“A Dog’s Way Home” star Bryce Dallas Howard takes the WIRED Autocomplete Interview and answers the internet’s most searched questions about herself. Can Bryce Dallas Howard cry on command? Who is her husband? Why is Bryce Dallas Howard named Dallas? Bryce answers all these questions and more!! WIRED Videos
There's a showdown at Rio Bravo when courageous Sheriff John T. Chance throws the brother of evil cattle baron Nathan Burdette in jail for murder. When Burdette's men lay siege to his jailhouse, Chance holds on until the arrival of a U.S. Marshal with the help of his drunken deputy, Dude, cranky old man Stumpy, and the beautiful long-legged Feathers.
When an unannounced, uninvited and unwelcome family of fun-loving misfits converge upon a lakeside resort to join their relatives for a summer of relaxation, the result is anything but restful in this raucous comedy starring Dan Aykroyd and John Candy. It's a vacationer's worst nightmare, as wheeler-dealer Aykroyd, his sexually repressed wife and eerie twin daughters "join" the easygoing Candy and his straight-laced clan for a season of "fun" in the sun. Unfortunately, the only thing these two in-laws have in common is their intense dislike for each other. Soon, it's brother-in-law against brother-in-law in an uproarious and hilarious fight to the finish to see which one really knows how to enjoy The Great Outdoors.
From Academy Award®-winning director, Ron Howard, comes the electrifying, untold story behind one of the most unforgettable moments in history. When disgraced President Richard Nixon agreed to an interview with jet-setting television personality, David Frost, he thought he'd found the key to saving his tarnished legacy. But, with a name to make and a reputation to overcome, Frost became one of Nixon's most formidable adversaries and engaged the leader in a charged battle of wits that changed the face of politics forever. Featuring brilliant portrayals by Frank Langella and Michael Sheen, Frost/Nixon is the fascinating and suspenseful story of truth, accountability, secrets and lies.
Academy Award® winners Russell Crowe and Renee Zellweger star in this triumphant, powerfully inspiring true story. In a time when America needed a champion, an unlikely hero would arise, proving how hard a man would fight to win a second chance for his family and himself. Suddenly thrust into the national spotlight, boxer Jim Braddock would defy the odds against him and stun the world with one of the greatest comebacks in history. Driven by love for his family, he willed an impossible dream to come true.
Board the Millennium Falcon and journey to a galaxy far, far away in Solo: A Star Wars Story, an epic action adventure with the most beloved scoundrel in the galaxy. Through a series of daring escapades deep within a dark and dangerous criminal underworld, Han Solo befriends his mighty future copilot Chewbacca and meets the notorious gambler Lando Calrissian, in a journey that will set the course of one of the Star Wars saga’s most unlikely heroes.
Michael Keaton stars as a wheeler-dealer who hopes to save a failing Pennsylvania automobile-assembly factory from having to close its doors. Keaton persuades a Japanese auto firm to reopen the factory, retrain its staff, and streamline the operation. It isn't long before the American-born workers grow to resent the disciplinary demands of their new Japanese bosses, setting the stage for a comic clash of cultures. The day is saved when it turns out that the poker-faced owner of the auto company possesses a really strange sense of humor. Gung Ho was later spun off into a short-lived TV sitcom, starring Scott Bakula of Quantum Leap fame.
London's East End heaves with child prostitutes, hawkers, beggars and thieves. A solution is offered that sounds perfect – Canadian farmers need workers, their wives want housemaids. Shipping children to this land of plenty offers them a future. Widow, Mary Trupper, is wary, but the promise of a good life for her children is strong.
George Lucas presents Howard the Duck – the comedy adventure about a fast-talking, cigar-chomping, beer-loving duck from a parallel universe who somehow winds up in Cleveland! The incredible fantasy has Howard the object of everybody's desire, in love with a rock singer (Lea Thompson), and doing battle with the evil Dark Overlord as he attempts to return to his own planet. One of the most talked-about movies of all time, the wacky, elaborately produced spoof of life, love, comic books and horror movies is a hidden treasure the whole family can enjoy.
Between 1900 and 1920, like Howard Zinn's parents, more than 14 million immigrants arrived in the United States. They came fleeing poverty or war, racism or religious persecution. They dreamed of a promised land, of wealth, or simply of a better life. The New World opened its arms wide to the poor and huddled masses of the Old: its unwanted, its fugitives, and even a few utopians… After all, the rapidly expanding industries of the time required cheap labor, and immigrant workers – men, women and children – were easy to exploit. But the same period also saw the birth of organized labor, with its strikes and conflicts, and the appearance of great figures like Emma Goldman, Mother Jones, Eugene Debs and the Wobblies.
[[tmz:video id=”0_frx80wjz”]] Chandler Parsons says there’s no doubt in his mind Dwight Howard’s a Hall of Famer — telling TMZ Sports, “He was the best center in the NBA for like 10 years!” It’s been a huge debate in the NBA community … and fuel…
[[tmz:video id=”0_0ir8tv8y”]] Dwight Howard being traded around the NBA isn’t because he’s a crappy teammate … so says ex-teammate Steve Nash, who tells TMZ Sports Howard’s city jumping is just the way the league is now. Dwight is on his way to…
Disney presents a heartwarming comedy-adventure set in the modern mammal metropolis of Zootopia. With habitat neighborhoods like ritzy Sahara Square and frigid Tundratown, it’s a melting pot where animals from every environment live together—a place where no matter what you are, from the biggest elephant to the smallest shrew, you can be anything. But when optimistic Officer Judy Hopps arrives, she discovers that being the first bunny on a police force of big, tough animals isn’t so easy. Determined to prove herself, she jumps at the opportunity to crack a case, even if it means partnering with fast-talking scam-artist fox Nick Wilde to solve the mystery.
Academy Award-nominee Bill Murray ("The Life Aquatic with Steve Zissou," "Lost in Translation") makes his directorial debut and stars in the hilarious story about a New York City planner who turns into a master criminal. Frustrated with corrupt city life, he and his accomplices — girlfriend (Academy Award and Golden Globe-winner Geena Davis — TV's "Commander in Chief," "Thelma & Louise") and dim-witted friend (Academy Award and Emmy-nominee and Golden Globe-winner Randy Quaid — "Brokeback Mountain," "Home on the Range") — stage the "perfect" bank robbery and then head for the airport to make their escape only to discover that it's easier to rob a bank than to get out of the city. Co-starring Academy Award and Emmy-winner and Golden Globe-nominee Jason Robards ("Magnolia," "Enemy of the State"), Emmy-winner Phil Hartman ("Saturday Night Live," "Jingle All the Way") and Emmy and Golden Globe-winner Tony Shalhoub (TV's "Monk," "Spy Kids 3D: Game Over").
Dan Brown's international bestseller comes alive in the film The Da Vinci Code, directed by Ron Howard with a screenplay by Akiva Goldsman. Join symbologist Robert Langdon (Academy Award winner Tom Hanks, 1993 Best Actor, Philadelphia, and 1994 Best Actor, Forrest Gump) and cryptologist Sophie Neveu (Audrey Tautou) in their heart-racing quest to solve a bizarre murder mystery that will take them from France to England – and behind the veil of a mysterious ancient society, where they discover a secret protected since the time of Christ. With first-rate performances by Sir Ian McKellen, Alfred Molina and Jean Reno, critics are calling The Da Vinci Code "involving"* and "intriguing,"* "a first rate thriller."**
Vince Vaughn and Kevin James headline an all-star comedy from director Ron Howard. Ronny’s (Vaughn) world is turned upside down when he inadvertently sees something he should not have, and makes it his mission to get answers. As the amateur investigation dissolves his world into comic mayhem, he learns that his best friend Nick (James) has a few secrets of his own. Now, Ronny must decide what will happen if he reveals the truth. Also starring Jennifer Connelly, Winona Ryder, Channing Tatum and Queen Latifah.
Two-time Academy Award® winner Ron Howard delivers the exhilarating true story of a legendary rivalry that rocked the world. During the sexy and glamorous golden age of Formula 1 racing, two drivers emerged as the best: gifted English playboy James Hunt (Chris Hemsworth, The Avengers) and his methodical, brilliant Austrian opponent, Niki Lauda (Daniel Brühl, Inglourious Basterds). As they mercilessly clash on and off the Grand Prix racetrack, the two drivers push themselves to the breaking point of physical and psychological endurance, where there’s no shortcut to victory and no margin for error. Co-starring Olivia Wilde (TRON: Legacy), it’s the heart-racing, epic, action-drama that critics are calling “one of the best movies of this, or any, year” (Pete Hammond, Movieline).
