Warrior – Havana Brown

Warrior – Havana Brown

Warrior - Havana Brown

Havana Brown always planned on being a singer – it’s just becoming a world-famous DJ kind of got in the way.

The Melbourne glamour has just released her sizzling debut single ‘We Run The Night’, but she first started singing at the modest age of six. Admittedly though, her ‘performances’ back then were a little different…

“I’d put together shows at family dinners and drag along my poor cousins, who didn’t know how to dance or sing. I don’t know how entertained everyone was,” Brown recalls with a laugh. “I was really into R&B, like Janet Jackson’s Rhythm Nation and Bobby Brown.”

After countless years of singing lessons, performing in dance troupes and cheerleading for her hometown Aussie Rules and basketball teams, Brown got serious about making her own music right after leaving high school.

She started working with Panos Liassi, a Melbourne-based London DJ/producer and one half of R&B/reggae partystarters, Supafly Inc. Such was their musical connection, she ended up following him to the UK to form a Fugees-style group called Fishbowl with two other members. They got signed to the Polydor UK label almost instantly, but sadly, in-fighting saw the act split before they even got to release a single.

“When I look back, it was a pretty dark time,” says Brown. “Getting signed is a big deal for a new artist. You think, woah, this is it! But it wasn’t…”

Like anyone suffering a break up, Brown threw herself into the party scene and one night, she had a dancefloor epiphany of her own: the DJ had the best job in the room and she wanted in.

After learning the basics from Panos, she scraped together enough money from her four-quid-an-hour job to buy her first pair of decks and started hitting up bars with her demo.

Her persistence finally paid off when she scored her first residency at London’s exclusive Kabaret nightclub. “I told the promoters I’d play my first gig for free and they could throw me off after the first song. I don’t think they even thought I’d turn up the next night. When I did, they were like ‘oh, you were serious?’ I ended up playing for an hour and they loved it.”

Arriving back in Australia at the end of 2006, Brown – in her own words – “worked her little tush off” to keep her DJ dream alive. After working the club circuit, she became the first female DJ in Australia to sign a major label record deal with Universal Music in 2008, released her first mix CD, Crave, and topped the year off opening for the Pussycat Dolls on their promo tour.

The Dolls’ management were so impressed with her DJ-with-dancers show, they asked her back for their full tour in 2009. And as word spread, Brown found herself supporting the cream of the pop crop, including Rihanna, Chris Brown, Lady Gaga and Britney Spears, with the latter inviting her on her European tour a year later.

Since then, Brown’s star has only gotten brighter. These days, she boasts weekly radio mixup shows in Australia and abroad (on the popular Radio FG France dance network), has sold over 150,000 copies of her Crave series (now up to Volume 5) and played events as dazzling and diverse as the official Grammy’s After Party and the Singapore F1 Grand Prix alongside Beyonce and the Black Eyed Peas. Along the way, she’s also clocked up more than 100,000 loyal Facebook fans.

Now, twenty years since that first giddy singing lesson, she’s ready to retake the mic and launch that long-overdue singing career. And she’s not afraid to say she’s a little bit nervous…

“It’s exciting, nerve-wracking and intimidating all at the same time,” she says. “I’ve been working on this for a while and I didn’t want to release anything until I was completely satisfied with it. I can’t wait for people to hear this song.”

Written and produced by dance duo More Mega, first single ‘We Run The Night’ is the perfect introduction to the talents and tastes of Havana Brown. A certified dancefloor detonator, the song’s as epic as it is euphoric with an insanely infectious breakdown that’s guaranteed to throw the crowd into overdrive.

“It’s created for both the clubs and the radio,” she reveals. “That was really important for me and it was very difficult to pull off. As for the track, it’s about how music makes me feel.”

Brown says her vast experience as a DJ playing other people’s tunes has also had a huge impact on how she approaches her own.

“In the past, I wasn’t quite sure what type of artist I want to be. But now, after DJing and Fishbowl falling apart, which has been a blessing in disguise, now I’m very confident about what I want.”

At the same time, she realises that some people can be just as dismissive of female pop singers as they are of female DJs. But that, she says, only motivates her more.

“It actually drives me more when people say bad things,” she confesses. “It doesn’t make me angry, it’s more ‘I’m just going to annoy you even more by going out there even harder.’”

“I know I’m putting myself out there in a different way,” she adds. “Originally I was behind the console playing other people’s music but now I’m up front performing my own. I’m revealing myself – it’s like being naked.”

So far, Havana’s career as a jet-setting DJ has been nothing short of dazzling, but now she’s ready to shine in a whole new light. Ladies and gentlemen, introducing Havana Brown the artist.

Bio and picture source…..www.getmusic.com.au

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We Run The Night – Havana Brown ft Pitbull

We Run The Night – Havana Brown ft Pitbull

Warrior - Havana Brown

Havana Brown always planned on being a singer – it’s just becoming a world-famous DJ kind of got in the way.

The Melbourne glamour has just released her sizzling debut single ‘We Run The Night’, but she first started singing at the modest age of six. Admittedly though, her ‘performances’ back then were a little different…

“I’d put together shows at family dinners and drag along my poor cousins, who didn’t know how to dance or sing. I don’t know how entertained everyone was,” Brown recalls with a laugh. “I was really into R&B, like Janet Jackson’s Rhythm Nation and Bobby Brown.”

