the journey and that’s the best part of getting yourself out there.

MR: How is your partnership with [Rob] Cavallo doing these days?

LP: It’s great. We became great friends during the making of this record. He’s a brilliant producer. He knows so much about music and about sound. He’s one of the very few producers that can do the old-school stuff and also understand Pro Tools and all that. It’s interesting to work with a master of sorts. I feel like there’s not that many of them out there, and he’s sonically brilliant.

MR: Were you tempted to re-record your hits with Rihanna and Christina Aguilera, “Cheers (Drink to That)” and “Beautiful People” for this project?

LP: No, not at all. Not even a little. They’re great, but one of the biggest things I discovered during the making of this record the last couple of years has been the difference between songs for me, and songs for other people. I can notice it in a heartbeat now. In fact, upon writing “Into The Wild,” “Someday” and “Wasted Love,” I really feel that no one but I can sing those songs. Like “Tokyo Sunrise” is one of those songs that I know is mine.

MR: When you did the first playback of that album, were there any surprises about yourself or any of the songs?

LP: I was kind of surprised where a couple of the songs took me. We went a little pop on some songs, which is probably my songwriting for other people creeping in a little bit, but that’s just part of who I am. I have a couple of different things in me insofar as how I write and what I like to hear. But when you have a record, it’s a lot of listening to the same songs, so it’s difficult to keep perspective. But if I remember correctly, when I hadn’t quite lost my perspective with this record after hearing it over and over, it packed a good wallop.

MR: Are there any songs in particular where you felt like, “Wow, I really discovered something about myself”?

LP: Yeah, “Tokyo” for sure is the apex for me in this record. I loved writing it and I loved singing it. It’s got a bit of a Fleetwood Mac vibe, which was a surprise, and was something I didn’t intend to do.

MR: Are there any songs on there which might be the closest or most personal to you?

LP: “Tokyo” and “Forever For Now” are very deep for me. I’m close with all of them, and “Into The Wild” for sure; I feel like I’ve got almost every part of my voice that I would want people to hear first. If I was trying to get people to know what I sounded like, I would play them that or “Tokyo.”

MR: Having just put out a project of twelve songs and bonus tracks, is there some kind of almost post-partum-like letdown that you feel?

LP: Absolutely. My friends can sense a kind of malaise, and I think it’s just what you go through right before a record comes out, because there’s no more talking about it. You get signed, there’s all this promise; you write songs, there’s all this promise; you record, there’s all this promise, promise, promise. And then you have this thing and it’s getting printed thousands of times on vinyl and CDs and now there’s no going back. You’re going to present this thing, and that’s it. It’s kind of like your kid going off to college, you know, you’ve done everything you can.

MR: In the same sense, parents sometime think, “Oh, maybe if I’d done this or that…” Chances are, every artist probably approaches their work and thinks, “Okay, it’s sort of finished…”

LP: Oh yeah, I feel like that. There are some things that I might change, but they’re there now, and I’m proud of this record. Records are good for showing where you were at a certain time, and I think this definitely shows that.

MR: Does it feel at all like the record is the skeleton and you’re going to “flesh it out” more with the live shows, etc.?

LP: Definitely. What’s interesting is that I haven’t really played a whole bunch of shows, especially the actual touring in clubs, which is when you really flesh out and kind of take on a new life, so to speak. That part’s exciting to think about; playing songs for people and seeing their responses makes you fall in love with the record again.

MR: What advice do you have for new artists?

LP: Write songs, and keep writing. Even if you think you wrote the best song you’ve ever written, keep writing. My record’s not even out yet, and I’ve started writing for myself again. You can’t go too long patting yourself on the back even if you wrote the greatest record ever. Radiohead didn’t just stand there and applaud themselves forever after they wrote The Bends. They kept writing and changing and I think that’s what you have to do regardless of what stage you’re at. So for new artists it’s really important to keep going and producing songs and trying them out on people. And play live, and get better at connecting with and playing for people, because people really notice it when you can perform well, and it helps a lot.

MR: Nice. You could easily slip into the role of mentor.

LP: Well, I do it naturally with my friends who are starting or trying to do stuff, so I’m sure when the opportunity arises, I do take it and will take it.

MR: So you’re not doing two hundred and fifty days a year anymore, but I imagine with the new album out, you’ll be supporting it with a tour?

LP: Definitely, that’s a major thing, and I’m very much looking forward to it. One of the things I do best as far as this whole thing goes is performing the songs. That’s the ultimate payoff for me. I feel my best when I can take it all the way there. It’s a really good feeling to write a song and then perform it, and I think a lot of performers would agree.

MR: Beautiful. What advice do you have for yourself at this point?