Superstar Keanu Reeves (the "Matrix" trilogy, "Sweet November") stars in this fact-based comedy about the 1987 National Football League players' strike. A motley group of replacement players for the Washington Sentinels overcome all odds and put together a string of seemingly impossible victories. Co-starring two-time Oscar-winner Gene Hackman ("Heist," "Unforgiven"), Orlando Jones ("The Time Machine," "Chain of Fools") and Jon Favreau ("Made," "Swingers"). With NFL announcers John Madden and Pat Summerall.
Michael Keaton, Glenn Close, Marisa Tomei, Randy Quaid and Robert Duvall headline a star-studded cast in this stop-the-presses comedy about the fast-paced, cutthroat, often hilarious world of newspaper journalism. Directed by Ron Howard, this smash hit has been hailed by US Magazine as "One of the most entertaining movies to come out of Hollywood in years."
In this adaption of the story by Charles Dickens, the playwright has used his skills as a playwright, as well researching both the time period and the life of Dickens, to bring an understanding of who Scrooge was, why he was the way he was, and what Dickens was trying to share in this story. For example, the phrase ‘humbug’, often used by Scrooge, in our modern language would be close to the word ‘scam’. It appears likely that Dickens, through the eyes of Scrooge, was expressing, as many do today, that Christmas is too commercialized. Through this adaption, hopefully the audience will find themselves understanding the world of Dickens more, as well as his religious feelings about what Christmas is really all about.
Discover the magic of the Mean One this holiday season! Oscar-winning director Ron Howard and Oscar®-winning producer Brian Grazer bring Christmas' best-loved grump to life with the help of the irrepressible Jim Carrey as The Grinch. The Grinch is a celebration of the holiday spirit no home should be without! Why is The Grinch (Carrey) such a grouch? No one seems to know, until little Cindy Lou Who (Taylor Momsen) takes matters into her own hands and turns both Whoville and The Grinch's world upside down, inside out…and funny side up in her search for the true meaning of Christmas.
Tom Cruise and Nicole Kidman star in this critically-acclaimed romantic adventure from director Ron Howard. This breathtaking epic opens on the west coast of Ireland, 1892. Joseph Donelly (Cruise), a poor tenant farmer, is determined to bring justice to an oppressive landlord. Instead, he finds himself accompanying the landlord's daughter, Shannon (Kidman), to America in a quest for land. Arriving in Boston, Joseph finds a place for them to live while proving a natural at bare-fisted boxing. But his triumph is short-lived as he and Shannon are thrown out into the bitter cold. Joseph sets off for work on the railroad, until a passing wagon train reminds him of his original goal to possess his own land. Preparing to stake his claim in the new territory, he runs into Shannon who is unhappily reunited with her former fiance. In the excitement of the Oklahoma land rush, they realize their dreams of land and life together in this satisfying grand-scale adventure that WNCN Radio calls "Ron Howard's best film – a wondrous epic!"
In the winter of 1820, the New England whaling ship Essex was assaulted by something no one could believe: a whale of mammoth size and will, and an almost human sense of vengeance. The real-life maritime disaster would inspire Herman Melville's Moby-Dick. But that told only half the story. "In the Heart of the Sea" reveals the encounter's harrowing aftermath, as the ship's surviving crew is pushed to their limits and forced to do the unthinkable to stay alive. Braving storms, starvation, panic and despair, the men will call into question their deepest beliefs, from the value of their lives to the morality of their trade, as their captain searches for direction on the open sea and his first mate still seeks to bring the great whale down.
Chapter 2 of Graphic Novel Version of Chris Howard's Saltwater Witch An army of the drowned dead, family betrayal, an exiled witch who doesn't know she has power–or that enemies are lurking all around her, spying on her. Follow Kassandra as she discovers who and what she is in this moving underwater fantasy.  Kassandra comes from the sea, but she has no memory of saltwater, seagulls, or an incoming tide. She's never seen an ocean, never heard the thunder of surf. She's an exile, betrayed by her own family, sent as far from the sea as they could arrange–somewhere in the middle of Nebraska. Everything changes the day she drowns in Red Bear Lake, and discovers she can't really drown. Not in the way everyone else can. Then a two-thousand year old king wakes inside her head and turns out to be a prodigy with mathematics. Kassandra cries for the first time in her life, and learns that her tears are doorways for calling things from the sea. With clues from summoned sea-demons and the voices in her head, Kassandra sets out to find out what the hell is going on…and discovers she's a prisoner, trapped between a murderous grandfather who controls an army of the drowned dead, river witches who spy on her through the plumbing, and Ms. Matrothy, the Girl's Department Director, who's been trying to kill her since she was four.
One of the most influential movies of all time, the original Scarface is an exciting story of organized crime's brutal control over Chicago during the Prohibition era. Academy Award winner Paul Muni gives an electrifying performance as Tony Camonte, an ambitious criminal with a ruthless drive to be the city's top crime boss. Produced by the legendary Howard Hughes and directed by Howard Hawks, this compelling tale of ambition, betrayal and revenge is a groundbreaking masterpiece that influenced all gangster films to follow. Filmed during the "pre-code" era before censorship shaped the way movies were made, "this powerful gangster film is the most potent of the 1930s" (Leonard Maltin's Classic Movie Guide).
Chapter 1 of Graphic Novel Version of Chris Howard's Saltwater Witch An army of the drowned dead, family betrayal, an exiled witch who doesn't know she has power–or that enemies are lurking all around her, spying on her. Follow Kassandra as she discovers who and what she is in this moving underwater fantasy.  Kassandra comes from the sea, but she has no memory of saltwater, seagulls, or an incoming tide. She's never seen an ocean, never heard the thunder of surf. She's an exile, betrayed by her own family, sent as far from the sea as they could arrange–somewhere in the middle of Nebraska. Everything changes the day she drowns in Red Bear Lake, and discovers she can't really drown. Not in the way everyone else can. Then a two-thousand year old king wakes inside her head and turns out to be a prodigy with mathematics. Kassandra cries for the first time in her life, and learns that her tears are doorways for calling things from the sea. With clues from summoned sea-demons and the voices in her head, Kassandra sets out to find out what the hell is going on…and discovers she's a prisoner, trapped between a murderous grandfather who controls an army of the drowned dead, river witches who spy on her through the plumbing, and Ms. Matrothy, the Girl's Department Director, who's been trying to kill her since she was four.
At the Fox portion of the Television Critics Association summer tour, “Empire” star Terrence Howard talks with Access Hollywood about the upcoming season, which sees Lucious suffering memory loss and a brain injury following the car explosion in the Season 3 finale. Plus, he talks about working with Forest Whitaker, who is joining the show for a guest arc, and Demi Moore, who joined the show at the end of last season.
In 1962 four young men – John Lennon, Paul McCartney, George Harrison and Ringo Starr – came together to form the 20th century musical phenomenon known as 'The Beatles'. The band stormed Europe in 1963 and, in 1964, they conquered America. Their groundbreaking world tours changed global youth culture forever and, arguably, invented mass entertainment as we know it today. All the while, the group were composing and recording a series of extraordinarily successful singles and albums. However, the relentless pressure of such unprecedented fame (which in 1966 became uncontrollable turmoil) led to the decision to stop touring. In the ensuing years The Beatles were then free to focus on a series of albums that changed the face of recorded music. Master storyteller and Oscar winner, Ron Howard, explores this incredible journey in his own unique way: How did The Beatles do this? How did they cope with all the fame and pressure? How did they not only survive, but go on to revolutionise popular music? With original interviews, footage, staggering live performances, and the intimate study of character that Ron Howard is known for, he puts us right inside this extraordinary adventure, answering the question everyone always wants to know: What was it like to be there?
Lee Daniels and Terrence Howard say there’s no way they ripped off the idea for “Empire,” because the guy suing for a billion dollars couldn’t hack it in the music biz. Daniels and Howard are responding to the lawsuit filed by Ron Newt — as TMZ…
Identity is a science fiction psychological thriller, set in a future where years of progress have come at a cost. Decades of wars and struggle forced the need for a unique solution. Desperate, a system of governance was formed based on genetic predisposition. Leaders centered their rule of law and obedience on a strict quasi-religious interpretation of scientific principles. The strife ends, technology advances at a staggering rate and the human race flourishes. Or does it? After years of dividing society along genetic lines, those born into privilege take what they have for granted. However, the lines of separation are not as clear as they wish them to be. One violent act exposes the fragility and dangers of dictated perceptions.