After countless years of singing lessons, performing in dance troupes and cheerleading for her hometown Aussie Rules and basketball teams, Brown got serious about making her own music right after leaving high school.

She started working with Panos Liassi, a Melbourne-based London DJ/producer and one half of R&B/reggae partystarters, Supafly Inc. Such was their musical connection, she ended up following him to the UK to form a Fugees-style group called Fishbowl with two other members. They got signed to the Polydor UK label almost instantly, but sadly, in-fighting saw the act split before they even got to release a single.

“When I look back, it was a pretty dark time,” says Brown. “Getting signed is a big deal for a new artist. You think, woah, this is it! But it wasn’t…”

Like anyone suffering a break up, Brown threw herself into the party scene and one night, she had a dancefloor epiphany of her own: the DJ had the best job in the room and she wanted in.

After learning the basics from Panos, she scraped together enough money from her four-quid-an-hour job to buy her first pair of decks and started hitting up bars with her demo.

Her persistence finally paid off when she scored her first residency at London’s exclusive Kabaret nightclub. “I told the promoters I’d play my first gig for free and they could throw me off after the first song. I don’t think they even thought I’d turn up the next night. When I did, they were like ‘oh, you were serious?’ I ended up playing for an hour and they loved it.”

Arriving back in Australia at the end of 2006, Brown – in her own words – “worked her little tush off” to keep her DJ dream alive. After working the club circuit, she became the first female DJ in Australia to sign a major label record deal with Universal Music in 2008, released her first mix CD, Crave, and topped the year off opening for the Pussycat Dolls on their promo tour.

The Dolls’ management were so impressed with her DJ-with-dancers show, they asked her back for their full tour in 2009. And as word spread, Brown found herself supporting the cream of the pop crop, including Rihanna, Chris Brown, Lady Gaga and Britney Spears, with the latter inviting her on her European tour a year later.

Since then, Brown’s star has only gotten brighter. These days, she boasts weekly radio mixup shows in Australia and abroad (on the popular Radio FG France dance network), has sold over 150,000 copies of her Crave series (now up to Volume 5) and played events as dazzling and diverse as the official Grammy’s After Party and the Singapore F1 Grand Prix alongside Beyonce and the Black Eyed Peas. Along the way, she’s also clocked up more than 100,000 loyal Facebook fans.

Now, twenty years since that first giddy singing lesson, she’s ready to retake the mic and launch that long-overdue singing career. And she’s not afraid to say she’s a little bit nervous…

“It’s exciting, nerve-wracking and intimidating all at the same time,” she says. “I’ve been working on this for a while and I didn’t want to release anything until I was completely satisfied with it. I can’t wait for people to hear this song.”

Written and produced by dance duo More Mega, first single ‘We Run The Night’ is the perfect introduction to the talents and tastes of Havana Brown. A certified dancefloor detonator, the song’s as epic as it is euphoric with an insanely infectious breakdown that’s guaranteed to throw the crowd into overdrive.

“It’s created for both the clubs and the radio,” she reveals. “That was really important for me and it was very difficult to pull off. As for the track, it’s about how music makes me feel.”

Brown says her vast experience as a DJ playing other people’s tunes has also had a huge impact on how she approaches her own.

“In the past, I wasn’t quite sure what type of artist I want to be. But now, after DJing and Fishbowl falling apart, which has been a blessing in disguise, now I’m very confident about what I want.”

At the same time, she realises that some people can be just as dismissive of female pop singers as they are of female DJs. But that, she says, only motivates her more.

“It actually drives me more when people say bad things,” she confesses. “It doesn’t make me angry, it’s more ‘I’m just going to annoy you even more by going out there even harder.’”

“I know I’m putting myself out there in a different way,” she adds. “Originally I was behind the console playing other people’s music but now I’m up front performing my own. I’m revealing myself – it’s like being naked.”

So far, Havana’s career as a jet-setting DJ has been nothing short of dazzling, but now she’s ready to shine in a whole new light. Ladies and gentlemen, introducing Havana Brown the artist.

Bio and picture source…..www.getmusic.com.au

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Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
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Music School Business Plan

Music School Business Plan

Enter Music Media, Publishers Of The Highly Well-liked DRUM! To Roll Out Another Hit: Traps

They are not genuine costly. The genre started to rise rapidly in recognition with Guitar Hero and Rock Band in current years. If this was the case, I would agree with the harsh reception many has offered this game, the music games incorporated in Wii Music are not excellent adequate to warrant the price of the game, nor the money and time spent on establishing the title. Even the newer models are prone to break down although you could have taken additional precaution beforehand. Get pleasure from the birds and wonderful blue sky that could easily be a portrait of radiant beauty.

Take time for that lengthy luxurious bubble bath,and relaxing in a hot tub. Can you listen online? There is a large and growing market of people who can afford expensive drums.” Commenting on the magazine’s physical look and feel, Hood, said: “We plan to present Traps on heavier paper and cover stock than most other music magazines, in keeping with the collectible nature of the product,” And, as a result, we’ll be able to charge a higher price at newsstand.” The debut issue features jazz great Max Roach, drummers of the Rock ‘N Roll Hall of Fame, a feature on collectible acrylic drums, the drummers of Black Sabbath, a musical retrospective of Afro-Cuban Jazz, and a Steve Gadd transcription Traps plans include online audio files and podcasts. Properly this is definitely not true.

