SDCXTRA RADIO

Sunday, February 15, 2015

Jackson Michael has charted with “It Smells Like Girls in Here

The Scent of a Strong, Salacious Song…






Jackson Michael has charted with “It Smells Like Girls in Here” and he continues to produce new material in his ‘Olfactory’ of music.

“I will funk the damn walls down. It’s all about creating that unique groove, it always has been.”- Jackson Michael
(LOS ANGELES, CALIFORNIA, USA) August 22nd, 2014 – Everyone knows that sex sells. However, in the world of hit songs, it takes even more to move the chains of the charts. The song must be well written, arranged and most importantly - it must stylistically stand apart. The sounds emanating from L.A. based Jackson Michael's latest release, “It Smells Like Girls in Here,” have the scent of chart success.
Jackson Michael's "It Smells Like Girls In Here"Jackson’s inimitable aroma of house, pop and funk within In “It Smells Like Girls in Here,” has helped to shape him into a trending new internet concept artist. The debut single charted quickly into the Top 40 on the Digital Radio Tracker charts in December of 2013. In addition, it gathered numerous radio spins on stations around the globe. One of those was Denver's Kool 105 FM where it became listed onto their "Today's Most Popular Album" list. “It Smells Like Girls in Here” also spread onto Jango and Google Play, where it amassed thousands of plays and downloads.
“All of my material is original, but my creative goal is to forge an entirely new genre where I can fit my music,” offers Jackson. While Michael is mostly a studio artist, and this is his debut solo project, his past work over the decades has included live performances and working with the likes of Little Rock blues artist Lucious Spiller.
Hints of Jackson’s influences resonate throughout “It Smells Like Girls in Here.” Jackson offers insight, “I was heavily into Prince, Nikki and even Hendrix … it was all about the groove then, and it still is now for me." Jackson teamed up with Fantasy Phase Four Music Production Studios in Little Rock to bring his foray of funky bass lines, house back beats and hooky melodies to life. As 2015 approaches, Jackson Michael’s fans can look forward to the fresh fragrance of a funky fusion of sounds emanating from his “olfactory” of music.  

CONTACT
Jackson Michael Management
Anthony Allbritten
Tel: (501) 291.2493
fpfstudios@att.net
###

Friday, January 30, 2015

Muse's News February 2015

The Muse's News
An E-zine For And About Songwriters.
Issue 17.11
February 2015
In This Issue:
Editor's Musings
Music Reviews - Cyrus Rhodes & Dan Cohen
New Artist Spotlight Additions
Songwriting Book Review - by John Thomas
Musical Notes - Songwriting Contests & Market Info.
Muse's Clues - Songwriting Web sites that inspire -by adventurer and songwriter, Richard Miller.
Featured Article Quick Tip: Saying What You Don't Mean To Say by Brad Dunse
On Site Featured Article - An article (or articles) already online for your viewing pleasure.
Classifieds & Useful Services
Contact information
ISSN 1480-6975. Copyright 1998-2014 - Jodi Krangle.
For more contact information, see end of issue.
FIND THE PERFECT GIFT FOR THE SONGWRITER IN YOUR LIFE!
All sorts of products and services especially for songwriters, negotiated so that you get the best price possible. You'll find means of promotion and distribution, songwriting aids, educational products, musical instruments and their accessories, and lots more. Any of these items would make a fantastic present for a songwriter in your life (even if it's you! :-) ) Have a Look!
NEED A NEW WEB HOSTING SERVICE FOR YOURSELF OR YOUR BAND?
I personally use HostDime - and LOVE them. Really. Their service is superb and prompt, they really know what they're doing, you can chat with them 24 hours a day, 7 days a week, and their pricing (The Muse's Muse uses a dedicated server) is very reasonable. Check them out!
Sponsor Message: 
(Many thanks to the sponsors that help support this newsletter!)
Write Better Songs with MasterWriter 2.0 - at a New Price!WRITE BETTER SONGS WITH MASTERWRITER 3.0!
(And Muse's News readers *still* get a special discount!)
There’s a reason why hit songwriters Gwen Stefani, Rob Thomas, Trent Reznor, David Foster, Kenny “Babyface” Edmonds and many more all use MasterWriter, it is simply the most powerful suite of songwriting tools ever assembled in one program. Why struggle to find the right word when you can have all the possibilities in an instant?

