Podcasts about sony columbia

Réécoutez FG Chic mix Purple Disco Tales by Purple Disco Machine du vendredi 7 mars 2025 Tracklist:01. Lem Springsteen & Danism - Extension (Danism + Train Remix) [SoSure Music] 00:00:37 02. TLC - Waterfalls (DE SOFFER Remix) 00:06:16 03. Jaegerossa - Come To My World [Midnight Riot] 00:10:30 04. Victor Carré & Body-O - Have You' [Miam Miam Records] 00:16:36 05. Yolanda Be Cool - Tremble [Black Book Records] 00:21:41 06. Kassko - Love Is All Around [FUNKiMAN] 00:26:40 07. Black Hawks Of Panama - Wrapped [Exploited Records] 00:31:29 08. Purple Disco Machine - Get Up 24 [Sony / Columbia] 00:37:47 09. Block & Crown, Lissat - Pump The Noise [Tactical Records] 00:42:42 10. Boytronic - You 00:48:05 11. Alan Braxe, Fred Falke - Chrystal City (Remastered 2023) [Smugglers Way] 00:55:46 12. Patrice Rushen - Number One (Onur Engin Edit) 00:58:27 

Joining us this week on Locarno Meets is Ehsan Khoshbakht, curator of a major retrospective focusing on Columbia Pictures during its heyday of 1929-59. A centerpiece of the 77th Locarno Film Festival, this 44-film program redefined and recontextualized the legendary Hollywood studio during the tenure of its famously tyrannical president and co-founder: Harry Cohn. In our wide-ranging conversation, Khoshbakht spoke about the work of assembling the retrospective using Columbia's weekly release schedules in partnership with the Sony-Columbia archive, about Cohn's complex legacy, and about the unusual amount of freedom afforded to auteurs and women creators at the studio during its Golden Age.

We're goin to California this episode with guitarist Billy Alexander from the band YYNOT who are touring in 2024! He talks about how YYNOT got their start and how the band took off and came together paying tribute to RUSH. We also are gonna debut his new solo track called Alpha Rhythm and has a new album coming out called Rock n Roll Diaries! Billy continues to tour and record for other artists including with Sony/Columbia recording artist Anna Nalick and playing lead guitar/vocals for John Waite (The Babys, Bad English, Alison Krauss). And in addition to lending his exceptional skills as a lead guitarist, he is establishing himself as a world class songwriter and producer in the world of Pop and Contemporary Country music!Billy has written and recorded with Ron Blair of Tom Petty and The Heartbreakers as well as continuing scheduled Nashville writing trips, performing multiple live dates each month and a maintaining a busy schedule with producing and recording. Billy is also the lead guitarist/songwriter and producer for the progressive rock band YYNOT who is touring nationally.     https://www.yynotband.com/ https://www.billyalexander.net/     

On this episode, McIntyre talks with a dynamic duo that will be presenting at the Echoes of Creation Conference.  Cary Solomon and Chuck Konzelman  have been in the entertainment industry for thirty years. They have done feature projects for Warner Brothers, Paramount, Sony-Columbia and Marvel Entertainment. They have also placed original-concept TV pilots with CBS,  Fox, New Line Television and Touchstone. . . and cable projects with TNT and HBO. Responding to a call from the Lord, Cary and Chuck left the secular entertainment field more than ten years ago. Since then, their filmed projects have included “What If?”, “The Book of Daniel”, “Do You Believe”, “God's Not Dead”, ‘God's Not Dead 2”, "Unplanned" and  "Nefarious". Their films have won numerous awards, and Pragerforce (the Millennial and Gen Z arm  of Prager University) voted Unplanned as the #1 and God's Not Dead as the #3 life-changing films of all time. Cary and Chuck are the co-CEO's of Believe Entertainment, and Soli Deo Gloria Releasing. They seek to conquer the culture for Christ through the media, believing there can be no evangelization without evangelization of culture.     Please send us any questions or comments about this episode to info@themichaelmcintyre.com. We'd love to hear from you.   Get your tickets for The Echoes of Creation Conference: https://echoesofcreation.life/   You can register for McIntyre's Next Level Life and Next Level Experience by visiting https://themichaelmcintyre.com/   Sing up now for your MBA: http://go.themichaelmcintyre.com/mba/     Check out the trailer for the first MBA Productions' ACCELERATOR: https://vimeo.com/user103164344/review/810986162/e8a07b3630   Get your copy of McIntyre latest book, NEXT LEVEL LIFE.   Check out the other shows from KB PODCAST PRODUCTIONS: Kingdom Bringer Podcast with Darin Eubanks Super-Natural Living with Beth Packard Cindy Stewart Podcast Kingdom Master Mind Podcast with Ann McDonald Fan the Flame Podcast with Scott Tilley   Podcast music from HOOKSOUNDS.COM