This usually signals that the teacher is a devoted and accountable individual. Hobbies like photography can open doors for magnificent images of whatever appeals to you. They are usually wiling to answer your questions and support you choose out the gear you need to have. As soon as, all instruments are unlocked, there’s not considerably progression left in a regular gaming sense, but then once more, Wii Music is something but a standard game. Although nobody will be handing you a pile of cash when you turn it in, any respected charity will allow you to write the donation off as a tax deduction.

You can play by your self, accompanied by the very skilled Totes that will play their components flawlessly, or you can invite up tp 3 pals to join you and hash out your personal arrangements on the fly. Taking oneself or your family with you to the zoo or to a museum. Adding another dimension to the game. Wii Music has been in improvement an unusually long time for a Nintendo announced game, and following a presentation of the game at a significant electronics convention last year, the gaming community started to murmur. The chain is one particular of the oldest music stores in the country and has established an impressive reputation with staying energy for over 80 years.

Even so, that involvement comes with a hefty price tag tag. In other words, they will make positive that the choose-ups are functioning and set up properly, the guitar strings are not too far away from the fretboard and that there are no obvious defects that are going to impact your ability to strum that guitar for the first time.As pointed out earlier, the number of places that give low cost 12 string electric guitars for sale on the internet is many and varied. They will by no means offer you you a really great worth (if they provide anything at all). 1 way to make positive you are not ripped off is to find out how long the shop has been conducting business online. It is a nice way to get collectively with buddies or household members to speak, and to paint ceramics.

Daddy’s also offers and trade in program. Promoting a utilised instrument does not operate at a conventional music store. If you treasured this article therefore you would like to be given more info concerning aria school of music please visit our web page. Both retail chains have their advantages. A keyboard can be enjoyable. If you go to their website you can sign up for the mailing list to be informed of upcoming workshops. They also sell the most popular brands such as Gibson, Yamaha, Epiphone, Shure, Fender, and a lot more.

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You’ll Be Mine – Havana Brown ft R3hab

You’ll Be Mine – Havana Brown ft R3hab

You'll Be Mine - Havana Brown ft R3hab

Havana Brown always planned on being a singer – it’s just becoming a world-famous DJ kind of got in the way.

The Melbourne glamour has just released her sizzling debut single ‘We Run The Night’, but she first started singing at the modest age of six. Admittedly though, her ‘performances’ back then were a little different…

“I’d put together shows at family dinners and drag along my poor cousins, who didn’t know how to dance or sing. I don’t know how entertained everyone was,” Brown recalls with a laugh. “I was really into R&B, like Janet Jackson’s Rhythm Nation and Bobby Brown.”

After countless years of singing lessons, performing in dance troupes and cheerleading for her hometown Aussie Rules and basketball teams, Brown got serious about making her own music right after leaving high school.

She started working with Panos Liassi, a Melbourne-based London DJ/producer and one half of R&B/reggae partystarters, Supafly Inc. Such was their musical connection, she ended up following him to the UK to form a Fugees-style group called Fishbowl with two other members. They got signed to the Polydor UK label almost instantly, but sadly, in-fighting saw the act split before they even got to release a single.

“When I look back, it was a pretty dark time,” says Brown. “Getting signed is a big deal for a new artist. You think, woah, this is it! But it wasn’t…”

Like anyone suffering a break up, Brown threw herself into the party scene and one night, she had a dancefloor epiphany of her own: the DJ had the best job in the room and she wanted in.

After learning the basics from Panos, she scraped together enough money from her four-quid-an-hour job to buy her first pair of decks and started hitting up bars with her demo.

Her persistence finally paid off when she scored her first residency at London’s exclusive Kabaret nightclub. “I told the promoters I’d play my first gig for free and they could throw me off after the first song. I don’t think they even thought I’d turn up the next night. When I did, they were like ‘oh, you were serious?’ I ended up playing for an hour and they loved it.”

Arriving back in Australia at the end of 2006, Brown – in her own words – “worked her little tush off” to keep her DJ dream alive. After working the club circuit, she became the first female DJ in Australia to sign a major label record deal with Universal Music in 2008, released her first mix CD, Crave, and topped the year off opening for the Pussycat Dolls on their promo tour.

The Dolls’ management were so impressed with her DJ-with-dancers show, they asked her back for their full tour in 2009. And as word spread, Brown found herself supporting the cream of the pop crop, including Rihanna, Chris Brown, Lady Gaga and Britney Spears, with the latter inviting her on her European tour a year later.

Since then, Brown’s star has only gotten brighter. These days, she boasts weekly radio mixup shows in Australia and abroad (on the popular Radio FG France dance network), has sold over 150,000 copies of her Crave series (now up to Volume 5) and played events as dazzling and diverse as the official Grammy’s After Party and the Singapore F1 Grand Prix alongside Beyonce and the Black Eyed Peas. Along the way, she’s also clocked up more than 100,000 loyal Facebook fans.

