He’s from Tennessee but lives in Atlanta. With ‘Yeah!” it was important that he made sure people knew he was a part of Atlanta. What is he going to do that’s going to make other people want to do it too. We talked about what he’s going to look like and how. Jermaine Dupri: “We always talk about visuals while making a record. “I’m still in awe of the fact that the record was as big as it is.” – Lil Jon on Usher hit ‘Yeah!,’ on which he performs. I just feel blessed to be a part of a record that made history.” I mean, it’s still gettin’ played every night in the clubs 10 years later. “I’m still in awe of the fact that the record was as big as it is. I knew we had somethin’, but honestly never would have known the record was gonna blow up the way it did! As a producer and DJ, I just like makin’ great music and hot records for the club.” Usher recorded his vocals and then I recorded mine. He can’t fool Terry and say, ‘This is the best I can sing it.'” So since ‘8701,’ we’ve tried to give Usher songs that’ make you say, ‘Oh Usher can sing!’ Since he’s a naturalist vocalist he can get away with singing and it sounding good but Usher won’t let him get away with just singing good. I think sometimes it gets overlooked what a great vocalist he is. My goal with Usher is to create music and production that show off how good of a singer he is. They had many conversations on personal things, and how much to reveal. They talk a lot even when we’re not working on a project about life. I think Terry is more of a father figure and mentor to Usher. Jimmy Jam: “Terry and Usher have a whole other type of relationship. “Sometimes it gets overlooked what a great vocalist he is.” – producer Jimmy Jam on Usher. We went out and produced songs that portrayed that what makes the picture a well-rounded story.” What people want to hear in a confession is what you did to get yourself in trouble and the fun you had and how you went about that, ’cause those are the things people live every day. Terry Lewis: “While confessing is a great thing, I think that from a male perspective, men don’t want to hear you confess, because that just prompts issues with their relationships. Five records on this that were on the radio, but there are also five records that weren’t on the radio that are fan favorites. I think that if people wouldn’t have had the chance to hear feel good records, and it would have been hit after hit, then it wouldn’t have been the great album that it is or sold as much as it did. Usually those are the main ingredients to make a great album. It was made with a bunch of hits and feel good records. “‘Confessions’ was the best of A&R, the best of production, and the best executive. This is the song that defined the title of the album and the mind state of the rest of the record.” I took that concept and applied towards ‘All Bad’ (Confessions Part I). ‘U Make Me Wanna’ was a story, a story of him leaving who he was with to be with someone else. When we write about a song, try to make it a little more interest through the story. It’s about showing interest in the person who was singing. This was his prior getting married, getting divorced, having kids, prior than his canvas having many colors. ‘How do we make him interesting?’ was the conversation. The media wasn’t completely sold on Usher and Usher’s interest inside and outside of the music. The topic of interest of people not being interested in Usher the person was the main subject matter at that point. and Usher was about where we he was heading with this album. Jermaine Dupri: “We have just come off ‘U Got It Bad,’ one of the biggest songs off ‘8701.’ We were coming off the success of ‘U Got It Bad’ and ‘U Remind Me.’ The conversation with L.A. Lil Jon: rapper and “Confessions” producer performs on “Yeah!” Jermaine Dupri: “Confessions” producer and songwriter founder of So So Def Records In celebration of the 10th anniversary of Usher’s “Confessions,” an elite group of contributors who were involved in its creation and imperative to its plaitnum success share the story of making the album.Īndre “Dre” Harris (from Dre & Vidal): “Confessions” producerīryan-Michael Cox: “Confessions” producer and songwriter Kanye West’s ‘The College Dropout’: An Oral History The singer-songwriter took his artistry to a higher level when showcasing his vocal prowess at its fullest potential through engaging, relatable storytelling all at a time when R&B was dominating countless charts and hearts. “Confessions” introduced the becoming of a man. Usher’s ‘Confessions’ Album Hits 10 Million in U.S.