On this week's episode, I discuss the differences between writing for TV versus film and the differences in the development phases. We also go into ways to create your own material and what to really focus on. Tune in for much more!Show NotesFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:If you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it because what's in it for them other than bad footage that they can't use? It'sListening to Screenwriters. Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to another episode of Screenwriters. Need to Hear this. I'm here with Phil Hudson again. Hello, Phil.Phil Hudson:Hey everybody. Good to be back.Michael Jamin:Hello, everybody. Today we're going to talk about something, well, something I think is very important. How about that? The question is, should you write for film or tv? I think a lot of people, at least from social media when they leave comments, I think a lot of people really aspire to be film writers because they have their story and maybe they think it's more prestigious. Maybe they like the idea of going to walking down a red carpet and seeing their work on a large screen. And so I just thought I talked to you about my feelings about film versus TV and why I greatly prefer working in television. And I think anybody who works in film is crazy. So it's not that they're crazy, but it's just like, wow. I see a lot of advantages for working in film. And to be clear, I am a TV writer, but I have sold a couple of movies and after selling those movies I was like, I don't want to do that again. I'd rather work in television, but I definitely see the appeal that people have. So I thought I may shed a little light on what my perspective is. That sounds good with you, Phil.Phil Hudson:I think this is an exciting topic and we were just talking before we started recording, the industry's changed even since I started studying this craft. Seriously, back then there was a viable feature market and it seems like it's gone the wayside, and I've seen the transition over the last decade with filmmakers and screenwriters coming into tv. I think because the money's better, there's more work, there's more creative freedom, and I'm sure you'll talk about it, but there's that saying of the director runs the film set and the writer runs the TV set.Michael Jamin:Yeah, if you want creative control, we have lots to talk about, but if it's creative control that you want, then you want to be in TV because the writer's in charge. If you want to be in charge in a film, then the director's in charge. Often the writer's not even invited to set. The writer has no say that will be rewritten. The director might hire multiple writers to rewrite. So if you think if it's about your vision, unless you are shooting yourself, forget it. You are really an afterthought. And like you said, they are making far fewer movies now than they were even 15, 20 years ago, probably a third as many. And when you look at the titles being released, you got a lot of remakes. You got a lot of sequels, you got a lot of reboots. Yeah, I mean, so they're makingPhil Hudson:Another, it's largely IP based material too. So it's other books that have blown up and they buy the rights to that. They then make that.Michael Jamin:So it is because they're easier to market, which is why you have Fast and The Furious 13, everyone knows that and it's why you have it, Indiana Jones five, because everyone knows it's just easier to market. And even Barbie, I don't know if it's Greta Go's Dream to make, when she was approached to write Barbie, she's probably Barbie, do I have to Barbie? What about my original idea? So obviously she wrote the Barbie movie and turned it into something very unique and special. But I can't imagine as a child, she grew up thinking, I want to write a movie about Barbie. They came to her with an offer and she turned into something unique and creative, but I don't think she came, maybe I shouldn't speak, but I can't imagine she brought the Barbie idea to them. I think they had to move the ip and yeah,Phil Hudson:I'm certain that's the case, but even then because of the success of Barbie, now Mattel is talking about creating their own cinematic universe,Michael Jamin:Right? Right. So get ready for more gi whatever it is. I don't know. Is that your dream? Now, indie filmmaking, by the way, is a completely different topic. Maybe we can brush on it a little. My area of expertise is definitely not independent filmmaking, but that's a whole different,Phil Hudson:But that's what I went to film school for and that's the Sundance world that I kind of been in. So I'm familiar with that. And there's a bit of a merge there. And we can talk about tko. Waititi is a really great example of that because he came out of the indie film world. He was a Sundance kid, and then he started doing more prolific stuff. And while I was touring for quasi handling social media for the broken lizard guys, that's one of the conversations we had with their, one of the Searchlight VPs of publicity. And she was like, yeah, Tika, he does one for us, we do one for him. You do Thor, you want to do Thor? Awesome. We'll make invisible Hitler. And it's a way for them to incentivize. But I would say Clin Eastwood, I would say even look at Christopher Nolan, that's the way it works. You get this deal at these big studios, I'll make your billion dollar film, and then they let you make the film you want to make, and one is going to make a ton of money, may win some awards, the other one's going to win some awards because they have the talent.Michael Jamin:So if it's your aspiration for me, just the thought of working film, you go, okay, I'll write a film and maybe I can sell it. But then, okay, then how many times are you going to sell a, it is hard to sustain that career. Whereas in television, oh, I know there's a TV show and maybe they have whatever, 10 or 13 episodes a season that sounds like you can make a living that sounds like you're working more steadily. And when I broke in, by the way, it's 22 episodes, so I was like, oh, okay, these people work all the time. And for 10 seasons, that sounds to me that was the lure of a steady paycheck was in television, maybe less so today, but certainly more so than being a filmmaker.Phil Hudson:Yeah, that's fascinating. One thing that's standing out to me from this conversation really just echoes what you've been saying throughout the history of the podcast, and we're approaching two years of this podcast, and that is you have to get out and do it yourself. Nobody's going to do it for you. You can't rely on anybody else. You have to get up and do it. And even the gre Gerwig, the Tiger Boy, tee Tees, they had a name for themselves as filmmakers before the big studio came with the big bag of money. They were the value, and that's where they came to take advantage of them, right? Yeah. Greta Gerwig has the way to make her film stand out in her way and her style, and that's why it's a big hit. I don't think it's largely because it's Barbie, it's because of what she did with Barbie that made it work. But that's something she has honed and developed over years and years and years of hard work before she hit it big.Michael Jamin:And also my friend Chrissy Stratton, who I'm going to have back on the podcast at some point, we had her run before. So I met her on King of the Hill. She's a writer on King of the Hill. But then she went on to a very long career, almost as long as mine, working in various TV shows. She might be just one or two years behind me, pretty much equal. And she works all the time in tv, but she had this film that she's been dreaming about for whatever, 10 or 15 years and then decided, you know what? I'm just going to make a short. And so on her own dime. And she raised the money. She's a successful TV writer, but in film, she's the no one. So she started from scratch and she called in a lot of favors and shot a movie on by raising her own money, real low budget.And we'll talk more about this journey and why she's doing it, but it's not like, even though she's big in tv, she's a no one in film. So it's kind of a level playing field. And one of the thing, well, I know I'm jumping around, but I just so you're aware, as I mentioned about creative control in film, well, lemme tell you about the experiences that I went through. So my writing partner and I, we wrote a writing sample, a feature sample. I was dreaming it was going to get sold, but he was like, it's not going to get sold, whatever. But I was like, maybe it will. We wrote a sample, our agent shopped it around, no one bought it as predicted, but there was a producer who was very interested in working. He's like, this is great. We can't it, but let's try coming up with some ideas together and sell those.And so we worked with this producer and we wound up selling two more ideas, but every step of the way, it was kind of exhausting. We're coming up with ideas, we're writing drafts, we're giving it to him. He's got notes we're not getting, and you're doing, it's called free revisions. You're doing notes after notes. We sold it to the studio, but the producer is basically the gate. So until the producer's happy with the draft, the studio will never see it. And so this is what free revisions is. So you're doing constant rewrites for the producer.Phil Hudson:This is a big deal for the W G A, by the way. It's a very big deal. It's part of the strike too.Michael Jamin:Yeah. I don't know what's going to obviously happen with it. And you're doing a lot of free work, which you're not getting paid obviously, and the studio's not seeing any of it. And then you get finally the producer's happy, you give it to the studio and then the studio has notes and then, okay, now you're again. So they say, do a revision. And again, you go back, you start doing the revision, you've turned into the producer and the producer's like, eh, I don't think it's good enough fellas. I need to do more work and more work. And then finally you turn that revision to the studio. I was at one point producer who I liked quite a bit, really good guy, but he also had development people working under him. So at one point his development person left, he brought in a new one, and now this new person has a new direction that we're going, oh my God.It was like, this is a never ending hell. That's how I felt. It's just a never ending hell because you have to please them. And I understand this is how the game is played, but I was like in tv, it doesn't work this way in tv, if I'm a writer on staff, I turn in my draft to the showrunner. If I'm not the showrunner, the showrunner has notes, great. Turn in another draft, we're done. Shoot, we're going to shoot it. And of course the network will have notes, but it's so much more streamlined because you have a timetable, we have to shoot this thing on Friday, so you can't keep this up in development hell for a year, which is what happens if you're doing film. You could be in hell forever on this. I was like, work done. And that'sPhil Hudson:The term too. It's development health, what you said. That's an industry term for what that is.Michael Jamin:And the money, in terms of the money, I got paid way more in TV than I do in film. SoPhil Hudson:That's what I was about to say. I just said, we talked about the podcast, that experience I had where that guy signed the script, signed the contract to write a script for that thing, and it kind of fizzled out, but the numbers on it were, it's like $160,000 to write a screenplay. Well, the average I understand is about six months to go through the whole process to write a script more than that. But then you have the notes and you have the feedback and you got all that stuff. So you're going to do one, maybe two of those a year. Well, you can go get an M B A and then go get a six figure paycheck that's going to pay you more than that. AndMichael Jamin:Just so you know, the movie's not getting made and it has nothing to do with you or it's just like it's a miracle movies. It's a miracle when a movie gets made. So if you want to see your work on the screen, even if it's been rewritten to death, forget it. Most movies just do not get made. So you're okay, but you used to make a good living writing movies that never got made. Maybe it's less so now because they're making because they're buying fewer. But back in the day, you could be a very successful screenwriter and never have a word of yours onscreen. But in TV it's different.Phil Hudson:One question that comes to mind for me, Michael, when you talk about free revisions and development, hell, you also advocate that writers write and they write for free. And if you don't want to write for free, don't do this because that's what this job looks like.Michael Jamin:Yeah.Phil Hudson:Right. What's the difference between the experience with the free revisions and the notes with the producer versus your definition of free writing?Michael Jamin:I mean, we're talking about two things. We're talking about improving your craft to write, to learn how to write. And so a lot of people just write one script and they think, well, I'm going to sell it and I'm done. Give me a paycheck. And my point is then you put it down and write another one and then write another one. And you'll notice that script number five is vastly better than script number one simply because you're getting better at writing. But the free revisions I'm talking about for these producers, when you become a professional at some point, I got to take home money. This is not a hobby for me. This is how I make my living. So I just didn't enjoy the process. I just thought like, ugh, it is no fun. It takes the joy out of it.Phil Hudson:Yeah, no kidding. So we have to write. We have to write. That's part of writing. Being a writer is writing. But what the WGA is fighting for is that writers should be paid for all of the professional rioting where other people are making money off of the sweat of their back. They're taking advantage of that situation because a bit of a power dynamic there where the producer has control and obviously they want to maintain their relationship and they want to make it as good as they can be. So I'm not saying it's a negative or a nefarious approach to it, but it's still a writers are sitting there not getting paid.Michael Jamin:I understand the producers are protecting their brand and they have a closer relationship with the studio. I get it. But they're not the ones doing all that work for free. So I just like, this is not appealing to me. I'd much rather work in television. Like I said, you have more creative control. You're onset. And again, in features, what would've happened had these two features of ours been made. It didn't come to this and I didn't expect it to, but we sold two features and at both times we're finally done. We give both final drafts to the studio. The studio is happy with it. The studio executive were working with happy. They'd given all our notes and revisions. They were very happy with the script. Now they give it to their boss who has the green light, they have the power to green light. And the boss reads it over the weekend, not interested.It was like, it's over. It's it. It was almost on a whim. Nah, what else you got? And it's like there's no argument. There's no more convincing them, it's dead because they just don't want to make that movie. And often they don't want to make that movie simply because the movie that did well that weekend was an action movie and your movie's a comedy and they want to make more action movies now, or it's as simple as that. Or someone put out a comedy movie that weekend that bombed and forget it. We're not doing comedies anymore. And so it could have nothing to do with the quality of what you wrote. This is what the marketplace suddenly changed and now it's dead. So this is how it is.Unless you are making your own movie. And if you make your own movie, that's great, but do it on a dime. On a dime. I say I had a nice conversation with someone, someone asked me to, it was a couple of days ago, they wanted to book some time with me for a consultation, which I occasionally do. And he really nice guy, but he had self-financed some projects and I was like, you spent too much money on that. Don't put so much money into your own projects in the beginning until you really get spend a couple thousand. That's what you can do it on. That's what I recommend.Phil Hudson:And in the indie film side of things, the goal is to not spend your money. It is actually to find investors. And the question is, why would people invest in an indie film maker who's made no money? A lot of people are looking for tax write-offs and they want to be involved in Hollywood. They want to feel like they are producing being part of that because they probably have that desire, that dream, and they chased the paycheck rather than their art. And so now that they've got the money, they would rather invest in another artist to be a part of that. And so my friend's dad is just this awesome guy, and he just texted me out of the blue two years ago and he had a bunch of stocks vest and he cashed out and he was like, Hey man, if you ever have something you want to make, let me know. I've got some cash lying around. I'd love to put towards that.Michael Jamin:Oh wow.Phil Hudson:But that comes out of a relationship of trust that I have with the guy. It alsoMichael Jamin:Is, and it might come with strings attached. It mayPhil Hudson:Be, and it probably will,Michael Jamin:It may be, and this is not how it works in TV and tv. So in film you might have a ton of executive producers because they help chip in for 5,000 bucks. You can become an executive producer of my movie. People do that and TV doesn't work that way. Tv, that's all financed by the studio. So it's not that kind of model. But in film, you write a check for 5,000, or if you write a bigger check for 50,000 and the person says, I'll give you 50,000 if you cast my daughter as the lead, or if you make these changes to the script, do you want to do it or not? That's up to you. How much do you want that money?Phil Hudson:I think that's really where the question of art versus craft comes into play, because in that situation it might be a little bit more art, it might be a little bit more of your decision. Well, that's going to ruin my vision for what I have or destroy the theme of this piece, and I'm doing it myself because it is an expression of myself, and that is art. And you might turn down the money out of integrity for the art there, but you might also take the paycheck because you've got kids who need diapers,Michael Jamin:Right? And so some people, sometimes people are very naive about the whole thing and they're like, you writers suck, or This is the garbage. Do you know how hard it's to get something made? And do you understand that I also need to make money?Phil Hudson:Oh man, we do the webinars every month and we do, we started to do this v i p q and A after, and we were testing it out, but we had a member of your group she joined and she was telling us about how she has made two or three indie films and she had put up this money and she was going to shoot it in the forest. And the film, the films that got shut down because of wildcat or a cougar, like a mountain lion or something, came in and ruined the whole thing. None of the actors want to come back. And she knew this was a thing that could happen. And so she was asking the question about hobbling together, her footage to make something producible. And it's just heartbreaking because a good story, you can't really do that. The story should mean something.And that's someone who's in there doing it. I think they're doing it on their own dime, and that's just heartbreaking to hear. But I've got other experience where my buddy Rich, he's produced a bunch of any stuff. He's done stuff with Michael Madson, done some stuff with major players, knows a bunch of people, and he was telling me about this film that he was working on for years and years and years. And they shot the whole film and then it got locked down in post because one of the executive producers who wrote the check wouldn't sign off on the final cut. And so it could getMichael Jamin:Final cutPhil Hudson:And it got stuck and they were arguments and they had to work through and it was like five years. And the end result they got out of it was a worst film because the producer had too much say and wanted edits. So understanding story structure, you look at it, it is a hobbled together piece of crap that has a couple big names in it,Michael Jamin:Right? Yeah. I don't even think you need, well, I don't want to talk about big names, but, and I felt bad for this woman in the v I b talk. But here's the thing, I also think you need to figure, be cautious on how producible is this movie you want to make. You didn't have to do a movie, write a movie that take place in the mountains. You could have written a movie that takes place in someone's apartment, and if you think I'm nuts, go watch the whale, which takes place in someone's crappy apartment and was amazing and beautiful because their writing was beautiful and the acting matched it, but the set was ugly. And anyone could have shot that in their own apartment. And that's on you as the writer is like, you don't have to write a movie. I would be cautious about writing anything with kids, because kids are really hard to have on set first of legally. You need to have tutors, you want to bend the rules. Kids can only work a certain amount of hours. And what you do on your independent film, that's your business, but to be up and up, that's the truth. And kids, they get tired, they lose focus, and they want to horse around. So I would be careful about having kids. I'd be careful about doing anything that requires characters getting wet because costume changes are bitch, when you're wet and at exterior locations, the same thing. Back noise, street noise, people being disruptive, a leaf blower.But you can write something very compelling in a controlled set where you don't have to worry about any of this stuff as long as the writing is good. It's all about the writing.Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Phil Hudson:I'm having a flashback. So my thesis film that I did, I took a crew, we rented a van, we took our equipment, we drove to Utah, negotiated all these things because of relationships. I had to get it cheap, shooting in friends' houses, borrowing a friend's truck, doing all of these things. Flew in a couple of indie actors from LA to be in my project. And while we were going through, you just start getting hit with every single thing you have planned, start shifting based off of, there's cloud cover now because you're outside, it's starting to snow. Lots of beautiful things happen. Like we're shooting on a pump jack, which an oil deck, an oil derrick is, what you think about 'em is pump jacks that big swinging arm pump. It's a training school that agreed to let us shoot on theirs that was donated. And there's moving in the background, makes the production value go through the roof, what we had.But then at the same time, while we're driving, a deer jumps out and my friend's truck when my actor's driving hits the deer, and then we're driving the next day to go to the set to shoot the exteriors. And we need that truck. And then it blows part of the engine and we can't use the truck anymore. And I'm rewriting on the fly and my friend's daughter is casting this role using their house, and she's just this sweet little girl and she has two lines and she gets stage fright and she can't do it. And so we have to put her sister in who's too young. And so I have to scrap those lines and rethink how do I get this emotional moment across? And then at the end, when we're done filming, the little girl comes up and says, I'm ready now.Michael Jamin:Yeah, great.Phil Hudson:And they're heartbreaking. Heartbreaking because we're done.Michael Jamin:And that said, whatever, I would take inventory if you decide to do this Indio thing, because as a way of getting discovered, as a way of breaking in, which is great. I would just take inventory of what you have that's in your control. If you're a truck driver and you have a Mack truck, alright, maybe you're shooting the truck. I mean, that's an interesting set.Phil Hudson:Well, it's your life that ties in the right what you know, you can add reality veracity to that.Michael Jamin:If you have a storage locker, the same thing. If you're allowed to shoot there, you're probably not. But what little you have could be interesting. You don't think it's interesting because it's your life, but we think it's interesting. We don't live your life.Phil Hudson:While you were talking, I was just thinking of Robert Rodriguez, who's arguably one of the biggest directors on the planet. And he came from this in world where he did on mariachi. He documents all of this in a great book, the Rebel Without a Crew. And he donated his body to science to fund it. And he went to the small town in Mexico. He went in for clinical trials for a, to get the money, borrowed a camera that didn't have audio. Went to a town in Mexico where he would summer, borrowed friends and family and a best friend to play the roles, did the whole thing. And then stayed up at night in an editing bay at a local TV station to edit his film and did it and blew up because he thought, and all he wanted to do was to sell it to a Spanish language channel and ended up selling it to Sony or whoever, Sony Columbia or something.Michael Jamin:And now you can make it for a fraction. You could edit it all on your laptop, you canPhil Hudson:Edit it on your phone. You shoot the whole thing on yourMichael Jamin:Phone.Phil Hudson:But the story was good. Why did it sell? Why was it a big deal? It's because he knew how to tell a compelling story, and he just used what he had to do thatMichael Jamin:Job. So we're in agreement here. If you want to do an indie film, great. Just don't spend a lot of money. Also, you don't have, if you write something great, the actors will come out of the word work to be in it, and you don't even have to pay 'em because they're getting footage and they're also being involved in something that could be really great and could blow up and could make their careers. But if the script's no good, you're going to have to beg 'em to do it, because what's in it for them other than bad footage that they can't use?Phil Hudson:I dove headfirst into this stuff when I was first starting, and I would write a script, do one version of it, one draft, and then I would shoot it, do a casting call. People would show up, they'd want to be in it. We'd be on set. And they'd very quickly realized I had no idea what I was doing and I didn't, but I just had the gumption to make it happen. And I remember my lead calling me out one time or shooting this shot, and he's like, dude, what are you doing? We're here. You're not even using light to help add subtext and value. And he's talking about how when you're walking up the stairs, well, if you shot it this way through here, there's a cage and a shadow being cast on my face and emotionally, my character's going through this inner turmoil with his relationship and there's all this.And I was like, I have no idea what you're talking about, because I had no clue. And I wasted time and energy and money doing it, and I was a valuable learning experience for me, and I got that lesson out of it. So yeah, your point, do it as cheap as you can because learning, you're just learning. And that is the school of hard knocks, not the school of theory and philosophy. It's get it done. You're going to learn. You're going to make a lot of mistakes. You're not going to sell the first thing. It's probably not going to win any awards. And if you do, awesome, you did it now, but you're most likely not. And that's okay. It's reps, reps, reps, reps.Michael Jamin:Yes. And I have a lot of respect for people who do it. And even if they come up with something terrible and crappy, well, guess what? They did it. Guess what? They put a lot of energy and work into something and their next piece will hopefully be better. And most people just dream of it. And most people will just say, here's my script. Make my dream come true. But the other people say, here's my script. I'm going to make my dream come true. And it may take long, a long process, but it's putting the work in so good for them.Phil Hudson:Yeah. My first class I went in, I had some credit transfer credits from when I was first in college. So when I went to film school, I was up, maybe I was basically a year ahead when I got there, and I had to take a couple of freshmen film classes because they were requirements. And I remember intro to film, film 1 0 1, we're in this big IMAX theater on our campus, and Peter Grendel, our professor my age is teaching. And his big point from the first lesson was the percentage of people who say they want to be filmmakers versus the people who make films is very different. It's like 0.0001% make a film. He said, so even if you put in all the time, energy, and effort needed to make an indie film that does nothing goes nowhere, you have still done something most people will never do. But most people talk about doing, and that's something to take pride in.Michael Jamin:My daughter shot a little scene in college. She got a scene, a little film that someone wrote, and it was just two people. It was short. It was like three minutes of a young woman. She was the girl and a boy sitting on a staircase talking about something, and it was too short to go anywhere. But I was like, that's interesting. You could have done something. It's easy to shoot. You're just two angles and a master on a staircase. If they had spent a little more time with the script, I go, there's something there for sure. It's something compelling about a boy and a girl who are dating and whatever they were talking about. I was like, it's something small. And the writing, it's about the writing. It's not about anything else as far as, and the acting. But yeah, I mean, just as an experiment, can I write something compelling about two people on a staircase talking about something? And we've seen this stuff. Here's a good one. Mount is a good example, but in Pulp Fiction, when Samuel Jackson and Travolta in that car are talking aboutPhil Hudson:The crown royale with cheese,Michael Jamin:That's interesting. That's interesting. Fun dialogue. You still need a story on top of that. But it's rich, and we all remember it because, or the scene or that small little scene, if you had shot that small scene where Samuel Jackson's talking about, he's in that guy's, there's young guy's house. He breaks the first scene where there's five college kids or whatever that they're threatening. They owe them money. And Samuel Jackson's talking about he's clearly a killer, but he's reformed. He's found Jesus, and he's struggling though. He's struggling to do the right thing. If you shot that one scene and it's an apartment building, that's it. You have a couple guy on a couch and a guy and two guys holding fake guns, that one scene is very interesting and compelling. If that's your movie you made, I want to see more. And it doesn't cost a fortune to write that scene. There's no special effects, I guess in the end had some fake bullets or whatever. But that's it, that that's all you need, A thug, a street thug who's a murderer, but he found Jesus and he's trying to do the right thing. Yeah.Phil Hudson:Yeah. That's great. That whole scene is fascinating. And that's for anybody listening, wanting to learn how to write great dialogue or understand characters. The fact that what's so interesting about that cheeseburger conversation is they are killers, and they're not talking about when we get there, we're going to shoot 'em in the face, or here's how we're going to dispose the body. They've done this so many times that this just, we can talk about why they put cheese on a burger. It's stabs quo. And the story's there because they're talking about the wife and the foot massage and all that stuff as they're standing in the hallway and it just happens and they kick the door and they know let's beat thugs. Right? ButMichael Jamin:How easy are both those scenes? I mean, the first one's a little harder in a car, but they're both very easy in terms of shooting, that wouldn't cost neither one of those scenes cost a fortune. It's all about the writing and the acting will support the writing.Phil Hudson:Yeah. I mean, that's Tarantino like Reservoir Dogs. It's a warehouse. It's a warehouse with some flashbacks outside. The whole thing takes you in one room,Michael Jamin:But even let's say reservoir drugs, which obviously was the one that really made him. But the point I'm trying to make is just write, because you don't have to write a whole movie, just write one compelling scene that promises something really on its own. You're like, I'm hooked. And maybe there's more to it.Phil Hudson:That ties back to your fractals podcast too, which has really stuck with me. And I think about it every time I sit down to write, when I'm structuring scenes and acts and I'm structuring my story, if you can't do a scene, well, how could you do a short, well, if you can't do a short, well, how could you do a full blown act or a TV pilot if you can't do that? Well, how can you do a two hour feature?Michael Jamin:We shot that episode, that podcast episode a long time, probably over a year ago, but it was called something about fractals. I think it wasPhil Hudson:Just called fractals.Michael Jamin:Yeah. And the point I was making is anybody who knows anything about fractals, they're patterns that repeat nature. So if you see a tree, it has a trunk in branches, but if you look at the leaf on the tree, the leaf has a trunk in branches, and then if you look at the cells, so it's about these repeating patterns. And so my point is, for movie, you have to want to write a compelling movie, right? But break down the movie into acts, and each act has to be compelling. Then break down each act into scenes, and each scene is compelling. And then each line has to be compelling. And so you're really just repeating patterns over and over, but on a larger scale. And so if you point out, if you can't write a compelling act, if you can write a compelling scene, how are you going to write a compelling act? Just start with writing a scene. That'sPhil Hudson:It. Yeah. Write the scene, write the scene, write the scene over and over and over again. You can churn out scenes. Even if you just took a week and just focused on one scene, how much better is that going to be than taking a week and powering through 50 pages?And I'm not advocating by the way that you shift your writing style, and it's not necessarily what you teach as the process that we do in Hollywood, and we've seen in TV rooms. What I'm saying is as a writing exercise, getting in your reps to practice the craft of writing, you're going to get faster return. Drilling. This thing, and I talk about this all the time, it's Josh Watkin's making bigger, small circles bigger. So how do you pull back and zoom in on something and focus on the detail work inside of that thing? And in Jujitsu's transitions in this, it's how do I get into a scene fast? How to get out of a scene fast? How do I display things through subtext? How do I have people say things without saying things? What's the thematic thing? What's the energy coming in? And the energy come out? That's all the detail. That's just a film condense. So focus, just do that while you're doing the other stuff.Michael Jamin:That's a good point. And I was going to also say, I'm guilty of this too. When I'm writing my, well, I finished my book, but when I was writing it, I'd have a scene in my mind. I wanted to get to the next scene where also some great stuff was going to happen. And then I kind of just got a little lazy in my transitions. And then when I'd read it again, I'm like, what's going on in this transition? Can I make this transition interesting? Do I have to be lazy and sloppy? Is there a goal to be found in the transition? And then I'd realize, oh, that's kind of where there's some interesting stuff is, so I'm guilty of it too. But you have to be aware. It's not just about a race, and you're not just racing to get to the next scene you are whenPhil Hudson:We talk about enjoy the journey and enjoy the process. This is what we're talking about. You have to love doing this because it ends up getting you somewhere better than where you were before. And the other quote, I believe I've said on the podcast who really stood out to me was an interview with Kobe Bryant, and he just said that nothing he does on the court, he hasn't practiced a thousand times, right? So he's in there practicing, practicing, practicing. He shows up, and you hear this all the time in interviews with other players from the Lakers, they say that they would show up their first day and they'd want to show up early to put in the work. And Kobe Bryant was already there practicing free throws, practicing free throws.Michael Jamin:You're talking about the greatest player or one of the greatest players in the N B A hasty was already there, was acting as if he was a rookie who had never taken a shot in a basketball court.Phil Hudson:All the money, all the skills, all the fame, known name, 70 hour work weeks, just putting in the work.Michael Jamin:If the greatest player has to do it, why do you think you don't have to do it?Phil Hudson:LeBron James, he makes what? A hundred million a year off of all of his endorsement deals. I read, I think in Sports Illustrated, it's like 9 million a year goes into taking care of his body just in trainers massage therapy.Michael Jamin:Wow.Phil Hudson:Why? Because that's his tool. That's his instrument. Your tool is your keyboard or your typewriter, your pad and paper and pen, and you don't need, here's the cool thing. You can write a lot of things without needing a fancy computer or fancy software. You can just sit down and practice this with a pad of paper and a Panama napkin.Michael Jamin:What's your commitment to getting better at the craft? And I get why people just want to, they want fast results, but it's not a fast result kind of game. I don't know how we got here from, should you be a TV writer or a film writer?Phil Hudson:Well, I think we're talking about indie film, we're talking about the process of indie film versus features, but all of this relates it's skillset. And I know you talked about for you, you liked TV writing, and I think with the time we have left, I'd love to hear what are the benefits that you found in TV writing? And I think they tie directly into this, which is there's more work, there's more time to sit, and you do this more than writingMichael Jamin:A feature. But not only that, I feel like TV writing, being a TV writer has helped me improve my writing all around because every week, including writing novels. Including writing films, because every week you have to come up with a new story, and it's the repetitiveness, the repetition of, okay, let's break a story. This week we got to break a story. Next week, we got to break a north story next week. And constantly coming up with new stories, even though they're half hour as opposed to an hour and a half. It's that repetition that really makes you really good. And that's why I feel, and I'm not the only one who thinks this way, if you want to watch a really good comedy, you watch tv, you don't turn to film, although there are some really funny films, pound for pound, you go back to tv.It's that action. That's where the good writers really get good. I'll see a comedy. I don't even know how many come. I tried watching one of these streamers, I'm like, oh, comedy, I'll watch this. And it's terrible. This is terrible. From some unknown, have they spent some time in a TV writer's room? They would know, no, this is not acceptable dialogue. That's not an acceptable joke. You just learn so much by being in television, I feel. And then you could go to TV or a film if you have an opportunity. But the learning ground, I feel, is in tv.Phil Hudson:Yeah. Have you seen The Bear?Michael Jamin:I saw the Pilot. I haven't watched the Rest. DudePhil Hudson:Blew my mind, and it feels like one of the most dramatic films, TV shows I've ever seen. It's short form. It's a comedy, it's a sitcom. It's got all the enemies for these comedy, and it makes you laugh, it makes you cry. It's all those notes, and you just look at it, and I looked up the creator and it's like, man, this guy has produced some of the greatest standup comedians in history. Chris Rock, just tons of people. And it's like, yeah, you're learning this from being around and doing the work. And then that translate into what I think is one of the best comedies on tv,Michael Jamin:AndPhil Hudson:It's great.Michael Jamin:I got to watch it. The problem is Cynthia's already seen it, and so I got to watch it alone, make time to watch it alone.Phil Hudson:I get it. I'm married. I understand.Michael Jamin:Yeah. But there it is. I hope that helps. Yeah.Phil Hudson:One thing I just wanted to add to this conversation was when I first got into this, the advice was really centered around, is this a TV IT idea or a film idea? Not necessarily are you a film writer or a TV writer? And I just wanted to get your thoughts on this. I hear this advice all over the place. The question was, is this something that could end or is this something that could continue? Is this the kind of idea that there's a clear defined ending to this, right?Michael Jamin:I feel likePhil Hudson:TV might've changed that now with our long form, eight to 10 minute, like a TV series ends up being a longer form film. But at the same time, I think there's some weight in that, which is something you tie back to in comedy. Your character doesn't really change at the end. They reset. I'd love your on that.Michael Jamin:Yeah. So if you're coming with a film, is this a TV idea or a film idea? If the character goes on a complete journey, Rocky and Rocky finally wins or goes the distance. It's not a TV show because he's not going to go. It's not a fight of the week. It's just like you take a street bum and you turn into, he went the distance, so it's done. That's it. They made sequels. Sure. Each sequel is basically a remake of the first one, and none of them are as good as the first one because you took a character. The only reason they did sequels is because they, Hey, we can squeeze some more money out of this. The story was over, I'm sorry, the story was over. It was a beautiful story, but it's not like a world of Rocky and Nikki and the gang hanging out that would be hanging out at the training facility at the boxing club. That would be sunny. It's always sunny in Philadelphia, which is fine. That's a TV series. They're just hanging out, people hanging out. So is it a world you're creating, or are you taking a character on a full emotional journey?Phil Hudson:Yeah, and that's an interesting, John Wick one is just great. It's great. It's a great film. John Wick two, I kind of like more than John Wick one because we get into the world, but I wouldn't want John Wick two if I hadn't seen John Wick one and felt like it was satisfying at the end, and you're kind of bummed. The other thing, this is just my thing as a writer, I really hate when characters suffer to the nth degree of suffering and just wrecking, this guy just got his life back and now you're going to ruin his life in the second film. It's a bit of a bummer.Michael Jamin:Yeah. But yeah, so that's what I ask, Yousef, are you creating a world, especially in sitcoms, this is your family. I think of it as, cheers. Do I want to hang out with these people week in and week out? Do I want to let them into my living room? Is that what it is? Because I certainly don't want to let some movies, no. Some movies, no, I don't want to The quiet place quiet. I don't don't want to let them into my living room week after week. That's unsettling to me. Great movie, not a TV show.Phil Hudson:Children are men. Children are men. One of the most impactful films I've ever seen. Haven't watched it again, so many,Michael Jamin:Right? It's enough. Right, right, right. GotPhil Hudson:The lesson. Move on.Michael Jamin:Right. Yeah.Phil Hudson:Great answer, Michael. Thank you. Bye. It was great.Michael Jamin:Alright, everyone, thank you so much. Phil and I have more to talk about. We have some exciting stuff to talk about coming up in future episodes, but thank you so much and for what are we going to talk about, Phil? We got to promote, we have a watch list, our newsletter,Phil Hudson:We got all about it. So you can go to michaeljamin.com/newsletter to join the watch list. You can also go to /watchlist. A lot of people know that one, but you've got that. It's a weekly newsletter. You've got the free lesson. It's the first full free lesson. You've broken into three parts. AMichael Jamin:Screenwriting lesson,Phil Hudson:Right? A screenwriting lesson. If you want to learn more about the very first lesson you ever taught me as a mentor about screenwriting, which I think you were taught, and I think you've taught lots of other people, is what is the definition of a story. So go get that michael jamin.com/free. I think we get three to 500 people a week sign up forMichael Jamin:That thing. Oh wow. That's crazy. We also have, we've been doing free webinars and now right now the schedule's up. We're doing it every three weeks instead of every four weeks. So you can come to that michaeljamin.com/webinar and it's free. Come sit in and thenPhil Hudson:Touring for a P orchestra. That's going to be coming up, I think, at some point, right?Michael Jamin:Yeah, hopefully. But we're hoping that our book, my book is going to drop. I'm really happy with the way it's coming up, but we're doing the audio book now, and so maybe we'll talk a little bit more about that. Maybe we will talk more about that in a different episode. Yeah, if you want to come see me on tour or be notified when my book drops as an audio audiobook as well, Michaeljamin.com/upcoming, and the audiobook is really nice. It's really because I got some music. I have a composer on it. We'll talk about it now. I guess. Anthony Rizzo, who is the composer on Maron, well, I'll talk about it in the next episode. We'll open up, talk about that. So go there, michaeljamin.com/upcoming if you want to see me on tour or be notified me the bookPhil Hudson:Drop. And for everybody watching this, this is going to be a bit out of order, so it'll be the next episode that I'm in. Right? Because the next one, I think you got Steve Lemi comingMichael Jamin:Up. Yeah, Lemi is coming up for episode 100 from Broken Lizard. Alright, everyone, thank you so much. Until next time, keep writing. Thank you, Phil.Phil Hudson:Thank you.This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJamin,writer. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing.