Now, twenty years since that first giddy singing lesson, she’s ready to retake the mic and launch that long-overdue singing career. And she’s not afraid to say she’s a little bit nervous…

“It’s exciting, nerve-wracking and intimidating all at the same time,” she says. “I’ve been working on this for a while and I didn’t want to release anything until I was completely satisfied with it. I can’t wait for people to hear this song.”

Written and produced by dance duo More Mega, first single ‘We Run The Night’ is the perfect introduction to the talents and tastes of Havana Brown. A certified dancefloor detonator, the song’s as epic as it is euphoric with an insanely infectious breakdown that’s guaranteed to throw the crowd into overdrive.

“It’s created for both the clubs and the radio,” she reveals. “That was really important for me and it was very difficult to pull off. As for the track, it’s about how music makes me feel.”

Brown says her vast experience as a DJ playing other people’s tunes has also had a huge impact on how she approaches her own.

“In the past, I wasn’t quite sure what type of artist I want to be. But now, after DJing and Fishbowl falling apart, which has been a blessing in disguise, now I’m very confident about what I want.”

At the same time, she realises that some people can be just as dismissive of female pop singers as they are of female DJs. But that, she says, only motivates her more.

“It actually drives me more when people say bad things,” she confesses. “It doesn’t make me angry, it’s more ‘I’m just going to annoy you even more by going out there even harder.’”

“I know I’m putting myself out there in a different way,” she adds. “Originally I was behind the console playing other people’s music but now I’m up front performing my own. I’m revealing myself – it’s like being naked.”

So far, Havana’s career as a jet-setting DJ has been nothing short of dazzling, but now she’s ready to shine in a whole new light. Ladies and gentlemen, introducing Havana Brown the artist.

Bio and picture source…..www.getmusic.com.au

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Want a song dedicated to you?
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Memories – David Guetta ft Kid Cudi

Memories – David Guetta ft Kid Cudi

Memories - David Guetta ft Kid Cudi

France’s David Guetta belongs to the sparkling wave of DJs who combine Daft Punk’s sleek house music with a pinch of electroclash’s punch. Guetta had been DJ’ing around France playing popular tunes, but his brain was particularly rewired in 1987 when he heard a Farley Jackmaster Funk track on French radio. He taped the track, brought a copy to a gig, and promptly cleared the floor with it during one of his own sets. Things loosened up a year later when acid house came to France and Guetta successfully promoted his own club nights. It was during one of those nights in 1992 that he met Robert Owens, a Chicago-based house legend who was touring across Europe at the time. Guetta played Owens some of his own tracks, and Owens picked one he liked enough to sing over. The result was “Up and Away,” a minor hit that lurked in garage DJ crates for the next four years.

Guetta’s carefree attitude — that he only produces good music while he’s having casual fun — kept the DJ from releasing anything until 2001’s “Just a Little More Love.” The track featured American gospel singer Chris Willis, who met Guetta while on vacation in France. Another slow burner, “Just a Little More Love,” kept popping up in sets for the next two years, first in an electro version and later in a pumped-up Wally Lopez remix. During this time, Guetta snuck out a bootleg remix of David Bowie’s “Heroes,” retitled “Just for One Day.” Bowie gave the go-ahead to release the track officially, and Guetta soon had a massive hit on his hands. Guetta featured the liberated boot on his first mix CD, Fuck Me I’m Famous, named after Guetta’s successful Ibiza-based party.

The fun-loving slacker DJ finally got around to releasing a collection of his own productions in 2004, Just a Little More Love on Astralwerks. Guetta Blaster arrived that same year, followed by Poplife in 2007. Chris Willis sang lead vocals on the latter album, which spun off multiple dance singles in multiple countries. Fuck Me I’m Famous: International, Vol. 2 was then released in July 2008, giving listeners a taste of the stylish sounds that orchestrated Guetta’s summer club events in Ibiza. A year later he released One Love, a platinum-selling album featuring the singles “When Love Takes Over” with Kelly Rowland, “Sexy Bitch” with Akon, and “Gettin’ Over” with Chris Willis.

In 2010 Guetta received five nominations at the 52nd Grammy Awards, two of them related to the One Love album and the other three for his work on the Black Eyed Peas’ massive worldwide hit “I Gotta Feeling.” That same year, One Love was reissued as One More Love, featuring a bonus disc of remixes and new tracks. A superstar guest list — featuring Akon, Lil Wayne, Flo Rida, Usher, Chris Brown, and others — would figure into his 2011 release Nothing But the Beat, but this time the DJ’s songwriting was inspired by dramatic rock bands like Coldplay. ~ David Jeffries, Rovi.

Bio and picture source…..www.mtv.com

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Want a song dedicated to you?
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Without You – David Guetta ft. Usher

Without You – David Guetta ft. Usher

Without You - David Guetta ft. Usher

France’s David Guetta belongs to the sparkling wave of DJs who combine Daft Punk’s sleek house music with a pinch of electroclash’s punch. Guetta had been DJ’ing around France playing popular tunes, but his brain was particularly rewired in 1987 when he heard a Farley Jackmaster Funk track on French radio. He taped the track, brought a copy to a gig, and promptly cleared the floor with it during one of his own sets. Things loosened up a year later when acid house came to France and Guetta successfully promoted his own club nights. It was during one of those nights in 1992 that he met Robert Owens, a Chicago-based house legend who was touring across Europe at the time. Guetta played Owens some of his own tracks, and Owens picked one he liked enough to sing over. The result was “Up and Away,” a minor hit that lurked in garage DJ crates for the next four years.