Ron Howard directs an all-star cast in this exciting action-thriller that shows you the mystery, drama and devastation of fire as you've never seen it before! Kurt Russell and William Baldwin star as two feuding siblings carrying on a heroic family tradition as Chicago firefighters. But when a puzzling series of arson attacks is reported, they are forced to set aside their differences to solve the mystery surrounding these explosive crimes. Scott Glenn, Jennifer Jason Leigh, Rebecca DeMornay, Donald Sutherland and Robert DeNiro also star in this acclaimed suspense story filled with some of the most awe-inspiring fire sequences ever filmed.
Terrence Howard scored a huge victory over his ex, Michelle Ghent — a judge just tossed the spousal support agreement that Terrence says he signed under duress. Howard and Ghent have been fighting over his spousal support payments. She is angling…
Stranded 205,000 miles from Earth in a crippled spacecraft, astronauts Jim Lovell (Hanks), Fred Haise (Paxton) and Jack Swigert (Bacon) fight a desperate battle to survive. Meanwhile, at Mission Control, astronaut Ken Mattingly (Sinise), flight director Gene Kranz (Harris) and a heroic ground crew race against time – and the odds – to bring them home.
Terrence Howard can’t talk about Friday’s testimony — that his make-out scene with Jennifer Hudson triggered an insane reaction from then-wife Michelle Ghent — but he was quick to tell us how Lucious Lyon would handle the…
Terrence Howard broke down on the stand today when he testified he signed a settlement agreement with his wife because she threatened to release medical information that would make it impossible for him to ever work in Hollywood again. Howard was…
ENGAGE is centred around Jones' live show, first performed in November 2013 at London's Shepherds Bush Empire, to celebrate the 30th Anniversary of his career. The groundbreaking concept, which includes a vast array of influences that have shaped his work, incorporates the audience's participation through audio-visual elements and the use of apps. It's a celebration of arts seen through Howard's eyes, using all the expressions he loves the most: music, ballet, contemporary dance, cinema and philosophy.
When Robert Langdon discovers evidence of the resurgence of an ancient secret brotherhood known as the Illuminati – the most powerful underground organization in history – he also faces a deadly threat to the existence of the secret organization's most despised enemy: the Catholic Church. When Langdon learns that the clock is ticking on an unstoppable Illuminati time bomb, he jets to Rome, where he joins forces with Vittoria Vetra, a beautiful and enigmatic Italian scientist. Embarking on a nonstop, action-packed hunt through sealed crypts, dangerous catacombs, deserted cathedrals, and even to the heart of the most secretive vault on earth, Langdon and Vetra will follow a 400-year-old trail of ancient symbols that mark the Vatican's only hope for survival.
Dan Brown's international bestseller comes alive in the film The Da Vinci Code, directed by Ron Howard with a screenplay by Akiva Goldsman. Join symbologist Robert Langdon (Academy Award® winner Tom Hanks, 1993 Best Actor, Philadelphia, and 1994 Best Actor, Forrest Gump) and cryptologist Sophie Neveu (Audrey Tautou) in their heart-racing quest to solve a bizarre murder mystery that will take them from France to England – and behind the veil of a mysterious ancient society, where they discover a secret protected since the time of Christ.
Academy Award(R) winner Tom Hanks stars as Allen Bauer, a workaholic who's convinced he can't fall in love. That is, until he's mysteriously rescued at sea by the mermaid of his dreams! Soon Allen and Madison (Daryl Hannah) are swept away by hilarious and heartwarming romance. Academy Award(R) winner Ron Howard directs a star-studded cast, including Eugene Levy, and hilarious John Candy in a magical tale.
The man needs no introduction. Truly the reigning king of blues, over the last 60 years B.B. King has developed one of the world's most identifiable guitar styles and has influenced thousands of musicians. Known for integrating precise and complex string bends with left hand vibrato, King has a uniquely regal and velvety tone making every note count. With trademark Gibson “Lucille” settled on his lap, B.B. King presents a concert filled with staggering guitar jams on hits like “The Thrill Is Gone” and “Downhearted.” In between songs, King’s characteristic affable persona shines through as he introduces the band he’s always toured with and shares stories from his life. Throughout the show special guests Terrence Howard, Solange, and guitarist Richie Sambora stop by to jam and pay tribute to this renowned blues master. Don’t miss legend B.B. King performing in his element in this amazing concert! Song List: Everyday I Have the Blues, See That My Grave Is Kept Clean , How Many More Years, Downhearted, I Need You So, I Got Some Help I Don’t Need, Thrill is Gone, Nobody Loves Me But My Mother, Let the Good Times Roll, Thrill is Gone, When The Saints Go Marching In, Key to the Highway
From Walt Disney Pictures comes an animated comedy adventure featuring a super-dog named BOLT (voice of John Travolta), whose days are filled with danger and intrigue -at least until the cameras stop rolling. When the star of a hit TV show is accidentally shipped from his Hollywood soundstage to New York City, he begins his biggest adventure yet – a cross-country journey through the real world to get back to his owner and co-star, Penny (voice of Miley Cyrus. Armed only with the delusions that all his amazing feats and powers are real, and the help of two unlikely traveling companions – a jaded, abandoned housecat named Mittens (voice of Susie Essman) and a TV-obsessed hamster named Rhino (voice of Mark Walton) – Bolt discovers he doesn't need superpowers to be a hero.
In 1975 and 1976 Paul McCartney and Wings undertook the epic Wings over the World tour, the largest scale tour they would ever undertake as a band. From this tour came both the legendary "Wings over America" triple live album and the concert film "Rockshow". Although filmed on this tour at the enormous Kingdome in Seattle, "Rockshow", originally a cut down version of the concert, was not premiered until November 1980 in New York and April 1981 in London. It was released on Betamax and later on laserdisc. Now for the first time the complete full length concert is being made available fully restored from the original 35mm film and with restored & remastered sound, including a 5.1 mix for the first time. This is Paul McCartney and Wings live on stage in a concert that is destined to live forever!
Terrence Howard claims his ex-wife tampered with a witness in an effort to cover up her alleged extortion plot to squeeze the actor for a fortune. Terrence’s attorney, Brian Kramer, filed legal docs — obtained by TMZ — in which Terrence claims Michelle…
80s teen sensations Molly Ringwald (Sixteen Candles, The Breakfast Club ) and Andrew McCarthy (St. Elmo's Fire ) drew raves for their starring performances in this hit love story by John Hughes (Ferris Bueller's Day Off ). She's a high school girl from the wrong side of town. He's the wealthy heartthrob who asks her to the prom. But as fast as their romance builds, it's threatened by the painful reality of peer pressure. A bittersweet story with an upbeat ending and a phenomenal rock score, Pretty In Pink also stars Harry Dean Stanton, Jon Cryer, James Spader and Annie Potts.
This special FCBD release offers one of the most beloved Dredd stories of all time: the introduction of Judge Death, with all-new color! Plus: bonus "Walter the Wobot" strips appearing in color for the very first time, all beautifully illustrated by the brilliant Brian Bolland!
Being raised on Dr. Dre’s The Chronic, having an uncle who locally presided over the N.W.A’s reign in rap and being a recording artist has natually groomed Camryn Howard to be a part of history before he even knew it was being made. The thriving multi-talent is seeing his blessings manifested as he’s set to star in not one but two summer blockbusters this year in Ted 2 and Straight Outta Compton.
In the latter flick, he was chosen to play DJ Speed, the world’s most dangerous group’s unheralded touring DJ. While speaking exclusively to Hip-Hop Wired, reveals how being in the midst of gangsta greatness helped his own music career as the R&B singer Cam30 flourish and why Straight Outta Compton will be the one to beat this year.
“They had been auditioning for like a year beforehand and the casting director just called me in,” Howard says, remembering his first time on the set. “They ended up picking me because I had other stuff on my resume and tested me out at the climax of the movie. [F. Gary Gray] just sticks me on the bus with the four other cast members and says, ‘Just be natural,” Howard recalls with a laugh. “It was really crazy because [Dr.] Dre was just walking around the set and it was a really a shock. There was a whole bunch people I knew who auditioned for the role and they ended up calling me and keeping me for the rest of the movie.”
Ice Cube & Co. cast an obviously talented new crop of actors for the roles (including his own son) and with the feeling of experience being a common link, Howard says creating a bond on the set was relatively easy.