Note: We like our language NSFW salty, and there be spoilers here...Face Front, True Believers! Our three olds, but mostly Mac & Frank, discuss their ignorance of "new" characters like Miles Morales (2011) and Spider-Gwen (2014) in the context of catching up with their Oscar-winning animated film franchise! Excelsior! #MarvelSHP Friend us on Facebook Roll through our tumblr Email us at rolledspinepodcasts@gmail.com Tweet us as a group @rolledspine, or individually as Diabolu Frank & Illegal Machine. Fixit don't tweet. If The Marvel Super Heroes Podcast Blogger page isn't your bag, try the umbrella Rolled Spine Podcasts Wordpress blog. Sony, Marvel Comics Podcast, Spider-Man, Venom, Marvel Comics, Ghost-Spider, Spider-Gwen,

After a long, long road, the rights to the Spider-Man character finally landed with Sony/Columbia and before long, director Sam Raimi was attached to direct. In this episode, we'll take a deep dive into the creation of Raimi's first SPIDER-MAN film, from the early days of its conception, through multiple screenplays (and screenwriters), the casting of Tobey Maguire and Kirsten Dunst in the film's lead roles, all the way through filming and release. We'll also dig into the film's legacy and how it led the way for the current comic book movie boom, in Part 2 of our look at Sam Raimi's SPIDER-MAN Trilogy. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

This is DJ Samer and you're listening to the 112th episode of the Pangea Podcast.  Pangea's second release is already here, and it's by the duo Southern Cross and its aptly called “Comin' Back” after what was a long production hiatus by the duo.  Southern Cross was previously known for work with Sasha collaborator Sam Mollison and Timo Mass' Mama Konda project, along with very memorable releases on Sony/Columbia, Hooj Choons, Endemic, Drag N Drop, Amalgam Audio, We Continue and Stripped Recordings to name just a few. The release has very strong DJ support from none other than John Digweed, Anthony Pappa, Black Coffee and others, so please check its out and support that artists when you have a moment. This month's mix is one that I put together for our last AATM Radio takeover, and it features some melodic breaks, the new Pangea release, and a couple of more gems.  And as always, be sure to leave a comment about the show on my Instagram page @djsamer_pangea … now on to the mix! Featured Artist: DJ Samer (USA) Tracklist: 1. Ben Summers - Away (Framewerk Remix) [Pro B Tech] 2. Bicep - Waterfall (Original Mix) [Ninja Tune] 3. Southern Cross - Comin' Back [Pangea] 4. Southern Cross - Hey Rocco! [Pangea] 5. Darren Brae - Believe (Dave Leck Remix) [Emotional Content] 6. Trilucid - Athena (Original Mix) [UV] 7. Trilucid - Stratos (Original Mix) [Proton Music] 8. Freek Strano - Child Inner (Jamie Stevens Remix) [ASTIR Recordings] 9. George Alhabel - Westbourne (Michael Hooker Remix) [UGENIUS] 10. Luke Brancaccio & Gai Barone - Curious Of Humble [Music To Die For] 11. Petar Dundov - Terca [Just This] Thank you to all the labels and artists for their support. Visit http://www.pangearecordings.com as all episodes are archived in different formats on the website!   Pangea Podcast Landing Page (https://hypeddit.com/djsamer/pangearecordingspodcastepisodecollection) For more information. please “Like” our Facebook Pages: Facebook.com/officialdjsamer Facebook.com/pangearecordings Forward thinking electronic music mixed up by America's leading progressive DJ Samer. For more than twenty years, Pangea Recordings has been at the forefront of American Dance Music and breaking through artists year after year, with over 250 individual releases to its name.  Our supporters span the globe, and are top DJs and Producers such as Sasha, John Digweed, Danny Tennaglia, Cevin Fisher, Jimmy Van M, Hernan Cattaneo, Nick Warren, Paul Oakenfold, Richie Hawtin, Behrouz, Above & Beyond, Max Graham, Booka Shade, Guy J, Microtrauma, Lonya, Henry Saiz, Issac, Baunder (Soundexile), Silinder, Marcelo Vasami, Tini Tun, Aiden, Denis A, CID Inc., Tilt, Betoko, Dan Mangan, Alex Nemec, Barry Jamieson, D:Fuse, Sonic Union, Luke Porter  and more.  Hosted by label boss Samer, this podcast will feature up and coming releases from his self and Pangea Recordings, up and coming producers, as well as legends and pioneers of deep and intelligent dance music.

Can't have Too Much Joy in the studio? William talked about best practices for producing and recording vocals and guitars over the internet, mixing in Pro Tools like a console, Slate Raven, Stream Deck, Sound Flow, drums and his mix bus template. Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is William Wittman, a Grammy Award-winning independent Producer/Engineer/Musician/Songwriter based in New York. He began his career as a musician and moved from there into work as a studio engineer and producer. He held the position of Chief Engineer at several major recording studios. As Producer and Engineer, his credits include the multi–platinum debuts from Cyndi Lauper, Joan Osborne, the Hooters, and The Outfield.  His success as an independent producer led to several years as an A&R Vice President and Staff Producer at two major record labels (Sony/Columbia and BMG/RCA). As a musician, he has appeared on nationally televised shows including The Late Show with David Letterman, the Rosie O'Donnell Show, CBS Late Late Show, Ellen Degeneres, the NBC Christmas Tree Lighting Special, and New Year's Eve in Times Square.  He has also played and sung with many of the artists he has recorded and is a member of alternative rock band Too Much Joy (Giant/Discovery/Sire Records). He now plays bass guitar in the Cyndi Lauper Band, recording and touring internationally, and also serves as the Musical Director. He is also a regular participant in the production expert website and podcast. THANKS TO OUR SPONSORS! https://UltimateMixingMasterclass.com https://www.solidstatelogic.com https://www.Spectra1964.com https://MacSales.com/rockstars https://iZotope.com/Rockstars use code ROCK10 to get 10% off any individual plugin https://jzmic.com use code ROCKSTAR to get 40% off the Vintage series mics https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% off https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/63fvu1Juph6WrDYMQUUH1H?si=76bea9c9ea9645ac If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/391

Your host, Jennifer Helene, talks with Elizabeth Solaru, the Founder of Elizabeth's Cake Emporium. Elizabeth Solaru is a world-renowned sugarcraft teacher, her company creates beautiful bespoke wedding cakes, party cakes, cupcakes, and decadent dessert tables that taste as gorgeous as they look. They're known for their intricate detail, realistic sugar flowers, sugar pearls, and edible jewelry. Their cakes are delivered nationally and worldwide to the most prestigious venues and five-star hotels in the world. Elizabeth's Cake Emporium is the winner of Wedding Blog's Best Cake Designer, the only three-time winner of Wedding TV's The Great Cake Bake, and their cakes have appeared on Channel 4, the BBC, Sky Living and in the remake of a Sony Columbia's film ‘My Best Friend's Wedding'.To learn more about Elizabeth's work, click HERE.If you'd like to be a guest on Vitality: Women Leading Audaciously, click HERE.

The Upside called and wants its January counter-programming American remake marketing campaign back. That's right, we're reviewing A Man Called Otto this week, which hits wide release tomorrow through Sony/Columbia. The Pittsburgh-set movie stars Tom Hanks as (you guessed it) Otto, and the Cinemaholics have a wonderful time debating Hanks' performances over the last year. We also discuss (briefly) Marc Forster's filmography thus far and how this new movie compares to A Man Called Ove, the original Swedish adaptation of the book by Fredrik Backman. Intro Music: “Freddo Espresso (feat. Pixie Dust)” by No Spirit, Sátyr & Phlocalyst Links: Follow us on Twitter: Jon Negroni, Will Ashton Check out our Cinemaholics Merch! Check out our Patreon to support Cinemaholics! Email your feedback to cinemaholicspodcast [at] gmail.com. Connect with Cinemaholics on Facebook and Twitter. Support our show on Patreon: https://www.patreon.com/cinemaholicsSee omnystudio.com/listener for privacy information.

We're goin to California this episode with guitarist Billy Alexander from the band YYNOT who are touring in 2023!Billy continues to tour and record for other artists including with Sony/Columbia recording artist Anna Nalick and playing lead guitar/vocals for John Waite (The Babys, Bad English, Alison Krauss). And in addition to lending his exceptional skills as a lead guitarist, he is establishing himself as a world class songwriter and producer in the world of Pop and Contemporary Country music!Billy has written and recorded with Ron Blair of Tom Petty and The Heartbreakers as well as continuing scheduled Nashville writing trips, performing multiple live dates each month and a maintaining a busy schedule with producing and recording. Billy is also the lead guitarist/songwriter and producer for the progressive rock band YYNOT who is touring nationally.          https://www.yynotband.com/  https://www.billyalexander.net/

Note: We like our language NSFW salty, and there be spoilers here... Face Front, True Believers! The boys are back to celebrate Sam Raimi's blockbuster Spider-Man films! Diabolu Frank, Mr. Fixit, and Illegal Machine open up about their experience with the early issues of Amazing Spider-Man, then each of the three films and their soundtracks! Excelsior! As you can tell, we love a fierce conversation, so why don't you socialize with us, either by leaving a comment on this page or... #MarvelSHP Friend us on Facebook Roll through our tumblr Email us at rolledspinepodcasts@gmail.com Tweet us as a group @rolledspine, or individually as Diabolu Frank & Illegal Machine. Fixit don't tweet. If The Marvel Super Heroes Podcast Blogger page isn't your bag, try the umbrella Rolled Spine Podcasts Wordpress blog. Jack Kirby, Marvel Comics, Marvel Comics Podcast, Spider-Man, Stan Lee, Steve Ditko, Sony, Venom

Chris Schwartz - CEO Ruffhouse Records, Cypress Hill, Kris Kross, the Fugees, Ms. Lauryn Hill, NAS and many others. He wrote an amazing book called "Ruffhouse - From the Streets of Philly to the Top of the '90s Hip-Hop Charts". Listen to his amazing story of being resilient and overcoming a complicated childhood and all the ups and downs of the amazing legend in the Hip Hop space. Find out what it took to get their unprecedented distribution with Sony/Columbia. Along with his partner Joe "The Butcher" Nicolo, who produced the Rolling Stones, Will Smith, Aerosmith and Bob Dylan to name a few, they became the most iconic Hip-Hop label of the 90s.