Guetta’s carefree attitude — that he only produces good music while he’s having casual fun — kept the DJ from releasing anything until 2001’s “Just a Little More Love.” The track featured American gospel singer Chris Willis, who met Guetta while on vacation in France. Another slow burner, “Just a Little More Love,” kept popping up in sets for the next two years, first in an electro version and later in a pumped-up Wally Lopez remix. During this time, Guetta snuck out a bootleg remix of David Bowie’s “Heroes,” retitled “Just for One Day.” Bowie gave the go-ahead to release the track officially, and Guetta soon had a massive hit on his hands. Guetta featured the liberated boot on his first mix CD, Fuck Me I’m Famous, named after Guetta’s successful Ibiza-based party.

The fun-loving slacker DJ finally got around to releasing a collection of his own productions in 2004, Just a Little More Love on Astralwerks. Guetta Blaster arrived that same year, followed by Poplife in 2007. Chris Willis sang lead vocals on the latter album, which spun off multiple dance singles in multiple countries. Fuck Me I’m Famous: International, Vol. 2 was then released in July 2008, giving listeners a taste of the stylish sounds that orchestrated Guetta’s summer club events in Ibiza. A year later he released One Love, a platinum-selling album featuring the singles “When Love Takes Over” with Kelly Rowland, “Sexy Bitch” with Akon, and “Gettin’ Over” with Chris Willis.

In 2010 Guetta received five nominations at the 52nd Grammy Awards, two of them related to the One Love album and the other three for his work on the Black Eyed Peas’ massive worldwide hit “I Gotta Feeling.” That same year, One Love was reissued as One More Love, featuring a bonus disc of remixes and new tracks. A superstar guest list — featuring Akon, Lil Wayne, Flo Rida, Usher, Chris Brown, and others — would figure into his 2011 release Nothing But the Beat, but this time the DJ’s songwriting was inspired by dramatic rock bands like Coldplay. ~ David Jeffries, Rovi.

Bio and picture source…..www.mtv.com

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
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Little Bad Girl – David Guetta ft.Taio Cruz, Ludacris

Little Bad Girl – David Guetta ft.Taio Cruz, Ludacris

Little Bad Girl - David Guetta ft.Taio Cruz, Ludacris

France’s David Guetta belongs to the sparkling wave of DJs who combine Daft Punk’s sleek house music with a pinch of electroclash’s punch. Guetta had been DJ’ing around France playing popular tunes, but his brain was particularly rewired in 1987 when he heard a Farley Jackmaster Funk track on French radio. He taped the track, brought a copy to a gig, and promptly cleared the floor with it during one of his own sets. Things loosened up a year later when acid house came to France and Guetta successfully promoted his own club nights. It was during one of those nights in 1992 that he met Robert Owens, a Chicago-based house legend who was touring across Europe at the time. Guetta played Owens some of his own tracks, and Owens picked one he liked enough to sing over. The result was “Up and Away,” a minor hit that lurked in garage DJ crates for the next four years.

Guetta’s carefree attitude — that he only produces good music while he’s having casual fun — kept the DJ from releasing anything until 2001’s “Just a Little More Love.” The track featured American gospel singer Chris Willis, who met Guetta while on vacation in France. Another slow burner, “Just a Little More Love,” kept popping up in sets for the next two years, first in an electro version and later in a pumped-up Wally Lopez remix. During this time, Guetta snuck out a bootleg remix of David Bowie’s “Heroes,” retitled “Just for One Day.” Bowie gave the go-ahead to release the track officially, and Guetta soon had a massive hit on his hands. Guetta featured the liberated boot on his first mix CD, Fuck Me I’m Famous, named after Guetta’s successful Ibiza-based party.

The fun-loving slacker DJ finally got around to releasing a collection of his own productions in 2004, Just a Little More Love on Astralwerks. Guetta Blaster arrived that same year, followed by Poplife in 2007. Chris Willis sang lead vocals on the latter album, which spun off multiple dance singles in multiple countries. Fuck Me I’m Famous: International, Vol. 2 was then released in July 2008, giving listeners a taste of the stylish sounds that orchestrated Guetta’s summer club events in Ibiza. A year later he released One Love, a platinum-selling album featuring the singles “When Love Takes Over” with Kelly Rowland, “Sexy Bitch” with Akon, and “Gettin’ Over” with Chris Willis.

In 2010 Guetta received five nominations at the 52nd Grammy Awards, two of them related to the One Love album and the other three for his work on the Black Eyed Peas’ massive worldwide hit “I Gotta Feeling.” That same year, One Love was reissued as One More Love, featuring a bonus disc of remixes and new tracks. A superstar guest list — featuring Akon, Lil Wayne, Flo Rida, Usher, Chris Brown, and others — would figure into his 2011 release Nothing But the Beat, but this time the DJ’s songwriting was inspired by dramatic rock bands like Coldplay. ~ David Jeffries, Rovi.