“Everybody was like family. We developed a brotherhood and friendship and when see each other, we call each other by our character’s names,” he admits. As for playing DJ Speed, audiences should expect to get a true-to-life portrayal of a group member often rubbed out of the group’s history.
“Speed, he was like Eazy-E’s best friend so it was cool to see how he was able to go on tour with the group. There are some pretty dramatic scenes in the movie; I can’t lie. I don’t want to spoil anything but you’ll definitely get your money’s worth,” he reveals.
Switching gears to the music front, Howard is equally excited about his role in Straight Outta Compton as he is his music career. He accredits his mother’s background as a gospel singer to his decision to go the R&B route instead of rapping.
“I’m just a creative person so I feel like when you’re singing, there’s some places you can take it and evoke emotion that you can’t when you’re rapping,” the now-talking Cam30 says. “But I’m still about the lyrical content and relating to the urban culture.”
There’s nothing like having the universe working in your favor in all aspects. While the Straight Outta Compton biopic is dropping on August 14, Cam30’s debut single, “Quarantine” is out now. Watch the video below.
Chapter 2 of Graphic Novel Version of Chris Howard's Saltwater Witch An army of the drowned dead, family betrayal, an exiled witch who doesn't know she has power–or that enemies are lurking all around her, spying on her. Follow Kassandra as she discovers who and what she is in this moving underwater fantasy. Kassandra comes from the sea, but she has no memory of saltwater, seagulls, or an incoming tide. She's never seen an ocean, never heard the thunder of surf. She's an exile, betrayed by her own family, sent as far from the sea as they could arrange–somewhere in the middle of Nebraska. Everything changes the day she drowns in Red Bear Lake, and discovers she can't really drown. Not in the way everyone else can. Then a two-thousand year old king wakes inside her head and turns out to be a prodigy with mathematics. Kassandra cries for the first time in her life, and learns that her tears are doorways for calling things from the sea. With clues from summoned sea-demons and the voices in her head, Kassandra sets out to find out what the hell is going on…and discovers she's a prisoner, trapped between a murderous grandfather who controls an army of the drowned dead, river witches who spy on her through the plumbing, and Ms. Matrothy, the Girl's Department Director, who's been trying to kill her since she was four.
The heroes of tomorrow! They are the best of the best, the cream of the crop! But they’re facing the worst of the worst and might not make it out of the year 3001. Find out what happens in this ALL-NEW FREE 8-page preview by Keith Giffen (The New 52: Futures End) and don’t miss JUSTICE LEAGUE 3001 #1!
A classic Looney rivalry hits prime time as Elmer hosts a TV fix-it show and Bugs throws a monkey wrench into the mix! Plus, Daffy and Porky become superspies, and Sylvester is forced to guard Tweety with his life!
Winner of 4 Academy Awards®, including Best Picture, A Beautiful Mind is directed by Academy Award®-winner Ron Howard and produced by long-time partner and collaborator, Academy Award®-winner Brian Grazer. A Beautiful Mind stars Russell Crowe in an astonishing performance as brilliant mathematician, John Nash, on the brink of international acclaim when he becomes entangled in a mysterious conspiracy. Now only his devoted wife (Academy Award®-winner Jennifer Connelly) can help him in this powerful story of courage, passion and triumph.
Chapter 1 of Graphic Novel Version of Chris Howard's Saltwater Witch An army of the drowned dead, family betrayal, an exiled witch who doesn't know she has power–or that enemies are lurking all around her, spying on her. Follow Kassandra as she discovers who and what she is in this moving underwater fantasy. Kassandra comes from the sea, but she has no memory of saltwater, seagulls, or an incoming tide. She's never seen an ocean, never heard the thunder of surf. She's an exile, betrayed by her own family, sent as far from the sea as they could arrange–somewhere in the middle of Nebraska. Everything changes the day she drowns in Red Bear Lake, and discovers she can't really drown. Not in the way everyone else can. Then a two-thousand year old king wakes inside her head and turns out to be a prodigy with mathematics. Kassandra cries for the first time in her life, and learns that her tears are doorways for calling things from the sea. With clues from summoned sea-demons and the voices in her head, Kassandra sets out to find out what the hell is going on…and discovers she's a prisoner, trapped between a murderous grandfather who controls an army of the drowned dead, river witches who spy on her through the plumbing, and Ms. Matrothy, the Girl's Department Director, who's been trying to kill her since she was four.
Fourteen urban fantasy & paranormal novels featuring Thor, Loki, Greek gods, Native American spirits, vampires, werewolves, & more. Elsker by S. T. Bende Kristia Tostenson just found out her new boyfriend is the Norse God of Winter, and an immortal assassin destined to die at Ragnarok. Her orderly life just got very messy. I Bring the Fire by C. Gockel Amy Lewis is being pursued by a very bad wolf. Can Loki God of Chaos and Mischief save her, or even save himself? Sympathy for the Devil by Christine Pope When the Devil tires of ruling Hell, his only hope for salvation is to capture the heart of one ordinary young woman. Dead Radiance by T. G. Ayer Bryn Halbrook, modern teenager, creature of myth. Dead Radiance makes Norse Myth a contemporary truth, pitting one teenager girl against Trickster gods, and mythical creatures. The Gatekeeper’s Sons by Eva Pohler A teen becomes entangled with the Gods of Olympus when one of them falls in love with her. Some give her gifts, others seek to destroy her … Nolander by Becca Mills A young woman from small-town Wisconsin discovers that monsters are real — and that she might just be one herself. Crossroads Saga by Mary Ting Protecting Claudia from the fallen was half-angel Michael’s his duty. Falling in love was never part of the plan. Twin Souls by DelSheree Gladden Uriah and Claire didn’t believe in their tribal stories until Claire’s poisoned and those myths spring to life to test their love and unravel destiny. Blood Debt by Nancy Straight A mythological romance: Camille is denied her father's identity until her mother's death. She discovers a family she never dreamed of and a world that should not exist. The Forgotten Ones by Laura Howard Can the magical Tuatha de Danaan, the forgotten people of Ireland, help Allison restore her mother's sanity? Marked (Soul Guardians Book # 1) Kim Richardson A sixteen-year-old girl suddenly dies and finds herself in Horizon as a rookie in the Guardian Angel Legion. Relentless by Karen Lynch Sara Grey lives a double life until a fateful encounter with a sadistic vampire and a fearless warrior exposes her powerful gifts and changes the course of her life forever. Hope(less) by Melissa Haag The world is on the verge of a Judgement that will change everything, and Gabby, a uniquely gifted human, is the first key. Runes by Ednah Walters My new neighbor, Torin St. James, is the key to my father's disappearance, my mother's past and the secret they've been keeping from me–my destiny. Each a first in its series or a standalone novel. Each filled with magic.
Muse have discussed a mural of the band in their south Devon hometown, saying they are surprised that no one has defaced it yet. The image, thought to have been drawn by street artist Mos in Teignmouth town center, shows silhouettes of the band laughing. RTT – Music Webcam Performers Wanted – Earn $ 100,000 per year!
Howard Stern made his final appearance on the “The Late Show With David Letterman” on Monday night and the two bickered like old spouses over everything from Letterman’s retirement plans to a cancelled dinner that rubbed the radio talk show host the wrong way.
Terrence Howard is preparing to do battle with ex-wife Michelle … trying to put a quick end to her spousal support because she allegedly blackmailed him with pics and videos he feared would ruin his career. Sources familiar with the case tell TMZ ……
If “Empire” really did rip off one of its characters from real-life NBA star Iman Shumpert — you can’t blame Terrence Howard … ’cause Terrence says he’s honestly never even heard of the guy. As we previously reported, Iman suggested that…
The world turned upside down on Wednesday with Madonna's first-ever appearance on "The Howard Stern Show," and while it wasn't the "gay Super Bowl," as Bravo host Andy Cohen termed it (maybe a tad hyperbolic there), it was pretty surreal to hear the Queen on Pop in conversation with the King of All Media after so many years (decades, really) of seemingly mutual distaste. So how did it go? I'm a little mixed, to be honest. … News, reviews, interviews and more for top artists and albums – MSN Music
ADULT ENTERTAINMENT NEWS UPDATE:Gabby Love’s top pick! Click and enjoy!
Mike Ragogna: Tom, you’ve got a new album Redemption Road. What’s your creative process like these days?