Hvaðan kom hugmyndin að Kóngulóarmanninum? Hver átti að leikstýra?  Afhverju var teaser trailerinn tekinn úr umferð?Þetta er margt fleira í stútfullum þætti um fyrstu Spider-Man kvikmyndina!Fylgstu með á www.facebook.com/videoleigan og á Instagram @videoleiganhladvarpSendu okkur línu á videoleiganhladvarp@gmail.com„Að horfa á myndband“ röddin í upphafi er einhver sem allir VHS unnendur þekkja, goðsögnin Gylfi Pálsson.Þemalag Videoleigunnar er samið af Kristjáni Sturla Bjarnasyni.-Tímakóði:00:00 - Intro og uppruni Spider-Man13:51 - Spider-Man í sjónvarpi20:10 - Spider-Man kvikmyndir sem aldrei urðu50:35 - Sony/Columbia kaupa réttinn01:00:07 - Sam Raimi01:17:25 - Leikarar01:40:15 - Undirbúningur og tökur02:04:02 - Eftirvinnsla og frumsýning2:25:30 - Okkar pælingar

Sony / ColumbiaIn shortie #39/38 (we're confused too), Germar reviews Venom: Let There Be Carnage, with super light spoilers. Follow him everywhere @GermarDerron.

¡Los cines se pintan de rojo (más o menos) con el estreno de El Venenoso 2: Que se armen las carnitas, y los covachos más valientes se animaron a verla para poder platicarla a gusto! SINOPSIS Eddie Brock (Tom Hardy) y su simbionte Venom todavía están intentando descubrir cómo vivir juntos cuando un preso que está en el corredor de la muerte (Woody Harrelson) se infecta con un simbionte propio. FICHA COVACHA VIDEO-PODCAST FECHA: Sábado 9 de octubre, 2021. MESA: Valentín García, Virginia Cárceles "Bizcochan" y Ana Volta. PODCAST & REDES: Valentín García. PELÍCULA VENOM CARNAGE LIBERADO Título original: Venom Let there be carnage Propuesta covacha: El venenoso 2 - que se armen las carnitas. Director: Andy Serkis. Protagonistas: Tom Hardy, Michelle Williams y Woody Harrelson. Guion: Kelly Marcel. Historia: Tom Hardy, Kelly Marcel. Música: Marco Beltrami. Fotografía: Robert Richardson. Producción: Sony / Columbia. Clasificación: B. Año: 2021

Original Airdate 3/18/2015 Sony/Columbia are releasing a new #Cinderella2021 movie on September 3rd. However, way back in 2015 #Disney was just starting to remake their animated features into live action movies. Robert Winfree and Mark Radulich reviewed one of the earliest ones, #CinderellaMovie 2015! To check us out on the player of your choice click here https://linktr.ee/markkind76

Original Airdate 3/18/2015 Sony/Columbia are releasing a new #Cinderella2021 movie on September 3rd. However, way back in 2015 #Disney was just starting to remake their animated features into live action movies. Robert Winfree and Mark Radulich reviewed one of the earliest ones, #CinderellaMovie 2015! To check us out on the player of your choice click here https://linktr.ee/markkind76

GRAMMY nominated musician Dr. Martin Taylor, MBE, is a virtuoso guitarist, composer, educator and musical innovator whom Acoustic Guitar magazine calls  ‘THE Acoustic Guitarist of his Generation'. Widely considered to be the world's foremost exponent of solo jazz and fingerstyle guitar playing, Martin possesses an inimitable style that has earned him global acclaim from fellow musicians, fans and critics alike. He dazzles audiences with a signature style that artfully combines his virtuosity, emotion and humor with a strong, engaging stage presence. Taylor has enjoyed a remarkable musical career spanning across five decades, with more than 100 recordings to his credit. Completely self-taught beginning at the early age of 4, he has invented and developed a unique way of playing the guitar that is greatly admired, and often emulated, by guitarists all over the world. In addition to his solo concerts and recordings, he has also collaborated with musicians from many different musical genres, including: Jeff Beck, Tommy Emmanuel, Bill Wyman, Chet Atkins, Stephane Grappelli, David Grisman, George Harrison, Jamie Cullum, Bryn Terfel, Dianne Schuur and Gary Burton.Taylor brings a rich and varied musical heritage to his play, to the extent that Tommy Emmanuel remarked that [Taylor] is “a portal into all that came before.” Over his stellar career, Taylor has amassed a record 14 British Jazz Awards as a guitarist. Several of his albums have been in the Top 10 in the USA and Europe.HistoryFrom 1979 to 1990, he toured the world and recorded over 20 albums with the French jazz violin legend STEPHANE GRAPPELLI. Their album with Vassar Clements “Together At Last” won a Grammy Nomination in 1987. Monsieur Grappelli described him as “A great artist, rich in talent and elegance.”His ground breaking solo album ARTISTRY, produced by Steve Howe, was released in 1992 to much critical acclaim. It was #1 in the HMV Jazz Charts for a record 12 weeks and launched his career as an international solo artist. After two very successful albums for Sony/Columbia, KISS AND TELL and NITELIFE, he went on to record several albums for The Guitar Label.In 1999, Taylor was awarded an Honorary Doctorate from the University of The West of Scotland, and in 2002, he was appointed MBE (Member of the Order of the British Empire) “For Services To Jazz Music” on The Queen's Birthday Honours List, which he received personally from Her Majesty The Queen at an investiture at Buckingham Palace. His autobiography “Martin Taylor- Autobiography of a Travelling Musician” was released in 2005.In 2007, Taylor received the prestigious BBC Radio 2 “Heart of Jazz” Award in recognition of his career in music and was presented with a Lifetime Achievement Award from the North Wales Jazz Guitar Festival for his “Contribution to Jazz Guitar Worldwide”.2010 was a landmark year for Martin Taylor. The year started with the prestigious Royal Scottish Academy of Music and Drama presenting him with his second honorary doctorate. In April 2010, the Martin Taylor Guitar Academy was launched, an online guitar school that propelled Taylor into becoming one of the world's most recognized and beloved online guitar teachers. This innovative online learning program has been featured on NPR, BBC, Fox News and in the Los Angeles Times and today has students in over 60 countries.Another milestone was reached in 2010 with the world premier of an exciting new work for guitar, orchestra and big band with the creation of Martin Taylor's 'Spirit of Django Suite'. Based on themes by Martin Taylor and arranged by Guy Barker, the debut featured Martin Taylor, his group Spirit of Django, the Guy Barker Big Band, and the Royal Liverpool Philharmonic Orchestra.Later that year, Taylor was invited to perform a special private concert at Windsor Castle for Prince William on the eve of his engagement to Kate Middleton. 2011 featured extensive touring of the Far East, USA, Europe and UK as Martin's new online profile introduced his music to younger and more international audiences. Taylor also launched the first two models in his own guitar range with Korea-based guitar manufacturer Peerless. The 'Maestro' and 'Virtuoso' have gone on to achieve both critical and commercial success globally.With the Queen's Diamond Jubilee and the London Olympics in 2012, the BBC made a special performance of the 'Spirit of Django Suite' by Martin Taylor and the Britten Symphonia part of their Proms concerts at London's Royal Albert Hall. Later that year, Taylor joined the International Guitar Night for a three-month tour of the US and Canada.In 2013, Martin played over 120 shows, as well as finding time to release a new duo album with Tommy Emmanuel and guest on a second album with British actor and blues musician Hugh Lawrie. At the year's end, Taylor received the BrandLaureate International Brand Personality Award in Asia. Previous recipients have included Steve Jobs, Hillary Clinton, Nelson Mandela and Mark Zuckerberg. 2014 sees Taylor undertaking extensive touring, both solo and with his new group, The Great Guitars.   Film/TV CreditsHis film credits include the French comedy “Milou En Mai” directed by Louis Malle, and more recently his composition, “Green Lady” is featured in the Andrew Piddington movie “The Killing of John Lennon”. His many TV credits include the theme music for “After You've Gone” featuring Nicholas Lyndhurst and Celia Imrie, and the cult “Nicole-Papa” TV commercials for the Renault Clio.When not touring, Martin Taylor divides his time between Scotland and California, where the Martin Taylor Guitar Academy is based.★ Support this podcast on Patreon ★

Der Indie-Musiker Enno Bunger veröffentlichte 2019 sein viertes Album auf Sony / Columbia und gründete Ende 2020 ein Start-Up für ganz besonderes Livestreaming. Da auch ihm alle Liveauftritte aufgrund der Pandemie wegbrachen, setzte sich Bunger intensiv mit den Möglichkeiten von Streamingkonzerten auseinander. Er testete alle Plattformen und kam zu dem Schluss, dass ihn keine dieser Services qualitativ überzeugen, wenn es um die Übertragung von Musik geht. Zusammen mit Timo Mämecke gründete er schließlich micdrops und spielte seitdem über 100 Konzerte mit dem eigenen Tool, das jetzt ausgerollt wird. Die Besonderheit: Stereo-Qualität und nahezu keine Latenz – etwas das die gängigen Konferenztools derzeit nicht leisten. Enno Bunger berichtet im Redfield Podcast über seinen eigenen Background als Musiker. Gemeinsam mit Gastgeber Alexander Schröder, der schon vor vielen Jahren Konzerte mit Bunger veranstaltete, schaut er auf seinen musikalischen Karriereweg und die eigenen Ambitionen. Er erklärt, wie er dazu kam, ein Start-Up zu gründen, welche Herausforderungen hier auf ihn warteten und wie die Zukunft von micdrops aussehen könnte. www.micdrops.de www.redfield-podcast.de

Episode 180  of The Quarantine Tapes concludes the two-part special video presentation of the conversation featuring Henry Rollins, the first guest on The Quarantine Tapes one year ago. Henry Rollins joins Onassis LA Executive Director Paul Holdengräber, dublab co-founder Mark “Frosty” McNeill, and dublab Executive Director Alejandro Cohen for a socially distant conversation on the past year of The Quarantine Tapes, art during the pandemic, and what might be next after this moment.Their conversation touches on what the role of radio has been during the pandemic, the process of working during this time, and what it means to create and nurture community over the radio. Then, the guests discuss the origins of dublab and the joys of connecting dublab’s community to The Quarantine Tapes’ community over the past year and consider what might come next as we move beyond this time. About Henry Rollins:In describing Henry Rollins, the tendency is to try to squeeze as many labels as possible into a single sentence. “Rollins is many things,” says The Washington Post, “diatribist, confessor, provocateur, humorist, even motivational speaker…his is an enthusiastic and engaging chatter.”  Entertainment Weekly’s list includes “Punk Rock icon. Spoken word poet. Actor. Author. DJ. Is there anything this guy can’t do?” TV Guide has more concisely called him a “Renaissance Man” but if Henry Rollins could be reduced to a single word, that word would undoubtedly be “workaholic.” When he’s not traveling, Rollins prefers to keep a relentless schedule full of work, with gigs as an actor, author, DJ, voice-over artist and TV show host to name a few of the roles that keep his schedule full. Rollins has toured the world as a spoken word artist, as frontman for both Rollins Band and Black Flag and as a solitary traveler with insatiable curiosity, favoring road-less-traveled locales in places such as Nepal, Sri Lanka, Siberia, North Korea, South Sudan and Iran.About Mark “Frosty” McNeill:Mark “Frosty” McNeill is a DJ, radio producer, curator, and filmmaker based in Los Angeles. He’s the founder of  dublab.com, a pioneering web radio station that has been exploring wide-spectrum music since 1999. McNeill hosts weekly radio shows for dublab and Red Bull Music Academy Radio. As Adventure Time, he and Daedelus have created new worlds of sound and alongside dublab colleagues he activates the Golden Hits dream machine. Frosty has performed high concept DJ sets around the globe with the mission of sharing transcendent sonic experiences. About Alejandro Cohen:Alejandro Cohen is a musician and composer from Los Angeles, California, and the executive director of DUBLAB. Over the last two decades, Cohen has released music under numerous projects and groups including Languis and Pharaohs. He’s composed music for TV shows, documentaries and educational materials, and recorded more than two hundred solo artists and bands as a sound engineer and consultant for dublab, KPFK 90.7 FM, Sony/Columbia and the Society for the Activation of Social Space Through Art and Sound (SASSAS). As dublab’s Executive Director, Cohen curates the station’s programming and podcast offerings, fundraises for the organization and curates the annual ambient music event Tonalism. About Paul Holdengräber:Paul Holdengräber is an interviewer and curator. He is the Founding Executive Director of Onassis Los Angeles (OLA). Previously, and for 14 years, he was Founder and Director of The New York Public Library’s LIVE from the NYPL cultural series where he interviewed and hosted over 600 events, holding conversations with everyone from Patti Smith to Zadie Smith, Ricky Jay to Jay-Z, Errol Morris to Jan Morris, Wes Anderson to Helen Mirren, Werner Herzog to Mike Tyson.Before his tenure at the Library, Holdengräber was the Founder and Director of “The Institute for Art & Cultures” at the Los Angeles County Museum of Art, and a Fellow at the Getty Research Institute in Los Angeles. He has a Ph.D. in Comparative Literature from Princeton University and has taught at Princeton University, Williams College, Claremont Graduate University among others. In 2003, the French Government named Holdengräber Chevalier des Arts et des Lettres, and then promoted him in 2012 to the rank of Commandeur des Arts et des Lettres. In 2010, The President of Austria awarded him the Austrian Cross of Honor for Science and Art.About DUBLAB:DUBLAB is a non-profit radio station based in Los Angeles. Since 1999, DUBLAB has been broadcasting wide spectrum music from around the world daily. Their programming has expanded to include the production of original art exhibitions, films, record releases, education programs related to health, youth, development, education creative processes and events with leading institutions in LA and beyond. DUBLAB is a platform for discovery and cultivation of next - wave music, arts and culture.