Bio and picture source…..www.mtv.com

Got a request?
Want a song dedicated to you?
Please Contact Us with the song and artist you like, the name you want published and we will do our best to find it.
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Play Hard – David Guetta ft Ne-Yo Akon

Play Hard – David Guetta ft Ne-Yo Akon

Play Hard - David Guetta ft Ne-Yo Akon

France’s David Guetta belongs to the sparkling wave of DJs who combine Daft Punk’s sleek house music with a pinch of electroclash’s punch. Guetta had been DJ’ing around France playing popular tunes, but his brain was particularly rewired in 1987 when he heard a Farley Jackmaster Funk track on French radio. He taped the track, brought a copy to a gig, and promptly cleared the floor with it during one of his own sets. Things loosened up a year later when acid house came to France and Guetta successfully promoted his own club nights. It was during one of those nights in 1992 that he met Robert Owens, a Chicago-based house legend who was touring across Europe at the time. Guetta played Owens some of his own tracks, and Owens picked one he liked enough to sing over. The result was “Up and Away,” a minor hit that lurked in garage DJ crates for the next four years.

Guetta’s carefree attitude — that he only produces good music while he’s having casual fun — kept the DJ from releasing anything until 2001’s “Just a Little More Love.” The track featured American gospel singer Chris Willis, who met Guetta while on vacation in France. Another slow burner, “Just a Little More Love,” kept popping up in sets for the next two years, first in an electro version and later in a pumped-up Wally Lopez remix. During this time, Guetta snuck out a bootleg remix of David Bowie’s “Heroes,” retitled “Just for One Day.” Bowie gave the go-ahead to release the track officially, and Guetta soon had a massive hit on his hands. Guetta featured the liberated boot on his first mix CD, Fuck Me I’m Famous, named after Guetta’s successful Ibiza-based party.

The fun-loving slacker DJ finally got around to releasing a collection of his own productions in 2004, Just a Little More Love on Astralwerks. Guetta Blaster arrived that same year, followed by Poplife in 2007. Chris Willis sang lead vocals on the latter album, which spun off multiple dance singles in multiple countries. Fuck Me I’m Famous: International, Vol. 2 was then released in July 2008, giving listeners a taste of the stylish sounds that orchestrated Guetta’s summer club events in Ibiza. A year later he released One Love, a platinum-selling album featuring the singles “When Love Takes Over” with Kelly Rowland, “Sexy Bitch” with Akon, and “Gettin’ Over” with Chris Willis.

In 2010 Guetta received five nominations at the 52nd Grammy Awards, two of them related to the One Love album and the other three for his work on the Black Eyed Peas’ massive worldwide hit “I Gotta Feeling.” That same year, One Love was reissued as One More Love, featuring a bonus disc of remixes and new tracks. A superstar guest list — featuring Akon, Lil Wayne, Flo Rida, Usher, Chris Brown, and others — would figure into his 2011 release Nothing But the Beat, but this time the DJ’s songwriting was inspired by dramatic rock bands like Coldplay. ~ David Jeffries, Rovi.

Bio and picture source…..www.mtv.com

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John Belushi – Why he died

John Belushi – Why he died

John Belushi - Why he died

Who is right about John Belushi?

Bob Woodward has written a book named Wired that portrays Belushi as a man out of control, whose life came to be ruled by cocaine and other drugs.

Judy Belushi, his widow, has attacked Woodward’s book for a number of reasons, of which the most heartfelt is: That’s not John in the book. Woodward’s portrait doesn’t show the life, the humor, the courage, the energy. He wasn’t just a junkie.

Yet the cops who removed his body from a bungalow at the Chateau Marmont on March 5, 1982, were brutally frank. He looked, to them, like just another dead junkie.

Judy Belushi remembers the good times. She argues that “drugs can be fun,” and that she and John had a lot of ups along with the downs. The difference was that John never knew when to stop. Woodward portrays a man who, at the time of his death, was throwing away a career and alienating key people in the movie industry by a pattern of uncontrolled drug abuse. Judy Belushi speaks of the pressures of show business, of John’s need to find energy and inspiration in drugs so that he could deliver what was expected of him.

In all the important ways, Woodward’s book is apparently reliable. Judy Belushi quarrels with some dates and interpretations, but basically the facts are there, and documented. Their real difference is over the interpretation of the facts. Beginning with the same man and the same life, Judy Belushi sees a lifestyle, and Bob Woodward sees the progression of a disease.

Was John Belushi an addict? Friends shy away from the word, and yet on the evidence in Woodward’s book he was a classic addict, a textbook case of drug and alcohol abuse. You don’t get much worse and live, as indeed he proved.

The protests over Woodward’s unflinching portrait of Belushi’s last days reminds me (not with a smile) of an old Irish joke. The mourners are gathered around the dead man’s coffin.

“What did he die of?” one asks the widow.

“He died of the drink,” she says.

“Did he go to AA?”

“He wasn’t that bad.”