LP: I’d say don’t get too ahead of myself, and try to keep my expectations low and my work ethic high. That’s easy to say, but you start to get expectations, especially when good things happen and you think, “Oh, well maybe it could go this way.” I just want to enjoy what’s happening and be present and not get too ahead of myself. I hate anytime I get offstage and feel like I didn’t really “absorb” that experience. That’s my main goal, to absorb what’s happening around me as it’s happening.

MR: You’re absorbing a lot right now, aren’t you.

LP: Yeah, it’s good though. I just try to keep calm and get a little Buddhist about it, not too high or too low.

MR: You must be so stoked about this album, though.

LP: I am, and I look forward to people hearing it. It’s definitely a whole piece, which was the goal. Something you could play start to finish that all sounds good together.

MR: You’re awesome and I really appreciate your time. Hopefully the next time we talk, you’re a household name.

LP: Thanks, Mike. I really appreciate it, you’re so sweet. Talk soon!

Transcribed by Emily Fotis

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A Conversation with Harry Dean Stanton

Mike Ragogna: How fictional is Partly Fiction?

Harry Dean Stanton: It’s all fiction. It’s all a dream. Life is all a dream.

MR: How did the project begin?

HDS: It started with Sophie [Huber], we used to go out a long time ago. She was the whole thing.

MR: She directed the documentary.

HDS: Yeah.

MR: The documentary has been screened at over fifty festivals in the US and internationally. How do you think it went over?

HDS: I’ve been getting a good response from all over.

MR: You have a lot of well-known songs on here, many of them are almost classics. David Lynch is quoted as saying he loves your version of “Everybody’s Talkin’.”

HDS: Yeah, that’s a heroin song. It was written on heroin. Fred Neil and Lou [Casteou?] was an actor, they were friends, I think they were both on heroin when they got the idea. Harry Nilsson made a hit out of it, but he made a rock ‘n’ roll song, which is not a heroin song.

MR: The essence of it is in how you did it, right?

HDS: Yeah.

MR: You recorded “Blue Eyes Crying In The Rain,” which, when it’s sung by you, takes on a different kind of feel.

HDS: Yeah, that’s a good song. All the songs are well-written. That was a quote about the album, the writing of the songs let the songs sell themselves.

MR: They’re like self-reflections?

HDS: They’re all well-written.

MR: What did you relate to in each of the songs? That they were well-written or that they related to your life in some way?

HDS: “Blue Eyes Crying In The Rain” was related to Rebecca De Mornay, I used to go out with her, she loved the song.

MR: So a lot of these are very personal, with your memories relating to the music.

HDS: They’re songs I’ve heard over the years that resonated with me.

MR: You also recorded “Canción Mixteca” with Ry Cooder.

HDS: Yeah, that was on a soundtrack album, it was the theme song in Paris, Texas.

MR: Did it feel good recording it again for that project? Did it take you back?

HDS: Oh yeah, I love it, it’s a beautiful song.

MR: You do a couple of traditionals as well, for instance, “Danny Boy.”

HDS: That was actually written by an Englishman I think, but it has close Irish ties. It’s kind of the Irish national anthem. For years, I thought it was a mother singing to her son, “Danny Boy,” but it was a father who had lost two sons in two wars and this was his youngest son going into World War One. That’s what the song’s about.

MR: You have an interesting convergence of being an actor and being a musician. Do those two arts compliment each other? Like when you’re singing a song, do you think your acting abilities let you pull out the more emotionally significant lines, etc.?

HDS: Oh yeah, there’s no difference really. If you’re a good singer, you can be an actor. As a matter of fact, anybody can be a film actor. A man off the street can be a film actor if he’s got a good director.

MR: But certainly that’s not how you feel about your own career, right? You feel like you’re a good actor, no?

HDS: Oh yeah.

MR: But there are degrees of being able to interpret a script, I’m sure your musical interpretation gives you little more skill at acting.

HDS: Anybody can relate to any part that’s written, a murderer, a lover, an authority figure, it doesn’t matter, they’re all universal.

MR: The documentary has some of your friends as guests, Sam Shepard, Wim Wenders, Deborah Harry, and Kris Kristofferson. When you hear them talk about their interaction with you and what you mean to them, what do you think at this point? How does it affect you?

HDS: It’s a nice feeling. I like all of those people. What else can I say?

MR: Does it touch you on a deeper level because of the personal friendships and relationships you have with them?

HDS: Oh yeah, we’re all close friends.

MR: You’re accompanied by Jamie James and Don Was, what do you think of how the album turned out as far as musicianship?

HDS: I think it’s all good. I haven’t heard the album yet but I think I saw one cut of the film. They’re all great people, talented musicians, I’m very fortunate.