MasterWriter gives you Rhymes, Close Rhymes, Phrases, Synonyms, Word Families, Pop-Culture, Alliterations, the Definition and more. Also included is an audio recorder and tools that will give you everything you'll need to organize your songs. The new version 3.0 is web–based, so you can leave the house empty–handed and access MasterWriter on any computer, tablet or smart phone, wherever you are.
90 Day Gurantee - MasterWriter 3.0
Visit http://masterwriter.com/musesmuse to learn more and to receive $15 off a 1-year license or $20 off a 2-year license. You may also sign up for a free 10-day trial. If for any reason you are not satisfied with MasterWriter 3.0, you can get a full refund within 90 days. 

“MasterWriter will not only help you write great songs, it will make you a better songwriter in the process.”
–David Foster
“Producers have Pro Tools. Writers have Word. Songwriters have MasterWriter.”
–Rob Thomas
 
Editor's Musings:
Welcome to the beginning of a new year, folks. I hope it's been going really well for you all so far. Any New Year's resolutions you're intending to keep? (I know that can be a tricky question. ;) ). As for me, my new sound booth is in place, though it needs some "fine tuning" (I'm getting there) - and so far, the new year has been a great one!
And because I like to share my joy, here are the raffle winners for this month. :)
  • Alan Noah, from Rocklin, CA, has won a copy of Virtual Studio Systems' Lyricist software.
  • Mary Massie, from Charlotte, NC, has won a free 3 month membership to SongU, an Internet-based learning environment providing online coaching, co-writing and pitching opportunities, in addition to over 70 multi-level courses developed by award-winning songwriters.
  • Larry Coleman from Indianapolis, INhas won a 6 month membership to GuitarMasterClass.net. GMC has tons of helpful videos, instructors and lessons along with a forum for chatting with teachers and students 24/7, recording collaborations, attending video chats, & content for bass, drums, singing, piano, etc.
     
     
DO YOU WANT TO WIN A RAFFLE PRIZE?
If you'd like to be considered for a raffle prize yourself, have a look at the various prizes offered at the top of The Muse's News webpage, decide which prizes you'd most like, and email me with your top two choices along with your mailing address so that I can get the prizes to you. Yes, it's really that simple. :) (And yes, the mailing address is kinda important. I promise it won't be used for any other reason than to send you your raffle prize - and to mention your approximate location in the notice of raffle winners you see above here.)
May your February be filled with all things good. :)
All the best,
--Jodi
Contact Info & Credits
Jodi Krangle, Editor: editor@musesmuse.com
The Muse's News is a free monthly newsletter for and about songwriters. Subscribers are welcome to recirculate or reprint The Muse's News for nonprofit use as long as the appropriate credit is given and the ENTIRE text of the newsletter is included (including credits and information at the end of each issue). Others should contact me at editor@musesmuse.comAll articles copyrighted by their authors.
The Muse's News is part of The Muse's Muse, a web resource for songwriters.
For further information, send your e-mail to:
adinfo@musesmuse.com - How to place a classified ad, pass on market information or sponsor The Muse's News.
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SNAILMAIL: Please contact me first at editor@musesmuse.com

Thursday, January 22, 2015

Everyone Is Offended By Ted Nugent's Obama Insult


"Hosted by: Alyona Minkovski

When it comes to insulting the president of the United States, Republican politicians have officially drawn the line. Rick Perry and Rand Paul have both denounced rockstar Ted Nugent for calling President Barack Obama a "subhuman mongrel.