John Belushi did try to stop, many times. It is just that he never tried to stop in a way that would have worked. He tried resolutions and willpower. Every addict knows that willpower hardly ever works in the long run, since when the will turns, the game is over. He tried changing his environment, with retreats to Martha’s Vineyard. Recovering addicts talk cynically of “geographical cures,” as if a habit you carry within yourself can be left behind. He tried placing himself under the discipline of others, and even submitted to “trainers” who were to guard him twenty-four hours a day. That made his drugs their problem, not his. He tried switching from one drug to another, or to “only beer” or “only pot.” All mood-altering substances are interchangeable to the abuser, and the drug of substitute leads inevitably back to the drug of choice. He tried health kicks, with Judy mixing her husband “health shakes” in the mornings, all filled with yogurt and bananas and wheat germ. An abusers body is incapable of efficiently absorbing nutrition. He talked to doctors who issued their dire warnings while writing him prescriptions for tranquilizers. He talked to psychiatrists who wanted to get to the root of his problem, as if today’s drug abuse can be treated by understanding the traumas of childhood.

All of these attempts were valiant. When Judy Belushi speaks of them, she speaks from the bottom of her heart. But they were all doomed. All but the very luckiest of drug abusers and alcoholics have tried and failed at most of those strategies. Those who have been successful at stopping are almost unanimous in describing what finally worked:

1. Complete abstinence from all mood-altering substances.

2. Admission of defeat, and willingness to accept help.

3. Use of a support group, such as AA.

The odds against successfully stopping by going cold turkey and using willpower are so high, according to the Harvard Medical School study “The Natural History of Alcoholism,” that it’s hardly worth trying — except as a prelude to an admission of defeat.

From the evidence in Wired, John Belushi was rarely away from one drug or another for more than a few days. Using Valium or Quaaludes as a “substitute” was just his way of putting his drug of choice on hold. When he did occasionally get clean, it was almost always in response to a specific challenge (doing a movie, meeting a deadline), and it often involved some kind of external control, like a bodyguard who would act as a substitute for Belushi’s own will. When he went back to drug use, it was also often in response to a challenge like a movie or a deadline; whether he was using or abstaining, he connected drugs with his ability to work.

I remember a day here at the Sun-Times building when Belushi was shooting scenes for Continental Divide. I had known him for years on a casual basis; our paths crossed occasionally, from early days of Old Town bars and Second City parties to later interviews and show-biz occasions. I had rarely seen him looking better than he looked that day. He told me he was in great shape. He was off the booze and the drugs. He was exercising.

A man was standing next to him, and he introduced him as “my trainer.” Well, what was he going to call him? “My drug guard?” Alcoholism and drug abuse are characterized by denial and an addict will substitute almost any conceivable illness or weakness for the one he must deny; John seemed to place the entire situation in the category of “losing weight” and “getting in shape.” An alcoholic who has temporarily stopped drinking but does not yet admit his problem will frequently do what John did, which is to describe abstinence as a training program or a diet.

His career was coming apart. Continental Divide did not do well at the box office. There were arguments and major problems during the shooting of Neighbors. Work was at a standstill on the screenplay for Belushi’s next project, titled “Noble Rot.” All the career setbacks are described by Woodward. They were accompanied by episodes of drug and alcohol abuse that grew increasingly alarming to his friends and family.

Judy Belushi, in describing those episodes, often links them with their “causes.” For example, she differs with Woodward on his interpretation of Belushi’s drug use during the filming of “Goin’ South,” one of his early films, which starred Jack Nicholson. In the Woodward version, Belushi’s drug use created problems with the shooting schedule. In Judy Belushi’s version, John had flown to New York for a heavy “Saturday Night Live” taping schedule, had exhausted himself, was diagnosed as having “walking pneumonia,” should have been hospitalized, was nevertheless advised by his lawyer to fly back to the movie location in Mexico — and only then, after being kept on hold for several days in Mexico, began to use drugs. Well, she seems to be asking, can you blame him?

The disagreement over the facts of this episode are unimportant, now that Belushi is in his grave. Judy’s interpretation is revealing. Her rationale, if I follow it, is that John used drugs in response to an intolerable situation, and that drugs were his means of coping with it. He was not just irresponsibly going on a blast.

That is true, but it is half of the truth.

It is true, that for someone with a dependency on drugs or alcohol, there will be situations that literally cannot be gotten through without drugs or alcohol. But the other half of the truth is: The situations that cannot be gotten through without drugs or alcohol are invariably situations caused by drugs or alcohol. Booze fixes a hangover. Then booze causes a hangover. If a non-drinker woke up with a normal hangover, he would go to an emergency room. A surprising number of drug and alcohol abusers walk around every day for years with symptoms that a healthy person would equate with “walking pneumonia,” or worse.

Some reviews of Wired say it describes John as a tragic figure. But disease is not tragic, it is just very sad. And what is sad in John’s case is that he was not lucky enough to find, or be able to accept, help. In the book, Dan Aykroyd cries out that John must be hospitalized, that he needs professional help. John Landis says, “We’ve got to get him formally committed if necessary.” Judy was in agreement, but wondered how they’d ever get John to go along with it. They were right. At the time of John’s death, his friends were apparently mobilizing to “enforce” such help — to intervene.