MR: Were there any roles that were particularly special to you?

HDS: Oh yeah, Paris, Texas is my favorite movie. All of them had something going on, all of them appealed to me.

MR: Sophie is very up front about her friendship with you, how you met in the nineties and have been friends ever since. She’s the one who came up with the idea to make this, but when you were recording the songs for this, did she have the idea of how this was going to turn out ultimately?

HDS: It all just developed and unfolded naturally.

MR: Were there any surprises for you in the documentary?

HDS: I can’t remember anything at the moment.

MR: That’s okay. Are there any songs on Partly Fiction that really, really resonate with you?

HDS: They all do. “Danny Boy,” “Canción Mixteca,” all of them do.

MR: What advice do you have for new artists?

HDS: Don’t try. Let it happen.

MR: And that’s how it happened with you?

HDS: Yeah, just let it happen. Everything unfolds, I had nothing to do with it.

MR: How did you get into music initially?

HDS: I don’t know, I was just born with a good ear. I was singing when I was six years old. When nobody was home, I would get up on a stool and sing. I was in love with an eighteen year-old house sitter. Her name was Thelma. I’d get up and sing. Who wrote that song? Early country western writers, “The Singing Brakeman” they called him. It was the first song I ever remember, “T For Texas.”

MR: Jimmie Rodgers, and he was an inspiration for you as a kid?

HDS: Yes, that was the first song I remember.

MR: Were you encouraged by your family to do more music?

HDS: My mother sang, she taught me some Irish songs. My mother was Irish. I sang with my brothers, we had a barbershop quartet. The three of us, and I forget who the fourth one was. In high school and college I always sang in glee clubs and barbershop quartets.

MR: Do you remember any of the songs?

HDS: Let’s see, there was a famous organization called Yhe Barbershop Singers of America, “Those good old songs for me, I love to hear those minor chords and four-part harmony.”

MR: What advice do you have for actors?

HDS: Play yourself. That’s what I do.

MR: Similar advice to the musicians.

HDS: Yeah.

MR: You’ve taken roles you’ve wanted to play and related to the parts, right?

HDS: I’ve made some good choices.

MR: What are some choices coming up after Partly Fiction is a hit?

HDS: I haven’t a clue.

MR: What do you want to do?

HDS: I can’t answer that, I have to wait and see what I do. The best approach was Jack Nicholson, I did Ride In The Whirlwind with him, you know that film? He called me and said, “I’ve got a part for you, but I don’t want you to do anything. Let the wardrobe do the character.” I’d been thinking along those lines anyway, so that solidified my whole approach to acting. I played myself and let the wardrobe do the character.

MR: And that’s exactly what you said toward the beginning of this interview, you just let things unfold.

HDS: Yeah, it’s a whole eastern approach. Taoism, Buddhism, and the real Jewish Kabbalah, not the organized one. Most Jews don’t get it and most Christians don’t get it either. The real Kabbalah is the same as Buddhim and Taoism.

MR: Are you pretty spiritual?

HDS: Spiritual, yeah, but I don’t believe in any religions. Not even the eastern ones. Once they’re organized, it’s all over.

MR: Do you think spirituality is at the bottom of your art? Do you think it’s what your creative juices come from?

HDS: Again, there’s no real answer to that. Everything unfolds naturally. Ultimately there’s no answer to the whole existence on the planet, really, there’s no answer to it. Nobody’s in charge. It all just happens.

Transcribed By Galen Hawthorne
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Conversations with Echo & The Bunnymen’s Ian McCullouch, LP and Harry Dean Stanton, Plus a Nida/Schumann Download

MATT NIDA & LISA SCHUMANN’S “POLICY OF THRUTH” EXCLUSIVE DOWNLOAD

According to Matt…

“This track was mostly made using Piggy Tracker, which is a little sampler/tracker that runs on handheld games consoles like the Sony PSP. It took quite a few goes to get right; Depeche Mode are very good at disguising quite complicated arrangements with deceptively simple songs and melodies. ‘Violator’ was the first Depeche Mode album I bought, and is still my favourite today! ‘Policy Of Truth’ is the first track Lisa and I did together, and there’s more on the way, plus Lisa Schumann’s solo debut BE BOLD EP will be released the second week in June, as will 8-Bit Operators’ Depeche Mode Tribute.”

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A Conversation with Echo & The Bunnymen’s Ian McCulloch

Mike Ragogna: Ian, you have a new album with Echo & The Bunnymen, Meteorites. How do you straddle the solo career and the band?