11 forgotten Sundance Film Festival Movies to watch

11 forgotten Sundance Film Festival gems you can watch right now
Eric D. Snider


Over the next 10 days, more than 100 new films will screen at the Sundance Film Festival — and if history is any guide, most of them will never be heard from again. A lucky few, however, may follow in the steps of Little Miss SunshineNapoleon Dynamite, and Whiplash and find mainstream fame; a couple dozen will find limited success within arthouse circles; and the rest will fade into obscurity.
But not all of these forgotten films deserve to be forgotten. And there's nothing stopping you from curating your own festival at home. Below, you'll find some forgotten Sundance premieres from the last 15 years — all available to stream on Netflix, and all much, much better than most of what shows up at the multiplex. Give a few of these forgotten gems a chance, and get the experience of Sundance without waiting in line:
1. American Son (2008)
The charismatic Nick Cannon is surprisingly good in this authentic-feeling drama about a Marine spending 96 hours at home in Bakersfield, California, before being shipped off to Iraq. Realistic touches abound, and Cannon's performance, despite being the work of careful rehearsal, feels loose and informal — cavalier in one scene, terrified in the next.
2. The Believer (2001)
Ryan Gosling wowed audiences and critics alike in his first major film role, playing a disaffected, self-loathing Jewish boy who becomes a violent neo-Nazi skinhead. The searing, provocative drama won the Grand Jury prize but had trouble finding a distributor, preventing it from garnering the post-Sundance acclaim it would surely have gotten otherwise. It also set the path for Gosling's career; with the possible exception of The Notebook, he's hardly made a normal, easy film ever since.
3. Control Room (2004)
During the Iraq War, George W. Bush and Donald Rumsfeld called the Qatar-based news channel Al Jazeera "anti-U.S. propaganda" and "the mouthpiece for Osama bin Laden." This documentary is a behind-the-scenes look at the truth, which was a little more complicated than that. (Al Jazeera was as opposed to the war as Fox News was in favor of it.) At the very least, it's enlightening to see the perspective of Al Jazeera's news reporters, who weren't just visiting the scene, but grew up there.
4. The Dangerous Lives of Altar Boys (2002)
Set in the 1970s amid the raging hormones of Catholic schoolboys, this humorous, insightful coming-of-age story stars Emile Hirsch and Kieran Culkin as mischievous lads with an imaginative streak, and Jodie Foster as the strict teacher who's the target of their mischief. The film's inventiveness abounds, including animated fantasy sequences courtesy of Todd McFarlane.
5. For the Bible Tells Me So (2007)
An uplifting, heartbreaking documentary about the struggle between religious faith and homosexuality, viewed through the eyes of a handful of gay Christians whose stories will touch and inspire you. There are theologians, biblical scholars, and even Desmond Tutu, discussing what the Bible actually says about homosexuality (spoiler: not much), and how those verses have been interpreted over the years.
6. Go Tigers! (2001)
Before Friday Night Lights, there was this colorful documentary about an Ohio town where high school football reigns supreme, dominating every aspect of local life. Focusing on three star players, all of whom credit football with keeping them out of trouble, director Kenneth A. Carlson lets both points of view — the one that says these people are crazy, and the one that says it's good for the community — have a presence in the film.
7. Happy, Texas (1999)
This light and loopy comedy, starring Steve Zahn and Jeremy Northam as escaped convicts who hide out in a small town while posing as a gay couple, is only remembered for the wrong reasons: It's often held up as a cautionary tale about Sundance exuberance. The feel-good hit of Sundance 1999, it sold to Miramax for a record $10 million... then recouped less than $2 million when it hit theaters in the fall. Since then, it's been tainted by its box-office gross, remembered as a poor financial investment instead of the charming, sunny morsel it actually is. Unfair!
8. L.I.E. (2001)
L.I.E. is a tough sell: It's about an unsupervised 15-year-old boy (Paul Dano) who is befriended by a local pedophile (Brian Cox). But don't let that stop you! Unsettling yet admirably discreet, the film is less about sex offenders than it is about the heartbreaking effect of what happens to adolescents when they're left to become adults without proper guidance. It's an artful, well-acted, cathartic experience — even if it will occasionally make you wince.
9. Mary and Max (2009)
This Australian claymation production is sweet and bizarre, telling the story of a curious-minded Aussie girl who becomes pen pals with a neurotic American (voiced by Philip Seymour Hoffman), whom she chooses randomly from the New York City phone book. Their friendship spans 20 years, addressing serious subjects like mental illness while maintaining the film's oddball sensibilities. You've never seen anything quite like it.
10. Tadpole (2002)
Demure farce and smart comedy are served up simultaneously in this sophisticated trifle about a precocious Upper West Side teenager (Aaron Stanford) who's in love with his stepmother (Sigourney Weaver), but ends up seduced by her sexpot friend (Bebe Neuwirth). A restaurant scene with the three of them and the boy's father (John Ritter), all harboring secrets, is a modest mini-masterpiece of comic timing. Bonus for short attention spans: Tadpole is only 78 minutes long!
11. Tucker and Dale vs. Evil (2011)
What if the chainsaw-wielding maniac in a slasher film wasn't psychotic, but merely misunderstood? That's the elegant premise behind this rip-roaring horror comedy, in which the title characters — harmless good ol' boys from West Virginia, played by Alan Tudyk and Tyler Labine — inadvertently terrify a carload of snobby college kids who stumble upon their cabin in the woods. It's a blissful, bloody surprise that's on the verge of becoming a cult classic.

Russell Simmons Blasts Hollywood’s Racial ‘Segregation'

By Cynthia Littleton



MIAMI — Hip-hop mogul Russell Simmons had harsh words about the business environment he has encountered in Hollywood now that he’s turned his focus to producing movies, TV shows and digital content.