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Times Codes: Intro: 0:00-1:27 Super Mario Bros.: 1:27-8:41 Street Fighter II - The Animated Movie: 8:41-13:21 Mortal Kombat: 13:21-19:00 Resident Evil: 19:00-24:00 Detective Pikachu: 24:00-27:30 Sonic the Hedgehog: 27:30-33:00 Closing: 33:00-34:19 Paypal: Facebook: Twitter: Instagram: mackenzielambert7928 Contact: Mack & the Movies logo by masteringsounds Intro by androzguitar Audio Clips Used: Super Mario Bros. Hi, folks! In this new episode of Mack & the Movies, we take a look at video game based movies of ranging quality. Michael DiCerto) Stoops of Atlantis intro (Michael DiCerto) "Jocko Homo" (Devo) Oliver Hirschbiegel) Chiller: 3 Days of Love, Peace, and Gore (co-directed by Michael DiCerto) Triptosane (dir. Michael DiCerto social media: Stoops of Atlantis podcast: Star Wars episode of Stoops of Atlantis: Stoops of Atlantis Facebook: Chiller documentary, Part One of Seven: No Exit full movie: BTS of Triptosane with Trace Beaulieu: Support the Program: Paypal: Cash App: $mjl716 Venmo: Mackenzie-Lambert716 Social Media: Facebook: Twitter: Instagram: mackenzielambert7928 Inquiries: Contact: Audio/Visual Credits: Mack & the Movies logo by masteringsounds Intro by androzguitar Audio Clips Used: No Exit (co-directed by Michael DiCerto) Little Caesar's Commerical Downfall (dir. In this episode, I interview NYC filmmaker Michael DiCerto in celebration of ten years of his indie cult classic, Triptosane. Hey, everyone! Mack, here, with a new episode of Mack & the Movies.
In 1970 Lennon spoke to Rolling Stone about the uncomfortable encounter: "I just remember we were both in shades and both on fucking junk. Pennebaker shows the strange tension between the two men. An awkward limo ride that he shared with Lennon during that tour was captured by filmmaker D.A. The two would meet again in May of 1966, during Dylan's legendary first electric tour of England. Tambourine Man," by the time he met Lennon. It was a nearly parallel development with the mercurial Dylan who, always a step ahead of the times, was focusing on more hallucinatory and experimental output like "Mr. The switch coincided-and perhaps provoked-a change in recording habits: By the mid-'60s, the Beatles were taking days to record songs that would once take hours, or even minutes, and, in the process, revolutionizing studio recording. Having run for years on a steady stream of booze and amphetamines, Lennon and the rest of The Beatles began "smoking pot for breakfast," in Ringo Starr's words. Pot would turn out to be arguably the only bigger influence than Dylan on Lennon in 19. It's no wonder Lennon sounds stoned: In August of 1964, in New York City, Dylan introduced The Beatles to cannabis. He finally mastered the folk form with the fully Dylan-esque "Norwegian Wood," released on 1965's Rubber Soul, in which the singer takes a detached, and somewhat stoned, look at an elusive female figure. Almost immediately, Lennon began to write more introspective and acoustic songs, first in "I'm a Loser," which was recorded in August of 1964. His artistic output after hearing Dylan suggests he was challenged and inspired by the New York troubadour's seriousness. It was a far cry from both the beer halls of Hamburg, where Lennon cut his musical teeth, and the stadiums he was then playing. People listened to his music sitting down, quietly taking it all in. Dylan came from a world of New York coffee houses and Old Left socialists who demanded some level of intellectual weight from their artists. It's easy to see why Lennon would be so infatuated by the folk singer. After hearing Freewheelin', The Beatles-and especially John Lennon-were inspired to write more mature, narrative-driven folk songs in the manner of their new hero. "We all went potty about Dylan." The band's early hits, though deceptively complex, were clearly intended for a teenybopper audience more interested in dancing to backbeats than listening to poetry and acoustic guitars. "For three weeks in Paris, we didn't stop playing it," Lennon would later say. Once the band heard that record, during a tour of France, it had an immediate impact on them. Though The Beatles stayed fairly up to date on popular music in the early 1960s, Bob Dylan wasn't on their radar until the spring of 1964, a full year after The Freewheelin' Bob Dylan established the young songwriter as American folk music's premier voice. The Sick Origins of the "Wacko Jacko" Name
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