Ian McCulloch: Hopefully, quite well. I get asked this question a lot, it’s hard to give a definitive answer. Sometimes I feel I need… not so much a break from the Bunnymen, but I need to get certain songs out. The easiest way to explain it is sometimes I feel I write “I” songs and sometimes it feels like I’m writing “we” songs. They cross over slightly, for instance on this album there’s a lot of personal stuff. There’s something in it, maybe it’s the melody lines. There’s another way of describing that or explaining it which isn’t too flattering in one way, but with Bunnymen songs there’s less “woe is me,” or in fact, hopefully on this album no “woe is me,” which is kind of implies that I write my solo stuff “woe is me,” but I’m trying to eradicate that as well. I think that with solo stuff it’s more confessional and I’m kind of taking on blame for the way I am. But I think with the Bunnymen, whatever I say, even if it’s exposing my frailties, I do it in a more angst-ridding way.

MR: How does the process work with you guys creatively these days?

IM: I wrote most of this batch on a bass guitar that kind of didn’t need an app. I’ve started playing basslines on solo stuff and on some of The Fountain. I found I was fairly good at it in a hamfisted way. Basically, after finishing Pro Patria Mori in my flat–it’s a massive flat–in my superflat, which doesn’t mean I’m a mansion-owning Scouser, it’s just bigger than normal, but I’ve managed to turn it into a very… it’s not a hovel, but it’s lived in, if you know what I mean–but the only instrument in the building was a child’s piano with preset drumbeats, which I am going to master for the next album. It’s got about twelve white keys and seven of the black ones. I might write a symphony on it, or whatever Beethoven wrote, I’ll write a few of them. So the only other instrument was a bass guitar, a fairly crap one, a Stagg, it’s called, which is hardly Gibson. But it was the only instrument there, so I started playing that. It was the day after I finished Pro Patria Mori, which had taken so much out of me that I hadn’t even played. So I just started playing basslines, I didn’t know what they were for particularly but they just sounded different. I’d gotten used to [white bottle? 7:16] in that total way that can be brilliant but can also limit where you go. For every C there’s an A minor, for every A minor there’s an F and then a G. I suppose I wanted to break free of that a little bit, but also it was just because I picked up this thing and thought, “Bloody hell, these sound good. They’re cyclical basslines that kind of reminded me of early Bunnymen. I found I was playing in a different key, I got into writing songs in C, which seemed to suit the song but I want to sing the high stuff, and I found that writing things in C make it difficult to go up the octave in the way I can and historically get to do. But by playing these riffs with the open D-string, or playing the twiddly stuff on the G-string. I found that it gave me the octave thing I can do. A lot of people think it’s a hard excuse if it’s up in C, but all of the songs like “The Cutter,” “The Back Of Love,” a lot of those songs were written in D, so it enabled me to use the low voice and the open octave and even the very high falsetto stuff for backing vocals. So I was like, “Wow, this stuff sounds great,” and thne I did early demos of it, added some guitars, spiky, choppy stuff that I used to do early Bunnymen. I was like, “Wow, this sounds like the Bunnymen but now.” Then Youth got involved producing, and we added them to the demos and worked with a few things. They just brought this sound to it, using strings like spiky “Eh-eh-eh-eh,” which again was like the early stuff, it was related to it, but it was the in-laws rather than direct family, if you know what I mean. I went through maybe eighteen months or two years of melancholy depression depression, which I’ve gone to in the past, but it always came in waves, even as a kid, I knew it would come but the wave wouldn’t last that long. I actually enjoyed the waves of melancholy.

MR: What are some things that have happened that have been very significant to you as a professional musician over the years?

IM: One thing is that these waves kind of became tsunamis and I didn’t know when they were going to stop raging, I can’t even snap out of them sometimes. They’re very good for writing songs and stuff, especially the lyrical side, they’re really good for that. My wife used to say, “You do this on purpose, you get into this kind of down thing so you can write songs,” which I used to kind of half admit that was true. But I always seemed to be able to, if not console them, at least ride them. Then over the last few years I had some personal things I won’t go into, but I suppose trying to change your life by facing the waves and trying to prevent them going so long, I’m doing something about them, which could involve loads of things. Accepting that maybe it was more of a problem than something I could just say was part of my personality, no one wants to feel shite for more than a year non-stop. But I think without that I don’t think I would’ve come up with songs like “Meteorites” and “Is This A Breakdown?” So I knew I had to use the way I was feeling, that’s one aspect, and also feeling that a statement had to be made almost with this album, no jokes, no fluffy songs that didn’t really stack up, songs that I wanted people to hear. There were no “half-baked” things going on, I wanted to make sure every breath, every word, every letter counted.

MR: What advice do you have for new artists?