“The reality is the lack of integration is deafening,” he said Wednesday during a Q&A at the NATPE confab. “The segregation in Hollywood is incredible.”

In a candid 45-minute conversation with Variety co-editor in chief Andrew Wallenstein, the Def Jam founder was critical of Hollywood “progressives” who have no understanding of African-American culture, even if they are well-meaning and liberal in their political views. He said he’s seen ample evidence of bias in the development process that tends to keep black creatives from working in an organically integrated way with white talent.

“I speak English,” he said. “Not only can I make Eddie Murphy cool again, I can make Jim Carrey cool again.”

Simmons also called on African-Americans to be more proactive in demanding more opportunities.

“I kind of blame black people for not forcing their way in doors,” he said. “You have to take the initiative and push your way in the door too….Everybody has to take responsibility for the new incarnation of Hollywood.”

Simmons was critical of the lack of diversity in most Hollywood talent agencies, noting that he recently moved from CAA to WME. “I didn’t realize they’re all the same,” he said, adding that both agencies seem to have “the one black agent.” He later added that despite his criticism, he was happy to be at WME.

Simmons said he had 11 movie projects in various stages of development and he is emphasizing stories that present an integrated world. He described a comedy project that he billed as akin to “Legally Blonde,” with a white man in love with a black woman who gets an introduction to African-American life when he follows her to school at Howard University, the historically black college.

Another project stars J.B. Smoove as a man who goes to Sweden, solves a crime and becomes the monarch.

“There’s a lack of integration from a cultural standpoint,” he said. “There’s a white space” where creative talent of different races and ethnic backgrounds should be working more together. “America wants to see Hollywood more integrated than ‘Jerry Springer.’ ”

Simmons lamented the fact that a group of comedians who broke out in part through his Def Comedy Jam series — including Smoove, Mike Epps, Bernie Mac, Martin Lawrence, Chris Tucker, Kevin Hart and Dave Chappelle — saw their careers stall about 15 years ago through lack of opportunities in film and TV.

He cited the problem of executive “gatekeepers” who chose to pick  “more accessible” African-American talent rather than those comedians whose material is more rooted in the specific black experience. He cited the duo of Key and Peele, stars of the Comedy Central sketch series, as an example.

Moroever, Simmons noted that TV has shied away from difficult questions of race and class for years.

“No one has even discussed race and politics as good as Norman Lear in 30 years,” he said.

Simmons said he just delivered a pilot to HBO as part of a first-look deal he has there that he produced with director Steve McQueen and writer Matthew Carnahan. The untitled project revolves around a black man with a mysterious past who enters New York high society. He said he was “pretty sure” it will get picked up.

While Simmons is forging ahead with projects through his Def Pictures Film and Television, he’s also energized by the lower-budget work underway at his All Def Digital banner. He’s working with a number of YouTube, Vine and Instagram stars on a range of short- and long-form content, which is attractive because he is able to own that content and the talent is raw and ripe for breakout stardom.

“Maybe I’ll make all my movies and TV for myself,” he said.

With racial issues in the headlines again, following a string of police-related deaths of unarmed black men, Simmons said the entertainment biz should help move the country forward.

“Hollywood should lead the way in healing,” he said, generating a round of applause. “Hollywood should not be afraid of the subject matter Norman Lear dealt with 35 years ago.”

Watch the full interview.

Wednesday, January 21, 2015

The Phil Mitchell Band




The Phil Mitchell Band
CD title : Cross Roads
Genre: Rock
Country:  Chicago , USA

The Phil Mitchell Band is a rock band out of Chicago. This is the third album for Phil Mitchell, songwriter and musician. Their newest album is titled "Crossroads" and features Jammie Bosstel on vocals, Kevin Branigan and Rex Carroll on guitars, and Phil Mitchell on piano.

 "White Horse Rider" is the third song on the album and is written as a tribute for Presidents' Day (February 16 in America). What would George Washington think if he were alive today? Would he approve of the national debt? Going off to fight in foreign wars? The song also reminds us of the veterans and the price of war.

The song builds up to a climax as you picture George Washington riding again as he comes to greet us. "A Brave Man came to fight, as he stood above the guns, a White Horse stood gently on the Plain....