TP: I think I do what I’ve always done. I’m kind of plugged in, kind of receptive, kind of on the lookout for something that needs to be a song, something that can become a song. It can be anything from a trivial whim or a serious theme that I think that I owe to myself to try to write. Or it could be just a sure pleasure of making something up. For example, one of my very favorite songs on the album is “Suzy Most Of All.” You can’t get much more lightweight than that, but I don’t think I’ve ever enjoyed writing a song as much as I enjoyed writing that one. I just let myself be free to write what I call “Jump rope rhymes,” which don’t have to make any sense at all. Another model for that song was “Green Green Rocky Road” that Len Chandler and Bob Kaufman wrote so many years ago, that Dave Van Ronk sang so beautifully, you know the one I mean. It’s in Inside Llewyn Davis. That song has some of the most sublimely ridiculous verses. “I go by Baltimore, need no carpet on my floor,” I mean, come on! But it’s perfect. So I availed myself of that freedom to write something like “English muffin/Texas toast,” basically ’cause why not?
MR: That “why not” part is so important. People so often look at singer-songwriter lyrics and say, “Hope these words are better than your last!” It seems like a big responsibility for a singer-songwriter always to be “profound.”
TP: I retired from the avatar business a long time ago. People are responsible for their own damn lives. I don’t have any great advice for them on how to live their lives. All I’m doing is writing songs. I’m not even writing songs for the market, not that there’s anything wrong with doing that. I have good friends who write for the market and that’s perfectly okay, but I don’t have that knack. Every song of mine that has ever been a hit is a song that I basically wrote for myself to sing and somebody else heard it and recorded it very successfully. That’s as close as I’ve come to being a market writer. I’m really more like an amateur who gets lucky now and then.
MR: But don’t forget those people that are camping on your doorstep until you make that next album.
TP: Well, when I have enough good stuff, that’s when there will be another good album. I’m writing a little better right now, so I think maybe it won’t be as long between albums. I don’t know what’s going to happen, because I’m going to stop touring in November. I don’t know what will happen then about the urge to write. At least one of the major impulses or reasons to write is the fear of being seen to have become totally out of touch. I have a need to have some quality new material when I’m out there in concert. When I’m not touring anymore, I don’t know how I’ll feel then. I think I will continue to write, but it’s going to be a new area for me.
MR: It’s pretty inconceivable that someone as conscious as you couldn’t find something you just have to write about.
TP: It’s like the saying, “Been there, done that, bought the T-shirt.” I have been very fortunate to have a performing life during very interesting years. I could’ve stood a little less interest, actually, as many of us could. I don’t know how I’m going to feel when I’m not out there all the time as I have been for fifty five years. I’ll continue to perform, I’m just not going to tour anymore.
MR: It’s almost like a supreme court justice. You’re in for life. [laughs]
TP: Well I frequently think of myself in those terms. [laughs] I’m wearing a robe right now, as a matter of fact.
MR: Send the selfie. [laughs] Hey, you’ve got some great company on this album, John Prine, Janis Ian, Dave Palmeroy, Al Perkins…
TP: These are the best. With Prine you pick up the phone and say, “Look, I need some help here, I’m sinking fast, so come and sing a song with me.” Not only does he come and sing a song with me, he buys me dinner. He’s a great guy. About ten years ago my wife and I went to go see him and Iris Dement at The Wolf Trap here in Washington. We were sitting out there and I turned to her and I said, “You know what? I’ve known John for twenty five years and this is the first time I’ve ever had a chance to sit out front and see him do a whole show. What a major treat that was. He’s another one of these “nobody like ’em” artists. There’s nobody like Prine. The song he’s on is such a goofy song, it’s just perfect for him to come and sing on it.
MR: How did the Janis Ian piece come together?
TP: I’ve known Janis since she was thirteen. We’ve been doing shows together for the last couple of years. In March and April we’ll be basically on tour here in the states doing a bunch of shows together. That’s a lot of fun for me because it’s not your typical split bill, we actually take the stage together and stay together on stage and sing on one another’s songs, et cetera. It makes for a very different and very entertaining evening, for us as well as–one hopes–The audience.
MR: What do you guys admire about each other?
TP: Well, it starts from the human perspective, I just love Janis. She’s a sassy, strong, strong-willed person who has not had an easy path, unless one thinks that having a hit at fifteen and being washed up at sixteen is an easy path. She’s had a hard way to go and she’s a strong person and a great guitar player. Matter of fact, we have a little fun with that fact in the show, that she is such a great guitar player and I’m merely adequate. There’s room for fun there. We’ve known each other for so long and we talked about doing some shows, so finally she said, “Well, put up or shut up, let’s do it.” So we did and we’re doing it.
MR: Who are the new troubadours? You may not be the avatar anymore, but the message still has to get out there, no?
TP: When it comes to asking where it’s going to come from and from whom, the one thing we can be sure of is that it will come from some place unexpected and from no one we’ve ever heard of before. It just doesn’t move along in nice, orderly ways. Like everybody else, I feel a lack of social commitment in young artists, but I’m not about to criticize them. They’re finding their own way. They’re doing their own thing and in their own time they will direct their attention to the areas that we did. It isn’t the same, but we don’t have a draft anymore. Does anyone realize what a massive change that is? We don’t have a draft, young people don’t graduate from high school with being dragged off to war as part of their immediate future. Believe me, that fact will color your attitude a lot.
MR: And now, of course, I think of your anthem, “Wonder Where I’m Bound.”
TP: I’ve sung that at a few graduations.
MR: It’s a great anthem for old people and young people. And speaking of young people, what advice do you have for new artists, oh non-avatar?
TP: It sounds as if I’m being flippant, but what I tell young people when they ask me what to do is so simple and so difficult–get good. Work at your craft. Take guitar lessons, for God’s sake. Too many young artists play really crappy guitar, and it kills you. You have to at least support your music with your instrument. At least don’t hurt it. Maybe don’t take voice lessons, but maybe some voice coaching. I had some voice coaching which made a huge difference in my singing. I don’t have a trained voice. Voice lessons are almost counter productive. Voice lessons for someone with my kind of barely average equipment has you trying to do things you can’t do and hurting yourself in the process. Some vocal coaching on the other hand is dealing with what you have and helping you make the most of that, and that’s really worth doing. In other words, work at your craft. I don’t write every day now, but I did then. I can’t recommend that highly enough. Write something every damn day so that you’re working at it and studying other artists and other artists whose work you love. Ask yourself, “What is it about their work that I love so much? Why is he or she so important to me?” These are things that they should be asking if they want to get ahead, if they want to improve.
MR: That’s a great answer.
TP: And here’s my other big piece of advice, for writers: They want to know, “How do you get ideas?” I tell them what I do myself: Look around you. If you need stimulation, pick up a paper, look at the paper for anything that moves you in any way. It can be to hilarity, it can be to rage or sorrow, but you’re bound to find a story in that paper that moves you in some way and then write a song from the point of view of either an eyewitness or a participant. This will take you out into the world, writing about the world, holding a mirror up to nature as Shakespeare put it, and above all it’ll get you away from writing all those God damned relationship songs that no one cares about. I tell you what, in my shows these days and for many years now there have been maybe one or two relationship songs, but only a couple. The rest of the songs are about a world that we share. Songs that people identify with because we’ve all seen this stuff happen. I wrote a song as a participant in the twin towers. I wrote a song from the point of view of a survivor. I wasn’t there, that’s not me. I’m using the first person singular but I’m imagining it. That’s what I’m suggesting people do. It can also be silly stuff. First person, not you. It’s not that hard to grasp once you grasp it. You’re writing about not you, you’re writing about us.
MR: Why, you could give a seminar on this, my friend!
TP: I do! I enjoy talking to people about songwriting.
MR: Do you feel that as a songwriter you’ve evolved in tangible ways? You can point out, “I went from here to here?”
TP: Yeah, I can tell. I don’t think I’ve changed as a writer, but I hope I’ve deepened as a writer.
MR: Can you pick that up in other people’s works, like Janis or John?
TP: I’m sure I could. I can’t do it as I sit here right now, I’d have to think about that, but I’m utterly sure that I would find that if I looked for it. In Janis’ work there is still the same kind of concern as there was in Society’s Child. That, by the way, is a very sophisticated melody that she wrote at the age of fifteen. She writes similarly but more profoundly now. I think I would find that in all of the writers I admire. The writers I admire are legion in number.
MR: You’ve seen the whole parade, from Pete Seeger to now.
TP: So much so that I would claim that if not for Pete Seeger, none of this would’ve happened. If that man had not criss-crossed the country singing at every union hall, every college campus, every summer camp throughout the fifties and sixties, none of it would’ve happened. He was the reason that it really came alive. He was the one who turned on my generation so that hundreds and even thousands of us said, “I’ve got to do that. That’s what I want to do. That’s what I have to do.” When I heard The Weavers At Carnegie Hall in ’57, I went from someone who loved folk music to someone who literally had to do it. I was not alone. Peter Yarrow was at that Carnegie Hall concert. He had the same epiphany that I did. “I have got to do this. This is me.”