IM: Every now and then, I bump into people who I like. Glasvegas was one, I said to James [Allan], “Whatever you do, don’t wear white and don’t look like a geisha girl with your next record,” and guess what? He wore white with a little geisha parasol. I also said, “don’t ever go up your own ass and certainly not anyone else’s.” Unfortunately they have a Support Tour with U2 and there’s no margin when you do that. And Jake Bugg is someone I know, we met somewhere in London recently. I think Jake Bugg is fantastic, especially when he does the ballad-y kind of stuff, the slower, less skiffle-y Dylan stuff, which I like as well, but when he writes one of them beautiful ballads they’re kind of beyond his years in a way. I just think he’s great. I told him, “You seem as cool as you get, don’t listen to anyone’s advice apart of mine and don’t go up your own ass or anyone else’s.” That’s the advice I give. If you stick to that, hopefully you’ll still write the great melodies, but even if you don’t you can say to yourself, “I didn’t go up anyone’s ass.” That’s a great rule to live by I think, otherwise you’ve let yourself down. You’ve got to be strong enough to know when you’re good and when you’re brilliant. Jake Bugg is kind of knowing that. It’s going to be tough because he’s a solo act, leading a band. It’s hard when it’s your name and you can’t share that weight of your own sense of who you are. You can share that in a band because it then becomes… The Bunnymen, we know, there was always a underlined, shared knowledge of what we were and it can be defined by what you don’t do. There would be times you can’t possibly do that because it wouldn’t feel right, you know sometimes you can get manipulated, but we were always the vocal bastards of that kind of scene and music. “We don’t do cowboy hats, we don’t do religion, and we don’t do arse licking, never mind arse fucking buttholing.”

MR: Well, I think that answered all of my questions. It’s been an honor talking to you.

IM: Wait, Mike, one question from me. What did you think of the album?

MR: Well, I think it might be my favorite from you guys in a long time. Hope that doesn’t hurt your feelings.

IM: It’s the best insult, you know?

MR: I think so. I’m just hesitant to commit because I need it to be part of my life a little longer.

IM: I agree. At the time, Ocean Rain was a classic but it certainly drones, and this is only fresh off the mixing desk and it already feels like a weighty album.

MR: Also, I think the depth of it reaches further than the others.

IM: Yeah, I agree.

MR: How do you feel about the influence you’re leaving? Echo & The Bunnymen has affected so many bands.

IM: It’s funny because a lot of it I wish I hadn’t influenced because there’s so much shite out there. Hopefully, I’ve influenced people to pout more when they’ve got a pair of lips. I do like the early stuff of Coldplay, the fact that Chris was open about how much we’d influenced him and his band. I think if we helped influence songs like “In My Place” or “Fix You,” then brilliant. I think we had more influence on American bands to be honest, or at least there were more American bands saying how much they loved us, like Pavement, or even the Pixies, at least when I’ve spoken to them they’ve said we were a massive influence. The Flaming Lips, a band I really like, Arcade Fire said we influenced them. I think they’re a great band, to be honest. So yeah, it’s great when you like the actual stuff you’ve influenced. With Arcade Fire I find myself thinking, “God, I wish we sounded like that.” People will say they sound like us. But yeah, I think this album will make people sit up. People like Chris Martin will envy being able to write a song like me. No one can get near that kind of stuff. The race is back on.

Transcribed By Galen Hawthorne

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A Conversation with LP

Mike Ragogna: LP, you just released your first full length album, Forever For Now. This is technically your debut album, isn’t it?

LP: Yeah, it’s my major label debut for sure. While it’s great to have an EP and all the stuff that goes with it, as well as the [Citibank] commercial with the song got that me touring a bunch, it definitely set me back making that record. And it’s hard to explain to people; people see no record as non-movement, you know? But there was a lot of movement. You feel like you’re making excuses sometimes, and you’re not, it’s just a process you have to get through. We really spent a lot of time on this record.

MR: Did you spend a lot of time on it also because you were in that mind of it being an introduction of LP, on an LP?

LP: [laughs] Somewhat, yes. You always feel like you want to make it perfect, but I think we also felt like there were different directions we could go, and we just started building it, like putting orchestras on it. It got pretty large. I guess we wanted to make it perfect, to pick the right songs and to complement my voice enough. We put a couple of them on there that were on the EP, as we always intended to. I was touring for a year for “Into the Wild,” and that set us back about a year from recording, and I started writing more songs.

MR: Did you have a goal for this album when you started out? What kind of journey did you take with it, in your opinion?