" Contact Info: Morningstar_pm@msn.com www.facebook.com/PhilMitchellBand

Monday, January 19, 2015

'Whitney’ Review: Angela Bassett’s Directorial Debut Glosses Over the Big Ugly

Lifetime’s original movie, which stars Yaya DaCosta as the troubled late singer, feels half-baked



Despite the sentiment of one of her most famous songs, Whitney Houston was definitely not every woman, but instead a talent on a larger-than-life scale.
In her directorial debut, actress Angela Bassett‘s depiction of the “Greatest Love of All” singer, played by Yaya DaCosta (“Lee Daniels‘ The Butler”), attempts to show the human side of the legend, but occasionally staggers along the very line it tries to cross — where genius-level skill meets basic human need for love, understanding and companionship.
The movie opens on 25-year-old Houston dressed in gold, riding in a limo to the 1989 Soul Train Music Awards, where she will meet future husband Bobby Brown, played by Arlen Escarpeta (“Final Destination 5″). The crowd’s cheering grows louder as the limo approaches.
“Time to be Whitney Houston,” DaCosta says to her friend and business partner Robyn Crawford (Yolonda Ross) with a subtle reticence, then checks her teeth for lipstick.
Whitney: Yaya DaCosta, Arlen Escarpeta portrait (Lifetime)Throughout the Lifetime Original Movie, 32-year-old DaCosta is trussed up in Whitney-wear and hair to paint the singer in broad pop culture strokes inspired by some of the period’s most famous visuals of her — by photographers like David LaChappelle,Richard Avedonand Randee St. Nicolas, for instance, and video directors like Julian Temple of “I’m Your Baby Tonight” fame.
“Whitney” progresses from the singer’s first meeting with Brown, through their tumultuous courtship and wedding, Houston’s pregnancies (including a devastating miscarriage), starring role in film “The Bodyguard” and subsequent tour to support that film’s soundtrack.
Houston’s life comes across as if outlined in simple, declarative statements with limited depth of emotion and introspection. Maybe that’s how some people need to think a cultural icon lives her life — à la “I’m Every Woman” — but you can’t help but feel there’s a layer of truth missing. Despite the depiction of his and her vices, there’s an element of danger missing — the danger of what really happened in the end, that the world lost one of its musical treasures to overindulgence and addiction.
The principals here pull off a true, but still by-the-numbers love story with a believable mix of love, obsession and codependency.
When, for instance, Brown is ready to take their relationship to the next level, Houston tells him she’s slow to trust her own feelings, which he doesn’t take well. “I love you — straight up. If you don’t feel the same, this ain’t going to work,” Brown says after a lovemaking session in which he tries to make her forget about possible rivals for her affections, like actor Eddie Murphy (Reign Morton). He storms out, and Houston, the relationship’s drug-use instigator, turns to cocaine to adjust her fouled mood.
A long-distance booty call later sends Brown running back to Houston and ultimately leads to their engagement — much to her mother’s dismay. Gospel singer Cissy Houston (Suzzanne Douglas) is not happy with her daughter’s choice of Brown: “I spent my life trying to keep you and your brothers out of the projects; now you marrying into it? … You can take the boy out the ghetto, but not the ghetto out the boy.” Houston’s brother then chimes in that Brown has two kids by two different women — shocking.
DaCosta’s performance invites comparisons to contemporaries like “Gotham” actress Jada Pinkett Smith and Zoe Saldana of film “Guardians of the Galaxy.” Escarpeta’s portrayal of Brown elicits more sympathy than the real-life singer seemed to enjoy when stories of the couple’s troubles played out in supermarket tabloids.
Deborah Cox is not seen, but is heard throughout, performing some of Houston’s best-known songs. Aside from a few stray personal flourishes, Cox’s renditions honor the icon’s originals without resorting to precise mimicry. The Canadian singer should be proud of her work here — and Houston fans may want to ask themselves if they’ve listened to enough Deborah Cox lately.
Bassett, a goddess in her own right and seen currently on “American Horror Story: Freak Show,” shows promise behind the lens, giving Lifetime a better-than-average TV movie. She should shoot for stronger writing, better music supervision — the reggae selection for Houston and Brown’s first sexual encounter was a particularly unfortunate choice — and a bigger budget in her next outing. (Some of those cut corners showed.)
But if Bassett’s intention was to simply celebrate Houston’s music and talents, why bother showing even glimpses of the ugliness that took the singer from her friends, family and fans so prematurely? Fans looking for an ’80s-themed-celebrate-life party might do better busting out their own gold lamé gowns and “Whitney: Greatest Hits” DVD and dancing along.
Maybe there’s a sequel coming — “Whitney: The Haggard Years” — because despite its glittering superficial charms, this “Whitney” still feels a little half-baked.