MR: Beyond Redemption Road, I’m wondering where you’re bound.
TP: [laughs] Probably out for dinner. I’m bound for exactly where I’ve been. More of the same, but less of the same. There’s nothing different I want to do. I’m loving being with my grandsons. I have three grandsons and they’re all here, close to me. That’s an endless, endless joy for me. I lost my wife last year and I’m not doing well at all about that, but I don’t know who does. You do what you can do and you face what you have to face. I’m quieter than I was. I stay at home a lot. I have my daughters who have just been incredible. They call every day and come over. My younger daughter Kate lives in the same complex I live in. She likes to cook for me on weekends and I graciously accept. “More food? Oh no!” [laughs]
MR: Boy, wasn’t it a great time you all had together? How magical was that?
TP: It was magical. I miss so many people so badly, but that’s life.
MR: Do you recognize that you’re an icon?
TP: No. I deny it.
MR: Is that because you’re comparing yourself to other iconic figures?
TP: I don’t really compare myself, because I’m not going to look good if I do. [laughs] You know the poet Billy Collins? He’s fabulous. One of my Christmas presents was a book of his stuff. He has a figure in one of his pieces about going “Down the treacherous halls of high school,” and it just grabbed me. I just read it yesterday and I went back and looked it up again today. “The treacherous halls of high school.” What better adjective could you possibly find for high school than “treacherous?” I mean, the shit that happened in those halls. The damage to our psyches in those god damned halls of high school. [laughs] I don’t know what got me off on that but I just love that choice of adjective. Where were we? Oh, do I realize I’m an icon? No. I know that there are people, God bless them, who have really taken my music and made it their own, and I’m eternally grateful to that. That’s what I set out to do.
I wanted to make a difference in some positive way, and the way I found I could do that possibly was by creating songs. So the kind of songs that I created tend to be the kind of songs that people sing at camps and sing-a-longs, they’re not a string of hits or anything like that, but they are songs that have mattered to people and I’m very grateful for that. And I’m proud of it! I’m proud that I hung in there and kept writing my kinds of songs and had a wonderful time performing them. I’ve been a ham since the second grade in Chicago when I played Uncle Sam and they applauded and I thought, “God, I like that. I’ll have some more of that, please.” So I’m still Uncle Sam all these years later.
MR: Well, I am awed that you gave me an interview. You’ve made such wonderful contributions. If you don’t want to look at yourself as an icon at least look at yourself as someone who’s inspired many people. I think the culture owes you one.
TP: Aw, thank you. I’ll accept. Do they need my address? [laughs]
Transcribed by Galen Hawthorne
A Conversation with Howard Jones
Mike Ragogna: Howard, what’s the story on your Engage multimedia project?
Howard Jones: I’m coming up to my sixtieth birthday and I wanted to challenge myself to something that I’d never done before and really push myself to do something special. I was thinking, “What do people love to do these days? They love to go to shows.” There’s not so much interest in recorded music, but people love to go to a show. So I was thinking, “How can I make an incredibly immersive, visceral experience with all the things that I love all mashed up together?” I love classical music, electronic music, pop music, cinema, contemporary dance, ballet and philosophy. I wanted to bring that all together into a live experience that the audience are very much involved in, so it’s built into it that they’ve got a role to play in the performance. I know that’s a lot of stuff to throw at you, but that’s where it all comes from.
MR: And I just know that phone apps, customized clothing and florescent makeup have something to do with this. Howard, what do phone apps, customized clothing and florescent makeup have to do with this?
HJ: Obviously, I start with the music, but I didn’t want it to have the same kind of form as a normal pop song, so I was kind of liberated from that. I was able to have different, more expansive musical structures. I worked with my friend Steven Taylor on the visuals that go with the show. As I was writing the music, we were trading ideas about how the visual should be. I wanted to have a ballet sequence in there, I wanted some of my passion for Steve Wright music in there and contemporary dance, so we filmed all of those things and came up with a concept in tandem with writing the music. Then the third big element is how to involve the audience as well, so I thought in this day and age everyone’s got a smart phone, we can use apps to broadcast things from the stage. That’s what we’ll be doing in these two shows. The most exciting development for me is that I’ve got my own app now, my own Engage app.
MR: What have you been doing over the last few years in addition to the new Engage concept?
HJ: Every three to five years, I do a new project. The last thing I did was an entirely acoustic album with a string quartet and a big choir. I wanted to write some intimate songs. The album before that was a very electronic album. I’ve tried to mix things up and follow what I’m really feeling at the time.
MR: You’re exploring the analog world with elements like ballet and philosophy to supplement your performances. How do you view the relationship between technology and, well, everything else?
HJ: One of the things of Engage is, “Okay, it’s great that we’ve got all of this amazing technology, but if we don’t watch it we’ll all just end up in a room on our own doing everything virtually.” One of the things of Engage is to remember that the best thing that we can do as a human being is to have face-to-face communication and dialog and interaction. Technology is great. For instance, this morning, I composed a piano solo for a Norwegian guy who was in Thailand. We did it over Skype. I interviewed him and had a dialog with him and then we composed the piece of music. That’s what we can do with technology, but we have to remember that the best thing is when we’re face-to-face. Let’s use technology to bring people together and not separate them.
MR: To be engaged in life.
MR: Engage has the implication of activating a machine, but really what you’re saying is it’s important to use technology to assist human engagement, not replace it.
HJ: I completely agree. I passionately believe in that, and that’s really the theme of Engage. But at the same time, we’ve got this wonderful technology, let’s use it. Let’s use it in a way that brings people together and excites their imaginations and points out all the great possibilities. That’s my thinking.
MR: As opposed to, “Oh my God, one day technology is going to rule us all!”
HJ: Exactly! I don’t subscribe to that kind of future. Nobody wants that, obviously.
MR: So you’ll have new material that’s associated with Engage but will you also feature older material?
HJ: Engage is a standalone piece that lasts for about thirty five minutes of continuous music. In fact, the release of it which is coming in February is one continuous piece, thirty five minutes long with transitions between the pieces. You’ll be able to download the individual tracks as well, but the actual work is the visuals and the music all together and it takes you on a journey for thirty five minutes. That’s the idea.
MR: Are you interested in revisiting your catalog in a way similar to Engage?
HJ: I’m only doing very few shows with Engage, and then the second half will be a retrospective of my previous work. I’m always trying to reinvigorate that. If you take “New Song,” the very first one, there’s a lot of it that’s out of time. I’ve corrected that now and it’s in the pocket. Also with the technology we have now we can make things sound so good live, there’s no excuse for it not being a good mix live.
MR: Do you occasionally have that thought, “What was I thinking? How come I didn’t hear this then?”
HJ: When I go back to those first two albums, it was just the limitations of the technology, really. The bass lines were played, most all of it was played, the drums were programmed and a few sequences were programmed, but the majority of it was played, so there’s going to be a bit of looseness there. Trying to sync everything up in those days was a nightmare, and it was a bit hit and miss. It still happens. Because we’re always trying to push the boundaries of the things we do live, things do crash. You just have to take it on the chin and find a way around.
MR: Some artists program their productions so intensely that you can’t picture it ever becoming a living, breathing song. Do you feel that some of your songs have benefited over the years from being removed from their original, programmed arrangements?
HJ: I’m very much into that. I sometimes do solo acoustic shows where I just play the songs at the piano, which is their most basic form. That really sheds a new light on them. Then also I work with my guitarist as a duo, or I’ve done things with brass sections and big acoustic bands that give a new life to the songs. I think it’s very important to do that, otherwise one loses interest in it oneself. Even with the electronic setup I very much try to mash things up together and create new sections and allow the music to have a life of its own. I’m not going to slavishly stick to the original recording.
MR: There are a lot of artists who feel that the original recording is the painting, but there are also those who feel like the composition continues to evolve as a growing child.
HJ: I don’t think I’m at the sort of extreme end of that thinking, because I’m aware that you can’t take it too far. There’s got to be certain key elements. “New Song” has got to have that synth riff that sounds roughly like that. It’s sort of cornerstoned the people to trigger the memory of that time. There are other things you can play with, the drum sound, the bass sound, the structure of the song. I’ve got technology that allows me to do harmonies live on stage triggered by midi. “Things Can Only Get Better” had a fantastic remix by Cedric Gervais. We start off with a song quite like the record and then go into the big room, house version of the song which is a lot of fun. I’m certainly open to that.