LP: I wanted the record to certainly have peaks and valleys; a landscape. I didn’t want it to be all the same song. We start really high with “Heavenly Light.” That’s an interesting choice for the opener, and I feel like that song kind of sets you up for the rest of the record, it pumps you up on a high note, then you can receive the rest. So when “Forever For Now” hits you, it’s almost like a lullaby. We go from sunrise to sunset, basically. The thing about “Into The Wild,” is that, while it was a commercial in the US, but I would say that ninety percent of the world has not heard that song. There are so many people that haven’t heard it, like in Europe, for example; that wasn’t a commercial in Europe, so people don’t know it. So I feel like if no one had heard “Into The Wild,” that that would have been the first single. And in a way it was; it was a bit of a setup for the record. That song has a lot of life left in it. I feel like “Into The Wild” and “Tokyo Sunrise” both deserve to be on an actual studio record. The EP was kind of like a teaser, and I really wanted a couple of those songs to be the studio record. Especially “Tokyo Sunrise.”

MR: You did two hundred and fifty shows a year, basically living out of a tiny van. I guess you could call those “Salad days.” What are the major differences for you now versus then?

LP: My days are slightly more structured now, which I think every artist really begs for and wants in their early years. That’s what getting more attention or being more popular gives you. It gives you more of a structure, and there are more things to do that you need to do like, for instance, this interview. Touring and shows are the life’s blood for most musicians I know. It’s the ultimate connection. You go from writing a song in a small room, to playing a song in a bigger venue to people, and that’s the journey and that’s the best part of getting yourself out there.

MR: How is your partnership with [Rob] Cavallo doing these days?

LP: It’s great. We became great friends during the making of this record. He’s a brilliant producer. He knows so much about music and about sound. He’s one of the very few producers that can do the old-school stuff and also understand Pro Tools and all that. It’s interesting to work with a master of sorts. I feel like there’s not that many of them out there, and he’s sonically brilliant.

MR: Were you tempted to re-record your hits with Rihanna and Christina Aguilera, “Cheers (Drink to That)” and “Beautiful People” for this project?

LP: No, not at all. Not even a little. They’re great, but one of the biggest things I discovered during the making of this record the last couple of years has been the difference between songs for me, and songs for other people. I can notice it in a heartbeat now. In fact, upon writing “Into The Wild,” “Someday” and “Wasted Love,” I really feel that no one but I can sing those songs. Like “Tokyo Sunrise” is one of those songs that I know is mine.

MR: When you did the first playback of that album, were there any surprises about yourself or any of the songs?

LP: I was kind of surprised where a couple of the songs took me. We went a little pop on some songs, which is probably my songwriting for other people creeping in a little bit, but that’s just part of who I am. I have a couple of different things in me insofar as how I write and what I like to hear. But when you have a record, it’s a lot of listening to the same songs, so it’s difficult to keep perspective. But if I remember correctly, when I hadn’t quite lost my perspective with this record after hearing it over and over, it packed a good wallop.

MR: Are there any songs in particular where you felt like, “Wow, I really discovered something about myself”?

LP: Yeah, “Tokyo” for sure is the apex for me in this record. I loved writing it and I loved singing it. It’s got a bit of a Fleetwood Mac vibe, which was a surprise, and was something I didn’t intend to do.

MR: Are there any songs on there which might be the closest or most personal to you?

LP: “Tokyo” and “Forever For Now” are very deep for me. I’m close with all of them, and “Into The Wild” for sure; I feel like I’ve got almost every part of my voice that I would want people to hear first. If I was trying to get people to know what I sounded like, I would play them that or “Tokyo.”

MR: Having just put out a project of twelve songs and bonus tracks, is there some kind of almost post-partum-like letdown that you feel?

LP: Absolutely. My friends can sense a kind of malaise, and I think it’s just what you go through right before a record comes out, because there’s no more talking about it. You get signed, there’s all this promise; you write songs, there’s all this promise; you record, there’s all this promise, promise, promise. And then you have this thing and it’s getting printed thousands of times on vinyl and CDs and now there’s no going back. You’re going to present this thing, and that’s it. It’s kind of like your kid going off to college, you know, you’ve done everything you can.

MR: In the same sense, parents sometime think, “Oh, maybe if I’d done this or that…” Chances are, every artist probably approaches their work and thinks, “Okay, it’s sort of finished…”

LP: Oh yeah, I feel like that. There are some things that I might change, but they’re there now, and I’m proud of this record. Records are good for showing where you were at a certain time, and I think this definitely shows that.

MR: Does it feel at all like the record is the skeleton and you’re going to “flesh it out” more with the live shows, etc.?

LP: Definitely. What’s interesting is that I haven’t really played a whole bunch of shows, especially the actual touring in clubs, which is when you really flesh out and kind of take on a new life, so to speak. That part’s exciting to think about; playing songs for people and seeing their responses makes you fall in love with the record again.

MR: What advice do you have for new artists?