BunnyMightGameU is joined this week by friend-to-the-GCG-show BK: BlackKrystel of Sony/Columbia's Lost Rings; OS NYC Gaming & Revenge of the Film Nerds Podcast... and now... Announcing their partnership with THE QUEENS GAMING COLLECTIVE (@Queensgg on all platforms) Queens Gaming Collective: building out the first established, women-led, gaming lifestyle organization growing opportunities for female representation in the gaming and content creation spaces. As royalty in the gaming community – a Queen – and her royal court can bring more fans into the fold and closer to their gaming heroes while simultaneously building awareness around gaming culture and partnering with brands and sponsorship campaigns all across the globe. Enjoy the episode! P.S. ***SD Trinity & Yeliz will be joining us next week for dope bonus content, as well! Stay tuned, we love youuuuuu! --- Send in a voice message: https://anchor.fm/girlscantgeek/message

BunnyMightGameU is joined this week by friend-to-the-GCG-show BK: BlackKrystel of Sony/Columbia's Lost Rings; OS NYC Gaming & Revenge of the Film Nerds Podcast... and now... Announcing their partnership with THE QUEENS GAMING COLLECTIVE (@Queensgg on all platforms) Queens Gaming Collective: building out the first established, women-led, gaming lifestyle organization growing opportunities for female representation in the gaming and content creation spaces. As royalty in the gaming community – a Queen – and her royal court can bring more fans into the fold and closer to their gaming heroes while simultaneously building awareness around gaming culture and partnering with brands and sponsorship campaigns all across the globe. Enjoy the episode! P.S. ***SD Trinity & Yeliz will be joining us next week for dope bonus content, as well! Stay tuned, we love youuuuuu!

A tribute album is a way for musicians to pay homage to an artist they love. While not all of them are good, the great ones let the music shine through. This week, hosts Jim DeRogatis and Greg Kot talk all things tribute and review the last release from late producer Hal Willner, a tribute to Marc Bolan. Featured Songs:John Cale, "Hallelujah," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991R.E.M, "First We Take Manhattan," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991Nino Rota, "8 e 1/2," Fellini e Rota, C.A.M., 1963The Carla Bley Band, "8 1/2," Amarcord Nino Rota, Hannibal, 1981Leonard Cohen, "Hallelujah," Various Positions, Columbia, 1984Jeff Buckley, "Hallelujah," Grace, Columbia, 1994The House of Love, "Who By Fire," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991Leonard Cohen, "Who By Fire," New Skin for the Old Ceremony, Columbia, 1974Nick Cave and the Bad Seeds, "Tower of Song," I'm Your Fan: The Songs of Leonard Cohen, Atlantic, 1991Bob Dylan & Mavis Staples, "Gonna Change My Way of Thinking," Gotta Serve Somebody: The Gospel Music of Bob Dylan, Sony/Columbia, 2003ZZ Top, "Reverberation (Doubt)," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990John Wesley Harding, "If You Have Ghosts," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Bongwater, "You Don't Love Me Yet," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Primal Scream, "Slip Inside This House," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Doug Sahm & Sons, "You're Gonna Miss Me," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Butthole Surfers, "Earthquake," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Julian Cope, "I Have Always Been Here Before," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990R.E.M., "I Walked With A Zombie," Where The Pyramid Meets The Eye: A Tribute To Roky Erickson, Sire, 1990Bobby Darin, "Mack the Knife," That's All, Atco, 1959John Zorn, "Der Kleine Leutnant Des Lieben Gottes (The Little Lieutenant of the Loving God)," Lost In The Stars: The Music Of Kurt Weill, A&M, 1985Marianne Faithful & Chris Spedding, "The Ballad Of The Soldier's Wife," Lost In The Stars: The Music Of Kurt Weill, A&M, 1985Frank Sinatra, "September Song," Point of No Return, Capitol, 1962Lou Reed, "September Song," Lost In The Stars: The Music Of Kurt Weill, A&M, 1985T. Rex, "Bang a Gong (Get It On)," Electric Warrior, Fly, 1971Kesha, "Children of the Revolution," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Nick Cave, "Cosmic Dancer," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020T. Rex, "Cosmic Dancer," Electric Warrior, Fly, 1971T. Rex, "Life's a Gas," Electric Warrior, Fly, 1971Lucinda Williams, "Life's a Gas," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Elton John & U2, "Bang a Gong (Get It On)," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020T. Rex, "Rock On," The Slider, EMI, 1972Perry Farrell, "Rock On," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Peaches, "Solid Gold, Easy Action," Angelheaded Hipster: The Songs of Marc Bolan & T. Rex, BMG, 2020Bob Mould, "Siberian Butterfly," Blue Hearts, Merge, 2020  

Ale Cohen and Mark "Frosty" McNeill share their journey through “experimenting with sound” and community in building the Internet radio collective DUBLAB over the past two decades. They share what inspired and drove them to build this institution and how it has shifted gears in our listen-from-home global era.   Dublab is not your average radio station. Mark calls it “experimentation with sound” that was formed as a reaction to the 1996 Telecommunications Act, which forced the closure of low-power stations. We talked about online radio as a “misuse of technology” -- as a “hack” and a mutant use of tech. Initially, dublab acted as “an excuse to gather the creative community of Los Angeles.” They share stories of how contemporary much often started out of the studio and how dublab became a testing ground for new sound and to honor the music that went before. Guests: Mark “Frosty” McNeill, Founder, and Alejandro Cohen, Director, dublab Alejandro Cohen is a musician and composer from Los Angeles, and the Director of non-profit radio station DUBLAB. Over the last two decades, Cohen has released music under numerous projects and groups including Languis and Pharaohs. He has composed music for TV shows, documentaries, and educational materials, and recorded more than two hundred solo artists and bands as a sound engineer and consultant forhttp://dublab.com/ ( dublab.com), KPFK 90.7 FM, Sony/Columbia, and the Society for the Activation of Social Space Through Art and Sound (SASSAS). As Executive Director of the Internet radio station and creative collective DUBLAB, Cohen curates the station's programming and podcast offerings, fundraises for the organization, and curates the annual ambient music event Tonalism. Mark “Frosty” McNeill is a DJ, radio producer, sonic curator, filmmaker, and creative community builder based in Los Angeles. He was the founder of http://dublab.com/ (dublab.com), a pioneering web radio station that has been exploring wide-spectrum music since 1999. McNeill hosts https://www.dublab.com/shows/celsius-drop/ (Celsius Drop), a weekly dublab radio show and has produced long-running programs for Red Bull Radio, Marfa Public Radio, and KPFK 90.7fm. McNeill co-curated/produced the https://lightintheattic.net/releases/4714-pacific-breeze-japanese-city-pop-aor-boogie-1976-1986 (Pacific Breeze) compilations of Japanese City Pop music for Light in the Attic Records as well as Somewhere Between, a forthcoming album focused on the more experimental side of Japanese pop. His output on a multitude of international media platforms has focused on sharing transcendent sonic experiences. Mentioned Links Email: info@dublab.com Frosty Web: http://dublab.com/djs/frosty (dublab.com/djs/frosty) Twitter: http://twitter.com/dublabfrosty (@dublabfrosty) Instagram: http://instagram.com/dubfrosty (@dubfrosty) Facebook: http://facebook.com/dubfrosty (@dubfrosty) Ale Web: https://www.dublab.com/djs/ale Dublab Web: https://www.dublab.com/ Twitter: https://twitter.com/dublab Instagram: https://www.instagram.com/dublab/ Facebook: https://www.facebook.com/dublab/ (https://www.facebook.com/dublab/)  Linktr.ee links: https://linktr.ee/dublab (https://linktr.ee/dublab)  KUSC - https://www.kusc.org/ (https://www.kusc.org)  KXSC - https://kxsc.org/ (https://kxsc.org)  SASSAS - The Society for the Activation of Social Space through Art and Sound - http://sassas.org/ (http://sassas.org)  Echo Park Film Center - Your Host: Gigi Johnson, EdD I run transformative programs, speak/moderate, invest, advise, and produce multimedia on creativity and technology.  I taught for 22 years at UCLA, where I ran the Center for Music Innovation and the podcast "Innovating Music," built four industry-connecting programs, and taught undergraduates, MBAs, and executives about disruption in creative industries.  Before UCLA, I financed media M&A at Bank of

Evgeni Kouris verfügt über mehr als ein Jahrzehnt Erfahrung als erfolgreicher Unternehmer, Technologieexperte, strategischer Berater, Künstler und Community Builder. Er arbeitet an der Schnittstelle von Strategie, Technologie, Innovation und Kultur. Erwähnungen und Ressourcen: www.newmittelstand.org (https://www.newmittelstand.org/) Der Weg zum erfolgreichen Unternehmer: wie Sie und Ihr Unternehmen neue Dynamik gewinnen Stefan Merath (Buch) www.Humix.org (https://Humix.org) Objectives and Key Results (OKRs) (https://de.wikipedia.org/wiki/Objectives_and_Key_Results) E-Book: 21 Fragen für mehr Klarheit im Business (https://simonmcschubert.de/klarheit/) Über folgende Themen sprechen wir: Muss man sich auf eine Sache fokussieren? Kann man auch mehrere Themen im Leben haben, auf die man sich fokussiert? 17:43 Was ist New Mittelstand? Neue Wirtschaftssysteme und wie wir Veränderung bewirken 41:05 Warum ist New Mittelstand gerade jetzt so relevant? 56:57 Wie kann eine Organisation die 3Ps profit, people und planet bestmöglich leben? Die Bedeutung von Kultur und wir sie verändern können Gast dieser Folge: Evgeni Kouris Evgeni Kouris (柯一夫) verfügt über viele Jahre Erfahrung als Unternehmer, Technologieexperte, Berater, Künstler und Community Builder. Er arbeitet an der Schnittstelle von Strategie, Technologie, Innovation und Kultur. Sein Fokus liegt auf drei verschiedenen Karrieren: Zunächst führte Evgeni als strategischer Berater und Technologieexperte bei der Boston Consulting Group (BCG) umfangreiche digitale Transformations- und Innovationsprogramme in den Bereichen Bankwesen, Einzelhandel und Telekommunikation durch und half dabei, die digitale Kerngruppe sowie Design- und Engineering-Serviceprogramme bei BCG aufzubauen. Zweitens wurde Evgenis Leidenschaft für Kultur durch seine Erfahrung als Musiker bei Timid Tiger beflügelt. Timid Tiger ist eine von der Kritik gefeierten Band, die 3 Alben über Sony Columbia und Warner/Chappell veröffentlichte und über 10 Jahre lang durch Europa tourte. Drittens demonstrierte Evgeni als Startup-Gründer in Berlin seine visionäre technische Denkweise, indem er zwei Jahre vor Pokémon GO eines der ersten mobilen AR-Spiele weltweit startete. Über 500.000 Downloads erreichten in verschiedenen Kategorien in über 35 Apple-Ländern die Nummer 1 Appstore. Anschließend bewies er seine unternehmerische Widerstandsfähigkeit, indem er das Geschäft auf B2B-Gamification umstellte, über 1,5 Millionen Finanzmittel von europäischen Spitzeninvestoren sammelte und eine zweijährige Umstellung des Geschäfts auf ein profitables Mittelstand- / KMU-Unternehmen durchführte. Evgeni hat seinen Sitz in Berlin. Sein Fokus liegt auf der Beratung in den Bereichen Technologie, Innovation und Transformation sowie die NewMittelstand-Bewegung in Europa zu stärken.

As a singer/songwriter, Evangelia’s sound ranges from acoustic ballads to pop with an electronic edge to indie folk. Join us as we explore the universal connections between music, optimism, self-awareness, and authenticity with this talented artist fueled by creativity, her Greek culture, collaboration, and an unbridled passion for life.