MR: Where are you as a songwriter now?
HJ: It’s almost about ignoring what you’ve done before. How do you feel? What subject matter comes up from the way that you are looking at the world? I’m aware that the biggest part of my audience is probably in their mid-to-late forties, what sort of things are they going through in their lives? All of those sorts of things are going through my mind. I think an artist should be reflecting the issues that are cropping up for my audience. The audience was garnered from those days in the eighties when they really supported me and they bought my records and I was on the radio all the time and all that stuff. I don’t think you can completely divorce yourself from that, but I think it’s very important to push yourself as a person and a writer, otherwise you’re neglecting your responsibility to your fans, who have invested a lot in you. I bear that in mind. I’m not one of those people who writes and doesn’t care about who’s going to hear it. I do care about who’s going to listen to it.
MR: Howard, what advice do you have for new artists?
HJ: I think that’s a very important question. I think about this a lot. I do try to help young artists and help them to get going and encourage them. One of the things that I’d say is whatever level that you can do your work at, you should do it. If that means that you play your music for a group of friends on a Friday night at a random mate’s house, then do that, because that’s being an artist. In the process of doing that, you will then discover if you really like doing it, if you’ll take it any further, which things work and which things don’t, and then you can develop it from there. But don’t think that you have to start by being on stage at Madison Square Garden. At whatever level you can do your work, do it at that level and it will evolve from there. And the second thing is, don’t compare yourself to anyone else. There’s always going to be somebody who’s way better at writing or way better at playing the keyboard or whatever than you, and there’s going to be a lot of people who are not going to be as good as you. Don’t take into account either of those, just do what you uniquely do. Just really believe in that. I know that’s hard, but that’s what you have to do and to stick to that, you have to constantly work on it. Otherwise, you just won’t do anything.
MR: [laughs] The fear of failure is paralyzing. Even the fear of success.
HJ: Yeah. I think mainly the fear of failure is the big thing, but you know, that’s what the battle always is for artists. We have to overcome it.
MR: Are you in a constant state of self-improvement?
HJ: Absolutely. It’s just central to me to try to improve as a person and as a human being, to improve the way that you interact with other and that you respect others. It’s a life’s work, but I really feel that that is such a great motivating force to get up every day and try and improve. Every aspect of one’s life, your great work, your dealings with other people, your health, try and really move it all forward.
MR: How will you Engage us in the future?
HJ: I’ve got a ten-year plan to do three more pieces related to engage. I want one to be about transformation, the next one to be about dialog and communication, and the third one to be about being aware of being a global citizen. I’ve just got some loose themes at the moment, and engage is the start of that process. So I’m giving myself a challenge to create those, and then in ten years’ time I’ll perform them all together. [laughs]
MR: As a global citizen, how do you feel the globe’s doing?
HJ: We’ve got huge problems, and everyone is very much focusing on the problems. I think it’s important to also remember all of the great things that are going on as well. An example for me is I attended a TEDx day in London on the weekend, it was like nineteen people talking about their lives and how they are making a difference in society. It was absolutely inspirational. It just reminded me, and I’m sure everyone else who was there, that there are all these great people doing amazing things and that we need to remember that, too. There’s problems, yeah, and we’ll solve them, but there’s also amazing, great people doing incredible things, too.
MR: If someone wakes up and immediately wants to change and evolve, what are a couple of things that person can start doing?
HJ: Wow, that’s a question. I practice Buddhism, so I chant every day to raise my life’s state and my outlook on life to a point where I’m trying to view everything as a potential possibility to create value. That’s what I do. I know there’s many ways of doing that, but I personally think it’s quite good to have a method and a strategy for developing a positive outlook on your life. That’s my way of doing it, I chant and I study Buddhism.
MR: And I imagine all of that has worked its way into Engage?
HJ: Yes, that’s right, it’s all in there. I tried to include the themes of respecting each other and cherishing the person in front of you, having dialogs with as many people as possible, creating friendships; I see those as the ways to change the bigger picture. If we make the change within ourselves and our environment then that spreads. That’s the most solid way of creating solid change. That’s my belief.
Transcribed by Galen Hawthorne
A Conversation with Martin Sexton
Mike Ragogna: Martin, what was the grand plan behind your latest release, Mixtape Of The Open Road?
Martin Sexton: I set out wanting to make a concept record. It was going to be a bluegrass thing or a traditional rock thing or a vintage country thing, but as the songs came they pointed in twelve different directions, so I went with that flow where the concept is a mixtape. It has Nashville twang, bombastic rock, swingy jazz, folk, soul, and so on.
MR: What are a couple of your favorite stories behind some of these songs and their creation?
MS: One of the first songs written for this record was “Remember That Ride.” My friend Ned Claflin had to twist my arm to write it with him. He came to me with the chorus about inventing and building this fantasy, futuristic, magical carnival ride. I just wasn’t feeling it, but because I have so much respect and faith in his ideas I took a little leap and went with it. As it sat in my notebook and on our work tape, it was just okay. Since I wasn’t that attached to the tune, I took a real departure production-wise from my usual singer-songwriter thing and just played it live with fuzz bass and distorted drums. That’s all it took to make this track practically sing it self. Take one was the magical take, and now I love the song.
MR: Studio versus live, which kind of recordings do you prefer making?
MS: The short answer is I love them equally. The not-so-short answer is I enjoy the opportunity to create in studio. The temptation there is always to add more because you can, with all the tracks and technology available. To avoid that I try to keep everything live as possible when I’m in session. For me this helps escape over-production or sterilization, allowing for mistakes that often times become favorite moments on a record. The live show is it’s own universe. The immediacy and spontaneity on stage with a thousand people singing in harmony is like church. And I’ve never attempted to duplicate the sound of a record live. I use the songs like monkey bars that I play on differently every night.
MR: Jackson Browne’s Running On Empty album was really a document of his time on the road as opposed to just being a “live” album. Just curious, what do you think about that album’s significance? Do you feel that you’ve created a prototype with this album that might inspire others?
MS: I love that record. What has influenced me most on that is David Lindley’s lap steel playing. I find myself singing his lines when I scat. A lot of my vocal decoration–the notes I sing between phrases–I can attribute to his sense of melody. When I first met David and told him this, he just laughed and humbly credited Lowell George for influencing him. I’ve always been inspired by mixtapes given to me. Hopefully, this album will inspire others.
MR: You have been called fiercely indie. How has today’s music business realities changed or evolved how you approach rolling out your releases?
MS: I’ve been indie since ’02. Wow, what a great time to be here. The digital era has really democratized the world in ways never seen before. So many avenues have opened up in the past decade that allow listeners to decide for themselves what they want to hear, buy, or share. While my label (KTR) still rolls out records in a traditional fashion including physical units to retail with more and more vinyl, the combination of this with digital, streaming, radio spins, and touring keeps the music flowing better than ever.
MR: What advice do you have for new artists?
MS: Frank Zappa said shut up and play your guitar. To that, I’ll add shut up and sing, remaining true to your heart all the way.
MR: Looking at your catalog to this point, how would you describe what you’ve created? Beyond Mixtape Of The Road, might you have a favorite album or song/recording that you’ve created?
MS: Chris Smither had it right when he said to me, songs are kind of like kids, some of them grow up and get an education and send checks home to daddy and some are still just flipping burgers, but I love them all equally.
MR: Rumor has it you recorded a One Direction song. You recorded a One Direction song?
MS: Yeah, my daughter heard from a friend of hers that Harry Styles follows me on Twitter. She then dared me to cover a song. She played me “Story of My Life” and I really dug it so I did a homespun video of it to share on facebook and whatever, then recorded it during my Sirius XM session in New York the next day.
MR: What does the future look like for you? Any projects in the works or anything on the personal side you want to focus on?
MS: The next year is pretty much charted out for me on the road working the Mixtape album. In addition to that I will be working on renewal and rebuilding and what’s most important, my family. We lost our home recently to a fire. Sometimes it takes catastrophic events to remind us what is most important. As we stood there and watched a lifelong collection of things go up in a massive fury of flames, all that mattered was that we were safe and alive. We are truly blessed, not only with friends and family, but fans who continue to inspire me with their love, support, and example of unity. They come from all walks of life, but set differences aside and show up with their beautiful voices singing as one.
A Conversation with Chadwick Stokes
Mike Ragogna: Chad, what is The Horse Comanche’s origin story?