LP: Write songs, and keep writing. Even if you think you wrote the best song you’ve ever written, keep writing. My record’s not even out yet, and I’ve started writing for myself again. You can’t go too long patting yourself on the back even if you wrote the greatest record ever. Radiohead didn’t just stand there and applaud themselves forever after they wrote The Bends. They kept writing and changing and I think that’s what you have to do regardless of what stage you’re at. So for new artists it’s really important to keep going and producing songs and trying them out on people. And play live, and get better at connecting with and playing for people, because people really notice it when you can perform well, and it helps a lot.

MR: Nice. You could easily slip into the role of mentor.

LP: Well, I do it naturally with my friends who are starting or trying to do stuff, so I’m sure when the opportunity arises, I do take it and will take it.

MR: So you’re not doing two hundred and fifty days a year anymore, but I imagine with the new album out, you’ll be supporting it with a tour?

LP: Definitely, that’s a major thing, and I’m very much looking forward to it. One of the things I do best as far as this whole thing goes is performing the songs. That’s the ultimate payoff for me. I feel my best when I can take it all the way there. It’s a really good feeling to write a song and then perform it, and I think a lot of performers would agree.

MR: Beautiful. What advice do you have for yourself at this point?

LP: I’d say don’t get too ahead of myself, and try to keep my expectations low and my work ethic high. That’s easy to say, but you start to get expectations, especially when good things happen and you think, “Oh, well maybe it could go this way.” I just want to enjoy what’s happening and be present and not get too ahead of myself. I hate anytime I get offstage and feel like I didn’t really “absorb” that experience. That’s my main goal, to absorb what’s happening around me as it’s happening.

MR: You’re absorbing a lot right now, aren’t you.

LP: Yeah, it’s good though. I just try to keep calm and get a little Buddhist about it, not too high or too low.

MR: You must be so stoked about this album, though.

LP: I am, and I look forward to people hearing it. It’s definitely a whole piece, which was the goal. Something you could play start to finish that all sounds good together.

MR: You’re awesome and I really appreciate your time. Hopefully the next time we talk, you’re a household name.

LP: Thanks, Mike. I really appreciate it, you’re so sweet. Talk soon!

Transcribed by Emily Fotis

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A Conversation with Harry Dean Stanton

Mike Ragogna: How fictional is Partly Fiction?

Harry Dean Stanton: It’s all fiction. It’s all a dream. Life is all a dream.

MR: How did the project begin?

HDS: It started with Sophie [Huber], we used to go out a long time ago. She was the whole thing.

MR: She directed the documentary.

HDS: Yeah.

MR: The documentary has been screened at over fifty festivals in the US and internationally. How do you think it went over?

HDS: I’ve been getting a good response from all over.

MR: You have a lot of well-known songs on here, many of them are almost classics. David Lynch is quoted as saying he loves your version of “Everybody’s Talkin’.”

HDS: Yeah, that’s a heroin song. It was written on heroin. Fred Neil and Lou [Casteou?] was an actor, they were friends, I think they were both on heroin when they got the idea. Harry Nilsson made a hit out of it, but he made a rock ‘n’ roll song, which is not a heroin song.

MR: The essence of it is in how you did it, right?

HDS: Yeah.

MR: You recorded “Blue Eyes Crying In The Rain,” which, when it’s sung by you, takes on a different kind of feel.

HDS: Yeah, that’s a good song. All the songs are well-written. That was a quote about the album, the writing of the songs let the songs sell themselves.

MR: They’re like self-reflections?

HDS: They’re all well-written.

MR: What did you relate to in each of the songs? That they were well-written or that they related to your life in some way?

HDS: “Blue Eyes Crying In The Rain” was related to Rebecca De Mornay, I used to go out with her, she loved the song.

MR: So a lot of these are very personal, with your memories relating to the music.

HDS: They’re songs I’ve heard over the years that resonated with me.

MR: You also recorded “Canción Mixteca” with Ry Cooder.

HDS: Yeah, that was on a soundtrack album, it was the theme song in Paris, Texas.

MR: Did it feel good recording it again for that project? Did it take you back?

HDS: Oh yeah, I love it, it’s a beautiful song.

MR: You do a couple of traditionals as well, for instance, “Danny Boy.”

HDS: That was actually written by an Englishman I think, but it has close Irish ties. It’s kind of the Irish national anthem. For years, I thought it was a mother singing to her son, “Danny Boy,” but it was a father who had lost two sons in two wars and this was his youngest son going into World War One. That’s what the song’s about.

MR: You have an interesting convergence of being an actor and being a musician. Do those two arts compliment each other? Like when you’re singing a song, do you think your acting abilities let you pull out the more emotionally significant lines, etc.?