My guest on this episode is Leslie Gaston-Bird, who is a post-production engineer, governor-at-large for the Audio Engineering Society, and a former Associate Professor of Recording Arts at the University of Colorado Denver. Leslie's first gig was at National Public Radio headquarters in Washington, D.C. where she worked on shows like “Morning Edition.” “All Things Considered”, “Talk of the Nation” and “Performance Today,” She then moved to Colorado Public Radio where she earned the Radio and Television Digital News Association’s Edward R. Murrow Award for Large Market Documentary. It was in Denver where she started her career in post-production at the Post Modern Company restoring soundtracks for classic Sony / Columbia films dating as early as the 1930’s. In 2011 she was granted a Fulbright award to research Blu-Ray audio at the University of York in York, England, which led to ongoing research with Dolby Labs. She’s also the author of the book Women In Audio. During the interview we spoke about working at NPR in the days of tape, cleaning up movie soundtracks before noise reduction plugins, tracking down women audio pioneers to interview, and much more. On the intro I’ll take a look at Spotify accounts being hacked, and how the music and audio gear business lives comfortably with technology.

Lisbon Kid Guest Mix |It's an absolute privilege to welcome Rui Da Silva to this week's show. Rui has prepared this 60 minute mix under his Lisbon Kid guise. Lisbon Kid is a London-based alternative acoustic electronica duo, comprised of Portuguese musician producers Rui da Silva and Danny de Matos. Rui da Silva is best known for his multi-million selling worldwide dance-floor smash and UK number one ‘Touch Me'. Danny de Matos is an award-nominated indie/alternative TV ad music composer and songwriter producer, scoring for global brands such as Apple, BBC, Coke, Suzuki, amongst others, and working with alternative pop artists such as Republica and more recently, Sony Columbia's new female alternative pop indie starlet Chloe Howl.https://www.mixcloud.com/LisbonKid/ new single 'We Look At The Stars' featuring Sarah Cracknell is out 25th November. You can pre-order here https://itunes.apple.com/gb/album/we-look-at-stars-feat.-sarah/id1171346447

After a long break (sorry) the worlds best stranded on a desert island snack based podcast is back!We kick season 2 off with a musical treat featuring some of the hottest music producers of the moment, WiDE AWAKE.Production credits include stars like Stormzy, Wiley, Pitbull and Will Smith. Record labels such as Sony/Columbia, DIM MAK and Lowly Palace are taking notice and their raucous DJ sets have LAID WASTE to the likes of Creamfields, NASS, Boothaus, fabric and ADE .Across their catalogue they’ve amassed over 15 million streams and 10 million views gaining fans across the world.Mixing Trap with dashes of everything from grime to hardstyle, they have found support from a huge range of tastemakers including Skrillex, DJ Target, Annie Mac, DJ Fresh, MistaJam, Hardwell and Flux Pavilion. They’ve released a bunch of successful singles such as ‘Ready, ‘Love Me’ (feat. Jacob Banks), DownUp (feat. Wiley), ‘Savages’ (w/ Lady Bee) alongside many more. Their latest single ‘Holding On’ featuring Luke Burr and is available to listen to in all the usual places.https://open.spotify.com/artist/7bKJsFgjE6XoO5fDhTCCqXhttps://soundcloud.com/wewideawake@WorldWideAwake See acast.com/privacy for privacy and opt-out information.

In the latest episode of #SimplyRobotixPod I get immersed in the world of Hiccup and Toothless. I’ve never watched any of the movies in this trilogy so I thought it could be fun and funny to compare my assumptions with reality. Use the hashtag #simplyrobotixpod to join in on the conversation . . Animation News -Via Cartoon Brew twitter With the Walt Disney Company's purchase of Fox, they control 39% of the U.S. box office in 2019. That's more than the next top 3 studios COMBINED: Universal (15.5%), Warner Bros. (14.7%), and Sony/Columbia (5.9%). Disney owns the following: Hulu, ESPN, ABC, FOX, FX, Marvel, Lucasfilms, Nat Geo & A&E . -Via Cartoon Brew -Disney To Release 4 Fox Animated Features, But The Future Of Blue Sky In Question https://www.cartoonbrew.com/feature-film/disney-to-release-4-fox-animated-features-but-the-future-of-blue-sky-in-question-173867.html . -Sonic pushed back Directed Jeff Fowler makes announcement on twitter “Taking a little more time to make Sonic just right.” new date is 2/14/20 https://twitter.com/fowltown/status/1131937685700980736?s=21 . - Adventure Time' Alum Sets Netflix Animated Series 'City of Ghosts' (Exclusive) https://www.hollywoodreporter.com/behind-screen/adventure-time-alum-elizabeth-ito-sets-netflix-animated-series-city-ghosts-1210711 . -Urban Legendz’ First Look: Animators Unite For 1980s Coming-Of-Age Tale https://deadline.com/2019/05/urban-legendz-first-look-animators-unite-for-1980s-coming-of-age-tale-1202620176/ . - SPONGEBOB NEWS Tim Conway, the legendary voice of Barnacle Boy, has passed away. . - The Mighty Grand Piton https://www.catsuka.com/news/2019-05-03/the-mighty-grand-piton-par-wesley-louis-et-le-studio-the-line . . Connect with me on social media @Simplyrobotix Use the hashtag for the show #SimplyRobotixPod

Summer-ized Sessions resident Kisch brings you the best of the best in house and tech house, with huge hitters from the likes of The Chemical Brothers, The Golden Boy, Offaiah, Jack Back, Carnao Beats, Prospa and more. Residents Kieren Lythgow and Liam Moriarty provide their recent favourites in this month's "resident picks", and we're incredibly excited to have month's guest mix coming from DFTD, Glasgow Underground, Mother Recordings and Armada Subjekt's CASSIMM. IN THE MIX - CASSIMM ------------------------------------------------------ The CASSIMM project was born in 2012 and he was pleasantly surprised by the success of his first release," Silent to Me " as it flew straight to the top ten of Beatport chart and licenced by Sony Columbia.Followed by releases on Labels as Mother recordings, Snatch! records, DFTD, Glasgow Underground, 303Lovers, NONOSTOP and others where he's now recognized with a Techouse sounds.CASSIMM is london based since 2014 and is actually a resident dj in one of London's most famous clubs "The Aquarium" where you can find him every weekend driving the crowd wild .He also performed in clubs like Ministry of Sound, EGG club, HI Ibiza, Eden Ibiza.CASSIMM's dj set is very versitale,he has the knack to be able to sense the mood of the crowd, and feeds them what they want.This is the product of many years of being a resident dj and musical lover. www.facebook.com/CASSIMMOFFICIAL www.soundcloud.com/cassimmofficial www.twitter.com/CASSIMMofc www.beatport.com/artist/cassimm/322845

SAGA MARVEL SUR CinéMaRadio :L’UNIVERS CINEMATOGRAPHIQUE MARVEL.De 1940 à 70, les comics étaient quasiment réservés à un public soit enfantin, soit identifié comme geek. Mais tout changea avec l’arrivée du premier Superman au début des années 80.Ce blockbuster convainquit Hollywood que transposer à l’écran des super héros de bande dessinée pouvait se révéler fort lucratif, vu qu’un très large public, répondit présent.Et la sortie du Batman de Tim Burton, quelques années plus tard, allaient entériner la position de l’éditeur DC Comics sur l’échiquier cinématographique, grâce à son partenariat avec la warner.Ce qui énervait énormément leur concurrent direct, la Marvel, qui s’ils avaient dépassés DC comics depuis fort longtemps dans le domaine de l’édition, étaient fortement à la traine pour les adaptations de leurs personnages, mis à part la série tv Hulk, et une adaptation très cheap de captain America en 1989.Pour favoriser leur arrivée dans la production Hollywoodienne, la société fonde Marvel Studios en 1996. Mais ce nouveau département a besoin d’un studio fort pour l’aider à concrétiser son premier projet.Et c’est grâce au premier X-Men, sorti en 2000, que la Marvel entre dans la cour des grands. Succès consolidé deux ans plus tard avec le triomphe de l’excellent Spiderman.Oui mais voila, pour ces deux licences, Marvel n’est que le co-producteur. Et ce sont la Fox pour les X-Men, et Sony-Columbia pour l’homme araignée, qui ont quasiment les pleins pouvoir afin de gérer ces productions, ainsi que leurs nombreuses suites.Et le président de Marvel studios, Kevin Feige, veut lui tout gérer, et pas se contenter des quelques miettes que lui octroient les studios. Alors comme les droits de X-Men et de Spiderman ne lui appartiennent plus, il a l’idée de porter à l’écran l’œuvre de Stan Lee et Jack Kirby, les Avengers, qu’il possède toujours, et qui regroupe quatre grands super héros : Iron Man, Hulk, Captain America et Thor.Grâce à un partenariat avec la Paramount en 2005, donnant à la Marvel le pouvoir dont elle avait besoin pour faire ce qu’elle souhaitait, Feige a l’idée géniale et ambitieuse d’alterner les aventures des Avengers avec des films indépendants mettant en scène un super-héros du groupe.C’est la création de l’univers cinématographique Marvel, un ambitieux projet avec pour but de produire un ou deux films par an, avec une trame feuilletonnante reliant toutes les aventures entre-elles. Le but étant de reproduire le rythme des publications des comic books papiers, et ce afin de fidéliser le public.Feige décide de diviser cet univers en plusieurs phases. A savoir que chaque phase sera constituée de plusieurs films axés sur chaque avenger, et se conclura sur un film les montrant tous ensembles. Et dans le générique de fin de chaque épisode, une courte séquence fera le lien avec le film suivant.En 2008, deux films sont montrés au public, Iron Man 1 et l’incroyable Hulk, afin de servir de test sur la viabilité commerciale du projet.Et le moins que l’on puisse dire, c’est qu’il fut concluant. Marvel studios lança donc officiellement la fabrication industrielle des Avengers, avec l’arrivée officielle du shield, l’agence gouvernementale régulant les agissements des super héros, dans le film Iron Man 2 en 2010.Et c’est la même année que la société de production Disney rachète Marvel, ce qui fait que la compagnie possède maintenant, avec l’achat de Lucasfilm en 2012, le catalogue des œuvres les plus appréciées par le public en général, et les geeks en particulier.Si la phase 1 se termine en 2012, avec l’excellent premier avengers, toujours sous l’égide de la paramount, les films de la phase 2, débutant en 2013 avec Iron Man 3, seront exclusivement labélisés Disney.Et loin d’enterrer le projet de l’UCM, celle-ci la développe et la renforce en apportant à la Marvel des moyens matériels et financiers, qui permirent à la phase 2 d’être beaucoup plus réussie et élaborée.D’abord grâce à l’ajout d’une série télévisée diffusée sur la chaine ABC, Marvel’s Agents of Shields, dont de nombreux éléments scénaristiques sont en rapport avec les événements des films des avengers sortant, en parallèle avec la série.Sans oublier le partenariat avec la plateforme de VOD Netflix, qui produit depuis fin 2015 des séries basées sur quatre héros et héroïnes de la Marvel, et qui formeront eux-aussi un groupe s’appelant The defenders. Pour l’instant deux séries sont déjà sorties, avec les deux premiers super-héros Daredevil et Jessica Jones.Le succès des productions Marvel a également permis d’adjoindre aux 4 aventures des Avengers de la phase 2, deux autres films supplémentaires, que l’on peut définir comme étant des Spin-Of indépendants des autres épisodes. A savoir Les gardiens de la galaxie en 2014, et Ant Man en 2015.Et c’est d’ailleurs sur ce film que se conclut la phase 2 de l’univers cinématographique Marvel, avec également le second avengers, l’ère d’ultron.La phase 3 va officiellement débuter avec la sortie de Captain America, Civil war, l’adaptation d’un arc des comics Marvel, particulièrement apprécié par les fans. Ce film sortira en France le 27 Avril, et aux usa, le 6 Mai 2016.Cette phase se terminera en 2019 et devrait contenir en tout 11 films cette fois-ci, le descriptif des ces longs métrages fera l’objet d’une prochaine chronique.Kevin Feige a déclaré avoir déjà planifié la phase 4, qui commencera en 2020, et avoir déjà concrétisé d’autres phases et d’autres films jusqu’en 2028, vous saurez donc quoi allez voir au ciné pendant une quinzaine d’années.L’idée de feuilleton cinématographique avec des épisodes indépendants, et d’autres de réunion de super héros a fait école. Disney elle-même a réutilisé le concept de sa nouvelle société pour concevoir la saga star wars. Et les autres studios concurrents comme warner, sony et la Fox, utilisent leur propre écurie de héros, afin de grignoter un peu, de la part de marché restante.Bref si la saga Avengers, et l’univers cinématographique Marvel comporte autant de qualités que de défauts, et propose certains films plus faibles que d’autres, c’est certainement le projet trans-média le plus ambitieux de l’histoire du cinéma. Réussissant, avec plus ou moins de réussite, à contenter autant le grand public, que les geeks fans des comics originaux.