Chadwick Stokes: I didn’t know when I when I wrote the song that there really was a horse named Comanche. I grew up with horses and love to ride so for me it’s a metaphor for being alive. The song looks into the departure of a cosmonaut from his lover.
MR: What was it like recording with Sam Beam and how does his involvement affect your style or sound?
CS: He was great, very thorough and genuinely into the whole process. We delved into the meanings of certain songs and he encouraged me to do more finger-picking, less strumming.
MR: Iron And Wine and Lucius guest on the album. Were there specific things you wanted them to bring to The Horse Comanche?
CS: I wanted Sam’s sonic sensibility–his albums with Brian Deck always sound great.
MR: One of the album’s featured tracks, “Mother Maple,” features interesting production elements like a choir and old sample machine. What was the creative process like for the whole project?
CS: We wanted to make the best album that we could by exploring the potential that the musicians and studio had to offer and worrying about recreating it for the live show later.
MR: “Our Lives Our Time” talks to intolerance. Is that part of your creative process, to inform as well as entertain?
CS: Not really. I’m just singing about things that bother me, in that case, or inspire me in other cases. I guess if anything, I want to relate.
MR: From the artist’s own perspective, how does this album compare to your previous works?
CS: It’s just another chapter I suppose. Sam and Brian’s imprint probably sets it apart more than anything else. Sam’s back up vocals are really special and Brian’s sound pallet is really varied.
MR: How do you ideally see your musical career commencing? Like, what’s the fantasy of your life about three to five years from now?
CS: I’d like to work on a rock opera/film that features different musician friends of mine. I’d like to play rallies and protests and contribute to the movement for peace and justice. I’d like to see gay marriage accepted everywhere, the national abolishment of the death penalty, stricter rules in gun acquisition and a higher minimum wage.
MR: What advice do you have for new artists?
CS: Give your music away and play as much as you can. And stay awake behind the wheel.
MR: What’s the best advice you were ever given and did you take it?
CS: Don’t sweat the small stuff, from actor Chad Everett by way of news personality Ron Simonsen, otherwise known as Dr. Ron the Actor. I’ve tried.
MR: Anything have your attention other than the new album?
CS: I have a 2-year-old and a 3-year-old at home who are keeping me busy. My wife and I also are involved in our organization Calling All Crows, which, this year, is focusing on women and children who have been displaced in Syria.
MR: Anything you want to say to Sam Beam right about now?
CS: I found your pen.
A Conversation with Erik Deutsch
Mike Ragogna: Erik, for Outlaw Jazz, what gave you the idea to merge genres and what’s the story behind this album?
Erik Deutsch: Hey Mike, nice to make your acquaintance. It’s fair to say that this album represents a lifelong journey, and that the merging of the country and jazz styles is a summary of my musical path, to this point. Although I was raised mostly in Washington D.C., my mother is from Nashville. In 1982 dad was offered a job there, so we picked up and left for 5 years–kindergarten to 4th grade for me. During my time in Nashville, I started piano lessons, heard country music everywhere, and attended performances by artists like Johnny Cash, Dolly Parton, Willie Nelson, Kris Kristofferson, Brenda Lee, Barbara Mandrell, and Waylon Jennings. I attended the Ensworth school, as did my younger brother, who became good friends with a classmate, Shooter Jennings. I occasionally found myself over at Shooter’s house, or him at ours, and sometimes crossing paths with his folks–Waylon and Jessi Colter. In third grade, we had a songwriting contest. I penned a ditty about a “hoopsnake”–a mythical reptile who bites his tail and rolls along like a wheel. I won the contest…and the prize? A songwriting session with a professional guitarist/songwriter, John Knowles, and a performance at the Country Music Hall of Fame. I count that as my first gig.
Fast forward 25 years to New York City. I hear through my old Nashville friends that Shooter has moved to New York, and that he’s looking for a studio to make some music. I put in a call to a friend and voila, a few months later, we’re sitting in my living room talking about making music and putting a new band together. Shooter and I hadn’t seen each other since grade school, but it can be easy catching up with old friends, and this was certainly the case. That led to two studio records with Shooter–Family Man and The Other Life, both of which I’m very proud, and a couple years on the road, including two visits to The Tonight Show and a performance on Letterman.
We listened to endless music on the bus, with Shooter, Jon Graboff, and Tony Leone really schooling me with their knowledge of country musicians. I began to realize that there is a wealth of excellent guitar players who recorded instrumental country music (Roy Buchannan, Chet Atkins, Danny Gatton, Jim Campilongo, etc) but that the list of pianist who did the same is entirely too short. Thus the the idea for Outlaw Jazz was born… to make a record of genre-defying jazz music influenced by country rhythms, harmonies, and beats, with great players and singers, and little bit of outlaw attitude.
I found a new label, Cumberland Brothers Music, in Nashville. It’s run by three gentlemen that went to the Ensworth School with Shooter and I, and we were off and running.
MR: How did you pull together your guest roster that includes Shooter Jennings and Victoria Reed?
ED: Shooter, being such an integral part of the creation of Outlaw Jazz, had to contribute to the music. I chose to record the song “Whistlers and Jugglers” with him. It was written by Shel Silverstein, recorded by Waylon, and one that we had played on the road with Shooter on a nightly basis. It’s a beautiful, evocative song, that deserves a wider audience in my opinion.
Victoria is an up and coming artist who everybody will probably know about in the next couple of years. She’s got a fantastic first album full of thoughtful, well-written songs that will be released sometime this year, and just spent the entire fall opening up for Citizen Cope on his US tour. I love female vocalists, and her performance on Bo Diddley’s “Dearest Darling” adds so much fun and life to the record.
MR: How was Outlaw Jazz recorded? How did the material come together?
ED: Outlaw Jazz was recorded at Mission Sound in Williamsburg, Brooklyn. I launched a Kickstarter campaign (my first) and found overwhelming support for the project from friends, family, and fans. The material came together like most of my records: a few songs that had been waiting to be recorded for a while, a couple choice covers to feature our guests artists and bring a recognizable element to the music, and a couple more originals that rounded out the overall concept and balance of the record.
MR: Are there any moments on the album that you’re especially proud of?
ED: Fortunately, there’s quite a few! I love the rhythm section’s swing on “Outlaw Boogie”; the jam at the end of “Whistlers”; Jon Stewart’s sax on “Dearest Darlin”; the sense of space on “Wild Horses”; and the overall execution of the trickiest song on the album, “Pickle.”
MR: What do you think of the state of jazz these days? Who are some of your favorite contemporaries?
ED: I think jazz is in a great place musically, but a bit of a weird place culturally. There’s a great wealth of creative, intelligent, forward-thinking music coming out of the jazz community; jazz mainstays like Chick Corea, Herbie Hancock, Charlie Hunter, Fred Hersch, Bill Frisell, Wayne Shorter, Art Lande, Steven Bernstein, and Jon Scofield and continue to make relevant, progressive jazz music. Newer established artists are doing the same: Jason Moran, Brad Mehldau, Ben Allison, Ben Perowsky, Kneebody, Jenny Scheinman, Rudresh Manthappa, Allison Miller, Ron Miles, Myra Melford, Ben Goldberg, and Scott Amendola are some of my favorites.
Unfortunately, people aren’t sure how to classify the music, and aren’t especially good at listening to, buying, and supporting it either. Hopefully the extremely high quality of the art will catch up in popularity and ‘hipness’ in the eyes of the music world sometime soon.
MR: Will Outlaw Jazz serve as a prototype as to where you’re headed with your material in the future?
ED: It’s hard to say to say right now what the next album will sound like, but I think this record is definitely more than just a “concept album”–it’s music that i’m feeling in my heart and really enjoying performing for and sharing with the listeners.
MR: Erik, what advice do you have for new artists?
ED: Practice hard, pay tribute to the history of the music, always focus on the developing your personal sound, support your local scene and your peers, don’t worry about genres, and stay positive!
MR: What’s the best advice ever given to you and did you take it?
ED: At a rehearsal with Ron Miles, I asked, “What should I play on this song”? He answered “I hired you, Erik… why would i tell you what to play? I’m interested in what you are hearing.” Great advice from a great bandleader… I always have it in mind.
MR: What’s the plan after Outlaw Jazz?
ED: We’ll be playing shows all year to support the record, right now performances in NYC, Nashville, Toronto, Colorado, Mexico, California, Seattle, and DC are on the radar). Then on to the next challenge and hopefully some more good music! Entertainment – The Huffington Post
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