HDS: Oh yeah, there’s no difference really. If you’re a good singer, you can be an actor. As a matter of fact, anybody can be a film actor. A man off the street can be a film actor if he’s got a good director.

MR: But certainly that’s not how you feel about your own career, right? You feel like you’re a good actor, no?

HDS: Oh yeah.

MR: But there are degrees of being able to interpret a script, I’m sure your musical interpretation gives you little more skill at acting.

HDS: Anybody can relate to any part that’s written, a murderer, a lover, an authority figure, it doesn’t matter, they’re all universal.

MR: The documentary has some of your friends as guests, Sam Shepard, Wim Wenders, Deborah Harry, and Kris Kristofferson. When you hear them talk about their interaction with you and what you mean to them, what do you think at this point? How does it affect you?

HDS: It’s a nice feeling. I like all of those people. What else can I say?

MR: Does it touch you on a deeper level because of the personal friendships and relationships you have with them?

HDS: Oh yeah, we’re all close friends.

MR: You’re accompanied by Jamie James and Don Was, what do you think of how the album turned out as far as musicianship?

HDS: I think it’s all good. I haven’t heard the album yet but I think I saw one cut of the film. They’re all great people, talented musicians, I’m very fortunate.

MR: Were there any roles that were particularly special to you?

HDS: Oh yeah, Paris, Texas is my favorite movie. All of them had something going on, all of them appealed to me.

MR: Sophie is very up front about her friendship with you, how you met in the nineties and have been friends ever since. She’s the one who came up with the idea to make this, but when you were recording the songs for this, did she have the idea of how this was going to turn out ultimately?

HDS: It all just developed and unfolded naturally.

MR: Were there any surprises for you in the documentary?

HDS: I can’t remember anything at the moment.

MR: That’s okay. Are there any songs on Partly Fiction that really, really resonate with you?

HDS: They all do. “Danny Boy,” “Canción Mixteca,” all of them do.

MR: What advice do you have for new artists?

HDS: Don’t try. Let it happen.

MR: And that’s how it happened with you?

HDS: Yeah, just let it happen. Everything unfolds, I had nothing to do with it.

MR: How did you get into music initially?

HDS: I don’t know, I was just born with a good ear. I was singing when I was six years old. When nobody was home, I would get up on a stool and sing. I was in love with an eighteen year-old house sitter. Her name was Thelma. I’d get up and sing. Who wrote that song? Early country western writers, “The Singing Brakeman” they called him. It was the first song I ever remember, “T For Texas.”

MR: Jimmie Rodgers, and he was an inspiration for you as a kid?

HDS: Yes, that was the first song I remember.

MR: Were you encouraged by your family to do more music?

HDS: My mother sang, she taught me some Irish songs. My mother was Irish. I sang with my brothers, we had a barbershop quartet. The three of us, and I forget who the fourth one was. In high school and college I always sang in glee clubs and barbershop quartets.

MR: Do you remember any of the songs?

HDS: Let’s see, there was a famous organization called Yhe Barbershop Singers of America, “Those good old songs for me, I love to hear those minor chords and four-part harmony.”

MR: What advice do you have for actors?

HDS: Play yourself. That’s what I do.

MR: Similar advice to the musicians.

HDS: Yeah.

MR: You’ve taken roles you’ve wanted to play and related to the parts, right?

HDS: I’ve made some good choices.

MR: What are some choices coming up after Partly Fiction is a hit?

HDS: I haven’t a clue.

MR: What do you want to do?

HDS: I can’t answer that, I have to wait and see what I do. The best approach was Jack Nicholson, I did Ride In The Whirlwind with him, you know that film? He called me and said, “I’ve got a part for you, but I don’t want you to do anything. Let the wardrobe do the character.” I’d been thinking along those lines anyway, so that solidified my whole approach to acting. I played myself and let the wardrobe do the character.

MR: And that’s exactly what you said toward the beginning of this interview, you just let things unfold.

HDS: Yeah, it’s a whole eastern approach. Taoism, Buddhism, and the real Jewish Kabbalah, not the organized one. Most Jews don’t get it and most Christians don’t get it either. The real Kabbalah is the same as Buddhim and Taoism.

MR: Are you pretty spiritual?

HDS: Spiritual, yeah, but I don’t believe in any religions. Not even the eastern ones. Once they’re organized, it’s all over.

MR: Do you think spirituality is at the bottom of your art? Do you think it’s what your creative juices come from?

HDS: Again, there’s no real answer to that. Everything unfolds naturally. Ultimately there’s no answer to the whole existence on the planet, really, there’s no answer to it. Nobody’s in charge. It all just happens.

Transcribed By Galen Hawthorne
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