We talked about hearing the Beatles for the first time, why the sound of Pyromania in the 80s was influenced by FM radio compression, and the making of Cyndi Lauper’s “Girls Just Wanna Have Fun”. My guest today is William Wittman, a musician, multi–platinum engineer, and producer for artists like Cyndi Lauper, Joan Osborne, the Hooters, and The Outfield. He has held the chief engineer position at several major recording studios which also led to several years as an A&R VP and Staff Producer at two major record labels (Sony/Columbia and BMG/RCA). He was also a member of the alternative rock band Too Much Joy. Today, he plays bass guitar in the band of Cyndi Lauper, both in her studio recordings as well as on her international tours. Thanks to our sponsors! Roswell Pro Audio: https://RoswellProAudio.com Tegeler Audio Manufaktur: https://www.tegeler-audio-manufaktur.de/ Watch William’s videos on Youtube: https://www.youtube.com/watch?v=g5zUgkCSjAE&list=PLbJhbD1bWQszXVUOTdAo7PSpxpIWJLLWl If you love the podcast then please Leave a review on iTunes here And if you want to learn more about mixing you can get Free mix training with Lij at: http://MixMasterBundle.com CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/126

In this episode we sit down with a truly soulful being, Hans Eberbach- Front man of the epic funk band, "Joy and Madness". Hans owns the stage as he expresses himself passionalty with his intrinsic voice and unbelievable moves.    But what does it really take to follow a dream and make it in the music world? Hans shares his amazing journey with all of the ups and downs. His vulnerability and truths as he walk his path are legendary.   Check out his amazing music. You will instantly be a fan!   www.hansrocks.com www.joyandmadness.com    About Hans: Hans Eberbach is an award winning vocalist and songwriter who was born on the west coast and raised in the northeast wilds of Maine in a small town called Dover-Foxcroft, returning to the California sunshine after high school to launch his career in the mid '90's as the singer for Sacramento based roots rock band Sweet Vine. Guided by Geoff Bywater - a music supervisor at FOX, the band was barely playing live shows locally when they were signed to a publishing deal with Warner-Chappell and then to a record deal with Sony/Columbia. The band toured and released one self-titled album that was a fresh take on the warm, fluid songs inspired by Jim Croce, The Allman Bros, The Black Crowes, and many other classic rock bands and songwriters of the 70‘s. When the group eventually disbanded, Hans Eberbach moved to Los Angeles, spending his time submitting music for TV and film eventually returning to Sacramento in the 2000’s. He has since released a solo album, Up Is The Only Way Out (2010)  He has toured and released an album, “So Much Trouble” (2011) with The Nibblers, a soul soaked Sacramento based funk and R&B band. He now sings for Joy&Madness, an evolution of that vintage soul sound with modern classic pop sensibilities. The band has released two EP's The EP#1 (2014) Little Bright World(2015)

Amatörpsykologernas Topp 100 med Ulf & Jonathan! Podcasten där vi erbjuder pedagogisk hjärnskrynkling för gemene hen i underhållande fåtöljtempo. Här behandlar vi de 100 ballaste/roligaste/viktigaste ämnena du som amatörpsykolog måste veta. Dagens avsnitt handlar om Sigmund Freud, ibland kallad den moderna psykologins fader. Vi går igenom Freuds livstid, berör några av hans verk och några speciella patientfall. Vi delar ut lite ros, men mest ris... och hur kommer fotbollsspelaren Marta in i bilden egentligen? Lyssna och lär! Musik i podden: Kanye West - Runaway, Roc-A-Fella, Universal. Kygo (med Marvin Gaye) - Sexual Healing, Sony Music. Calvin Harris - My Way, Sony Columbia. America - A Horse with no name, Warner Bros - We have legal rights to all the music that is played in this podcast. For more information - visit Ifpi web page. See acast.com/privacy for privacy and opt-out information.

SaaS Insider is a podcast about growth, marketing and sales in Software as a Service (SaaS) companies. This week is a double feature, with the CEO and CMO of Gamewheel. We talk about gamification, automation and monetization. Plus selling a tool that automates creativity and the complications that this entails. Evgeni Evgeni is an artist, entrepreneur and technology expert. He was born in Russia and studied computer science and economy in Germany. Afterwards he created the first global web-based certification platform at TUV Group and worked at BCG/Platinion as a strategic consultant and digital architect for 5+ years. In parallel, Evgeni released 3 albums with his band Timid Tiger via Warner/Chappell and Sony/Columbia. In October 2012 he took a break from the band and focused on his startup idea, after winning the first hy! Berlin startup competition (acquired by the biggest German publisher Axel Springer). He founded the augmented reality studio Toywheel with the mission playfully connect physical and virtual worlds. His co-founder Christian Bittler has successfully produced and sold over 100 games in his career - from AAA console to mobile games. Their startup raised about 1.5 million dollars VC capital to-date and launched B2B SaaS platform Gamewheel beginning of 2015 to enable enterprises to effectively communicate on mobile with power of gamification and mobile AR/VR technology. 1000+ marketers, also big names like Paramount, Oracle and Burger King, discovered Gamewheel online and use it regularly to level up engagement and performance of mobile marketing campaigns. Now, Gamewheel is closing the next round of financing and expanding to the US and China. Taner Taner Akcok creates data-driven marketing and product strategies, with focus on understanding the customer and keeping with the market trends. He designs advanced SaaS funnels and metrics to monitor customer journey and improve the processes of business/product to maximize customer lifetime value. He started to his career at Microsoft as a Program Manager. After 4 years Microsoft experience, he moved to Silicon Valley and worked at various companies as a C-Level executive. Then he started his own startup “appanalytics.io” and it became 2nd Fastest Growing B2B Startup under the world radar according to Business Insider. After he exited his company he joined to Gamewheel team in Berlin. Now he is working at Gamewheel as a Chief Marketing Officer. About Shira Shira Abel is the CEO and Lead Strategist at Hunter & Bard (http://www.hunterandbard.com), an inbound marketing and branding agency. Clients include: Totango, Cyara, Sarine Technologies, Pushbullet, AXA Tech, CloudEndure, AppsGeyser, Pitango VC, Chipolo, Allianz, and more. Creator and host of the SaaS Insider podcast. Creator of the Behavior Engineering Canvas. Mentor at 500 Startups. Former professor of Marketing for Startups at Tel Aviv-Jaffa Academic College. MBA from Kellogg School of Management. Loves family time, cooking, and travelling. Hates writing about herself in the third person. She lives in Silicon Valley with her husband, teen and tween sons and a very large Great Pyrenees. If you would like to be interviewed on SaaS Insider - please contact Shira at the URL above. The SaaS Insider podcast is brought to you by Hunter & Bard, a marketing agency specializing in design, branding, content and marketing automation – helping SaaS companies reduce their marketing debt. Check out Hunter & Bard today at http://hunterandbard.com

We are America's #1 Rated Dance Music Mixshow.. We are the best 2 hours of EDM on your radio, iPhone, iPod, iPad, Smart Phone and whatever the hell you use to listen to us.. We are GHR! Back with your weekly dose of Dance Music! Josser is in Miami covering this years Miami Music Week.. So our girl ALEXIA is guest hosting this weeks show! GHR's EDDY SANTANA kicks off hour 1.. Followed by GHR's RON REESER! Hour 2 kicks off w/ an exclusive mix from Superstar DJ/Producr and young musical prodigy.. MADEON! The young superstar is releasing his new album "ADVENTURE" this tuesday on Sony/Columbia records, so make sure you buy it & support this incredible album! Plus closing off the show.. GHR's DJ RIDDLER! Such a Dope Show! As always.. thank you for your continued support, weekly downloads and positive feedback.. We would not exist without you...THANK YOU so much!! We are GHR! *All Music Provided by all Major Labels*No Copyright Issues Subscribe to the GHR Podcast:itunes.apple.com/us/podcast/ghett…adio/id435480382 Website: www.weareghr.comFacebook: www.facebook.com/ghettohouseradioTwitter: www.twitter.com/ghettohouseInstagram: www.instagram.com/ghettohouseradio

We are America's #1 Rated Dance Music Mixshow.. We are the best 2 hours of EDM on your radio, iPhone, iPod, iPad, Smart Phone and whatever the hell you use to listen to us.. We are GHR! Back with your weekly dose of Dance Music! Josser is in Miami covering this years Miami Music Week.. So our girl ALEXIA is guest hosting this weeks show! GHR's EDDY SANTANA kicks off hour 1.. Followed by GHR's RON REESER! Hour 2 kicks off w/ an exclusive mix from Superstar DJ/Producr and young musical prodigy.. MADEON! The young superstar is releasing his new album "ADVENTURE" this tuesday on Sony/Columbia records, so make sure you buy it & support this incredible album! Plus closing off the show.. GHR's DJ RIDDLER! Such a Dope Show! As always.. thank you for your continued support, weekly downloads and positive feedback.. We would not exist without you...THANK YOU so much!! We are GHR! *All Music Provided by all Major Labels*No Copyright Issues Subscribe to the GHR Podcast:itunes.apple.com/us/podcast/ghett…adio/id435480382 Website: www.weareghr.comFacebook: www.facebook.com/ghettohouseradioTwitter: www.twitter.com/ghettohouseInstagram: www.instagram.com/ghettohouseradio

Each year brings a new artist, a new song, a new album, and a crazy story to accompany it. 2012 has produced some epic moments in music history and my featured guests will deliberate on it. Young Jack Thriller, comedian and host of So Disrespectful on ThisIs50.com, Ryan, a Sony/Columbia label rep, plus Niki McGloster, editor of Vibe Vixen, musing about pop culture for a living, will join me to break down the hot and not moments of 2012 and cast their projections for 2013. Plus I have a special announcement for the New Year.  This show marks my three year anniversary so expect nothing short of interesting from my guests as well as our 2013 projections. Don't say I didn't warn you.

Possibly the one person who is compared more often than not to Whitney Houston is Mariah Carey.  Breaking onto the scene in the early nineties, her debut album spawned four #1 hits and there was no stopping her after that.  Well, there was that little hiccup after leaving Sony/Columbia for Virgin for a very lucrative financial deal.  Hey, you can't be perfect all the time and in the end, they paid out her contract and let her go.  As the Emancipation of Mimi later proved, it was their loss. Much has been made about Mariah re-recording her vocals only for David Morales, her preferred DJ.  No doubt he's has been an important part of transferring her big voice to the dance floors across the world.  After going back and listening to a lot of these mixes, I can pretty much bet you she also re-recorded the vocals for the boys of C+C Music Factory as well as Junior Vasquez.  All you have to do is go back and listen to the full-length originals of Anytime You Need a Friend or Heartbreaker which were more characteristic of David Morales mixes with the big gospel choirs, the prolonged mid-sections that sound like you've just been worked over for several hours on Sunday at your local black Baptist church.  It's not likely these were outtakes from the original recording sessions and once you get Mariah in front of that gospel choir, the girl just tears it up! I have personally been less than impressed with her most recent work starting with last year's E=MC² where many of the songs sound like they should be sung by some 21-year-old pop tart as opposed to a true diva with the vocal ability bestowed on her by the gods.  If she thinks she needs to keep up with the kiddies, she doesn't.  That was proven by last year's Leona Lewis whose debut album was a worldwide smash and was much more sophisticated and mature in its overall tone.  In fact, she stands to possibly dethrone the current reigning queen if she's not careful.  Girlfriend, watch your back. Regardless, the songs contained on this 2+ hours of non-stop house music are a true testament to Mariah's incredible abilities.  It's for this reason that Party Favorz honors Miss Carey with her induction into the Diva Hall of Fame.  Ladies and gentlemen…Mariah Carey! Album : Mariah Carey 2009 Genre : Circuit, House Year : 2009 Total Time : 2:04:54.00 1. Emotions (12" Club Mix) 2. Can't Take That Away (Mariah's Theme) (Morales Club Mix) 3. Heartbreaker (If You Should Ever Be Lonely) (Junior's Club Mix) 4. Touch My Body (Seamus Haji Club Mix) 5. Fantasy (Def Club Mix) 6. Anytime You Need A Friend (C+C Club Version) 7. It's Like That (David Morales Classic Mix) 8. Bringin' On The Heartbreak (Mike Rizzo's Global Soul Mix Show) 9. Shake It Off (Constantine Club Mix) 10. We Belong Together (Peter Rauhofer Reconstruction Club Mix) 11. Don't Forget About Us (Tony Moran & Warren Rigg Dance Floor Anthem) 12. Bye Bye (Tony Moran & Warren Rigg Remix) 13. Obsessed (Seamus Haji & Paul Emanuel Club Mix) 14. Dreamlover (Def Club Mix) 15. My All (David Morales Classic Club Mix) 16. Honey (Classic Mix) 17. Butterfly (Meme's Extended Club Mix) 18. Always Be My Baby (David Morales Always Club Mix) 19. Say Somethin' (David Morales Stereo Anthem Mix) 20. Loverboy (David Morales Club Of Love Mix) 21. I Stay In Love (Jody Den Broeder House Mix) 22. I Still Believe (Morales' Classic Club Mix)