They were on the right track, but too late. John Belushi himself, on some pages of this book, pounds his fists, cries out against his demons and vows to straighten himself out forever. If he had gone the route of detox, drug counseling, therapy and AA, there is a possibility that he could have stayed drug-free long enough to come down to normal speed, to look soberly at his life, and to accept help. But in the years covered by this book, Belushi was never clean long enough to see very clearly.

To me, the tragic figure in the book is Judy Belushi. Tragedy is when you know not only what was, but what could have been. No matter what she thinks of the Woodward book, for me she comes across in it as a courageous, loving, generous and incredibly patient woman who stood by John as well as she could, who put up with a lot of hell, who did what seemed to be right, and who is not content to have his epitaph read “junkie.”

Yet her behavior toward her husband, as described here, is often an example of “enabling.” Almost all active alcoholics and addicts have “enablers” in their lives — people who make excuses, hold things together, assume the roles of bodyguard, parent, nurse, accountant and alibier. Enabling is obviously done out of love — usually out of a deep and stubborn love that refuses to admit defeat. But groups such as Al-Anon, the organization for friends and associates of alcoholics, argue that the best thing an enabler can do is stop enabling.

Judy tried that on occasion, threatening John with divorce as a last resort. Unfortunately, her battle was not only against her own enabling, but also against the army of enablers that flocked around Belushi in the years of his fame. This was possibly the most enabled man of his generation. The angriest pages in Woodward’s generally dispassionate book are devoted to the friends, fans, agents, producers, employers, groupies and general scum who competed with each other to supply Belushi with drugs.

I remember John from the early 1970s, in Old Town, where, to put it cruelly, you’d put drinks into him like quarters into a jukebox, and he’d entertain everyone in the room. He was eventually “eighty-sixed” (barred) from most of those bars, though, and at the end was frequenting his own private saloons in New York and Chicago.

In Chicago during those early days, we were buying him drinks, In Los Angeles and New York in the later days, Woodward reports, money for cocaine was built into some of his business deals, and his associates were giving him hundreds of dollars in cash, on demand, day or night, to buy drugs. For that matter, what difference would it have made if they hadn’t? Friends and sycophants were sneaking him drugs because it boosted their own images: There are long, painful passages in the book in which Judy is asking people not to give John drugs “because I know you don’t want to hurt him.” The same people are hiding drugs for him in stovepipes, toilet bowls and his pockets.

John Belushi was an actor and a comedian, but the book could have been written about a pilot, a plumber, a taxi driver or a journalist — if their diseases commanded $600,000 advances from Simon and Schuster. Judy Belushi is wrong, I believe, in confusing the progression of John’s disease with the “demands” and “pressures” of show business.

Life involves a lot of pressure. It is easier to handle without the incalculable pressure of drug abuse. The comedian who cannot be funny, the pilot who cannot fly, the journalist who cannot meet a deadline, the mother who cannot be patient with her child, feels demands and pressures that are exactly the equal of Belushi’s — since there is no measuring the intensity of the intolerable. Wired is essentially not a show-business biography, but just the sad natural history of a disease.

Story and picture source…..rogerebert.com

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Cooking For Enjoyment Form Of Expression And Stress Release

Cooking For Enjoyment Form Of Expression And Stress Release

Leeks are mainly used in soups and broths, but, can also be used in various other meals recipes. cooking leeks in soup enhances the taste of the soup. You can steam, boil, stir fry, bake or roast leeks, as for each need. Young leek leaves can be chopped into extremely small slices and can be utilized in salads. In contrast to green onions, leeks have to be cooked carefully, to steer clear of below cooking, which makes it inedible, overcooking, which tends to make it slimy and mushy and browning, which makes the vegetable tough. As leeks are much more strong and crunchy, when compared to green onions, cooking is carried out to make it softer and milder (in flavor).

It is not safe to can mashed pumpkin as the center of the pumpkin in the jar is as well dense to allow proper heating to stop bacterial development. Depart the mashing to when you open up the can to use it. It will be gentle and simple to mash. Also include spices just before utilizing the pumpkin for very best taste.

There are (omit) numerous ways to cook dinner meat. Pork ought to not be overcooked. Your Metabolic Cooking review method decides how lengthy the pork should be cooked. Broiling pork ribs in the broiler requires about 35 minutes for them to get done. Turn ribs frequently while broiling. Boneless middle cut pork chops should be broiled for 5 or 6 minutes on every aspect. Thin cuts only require to be broiled for 2 minutes on every aspect. Pork chops can also be pan broiled over medium to high heat. Brush the bottom of the pan with some olive oil before broiling boneless center cuts for three minutes on each aspect. Middle reduce chops with the bone will need a slightly longer cooking time.

As I’ve talked about, at an equal excess weight, the body fat-free excess weight will determine metabolic rate. Exercise is one of the few issues that we can actually do to turn the equation in our personal benefit. Any type of physical exercise will assist. Cardio workouts will not develop muscle tissues to the extent that excess weight training will, but even that will over time improve muscle mass. Don’t blindly focus on the calories burned throughout exercise; the real benefit arrives from the energy that are burned the relaxation of the working day. Cardio exercise is not a bad place to start. It will burn up much more calories than weight coaching and will direct to much more muscle mass.

Location the grill and little pen broiler inside prior to metabolic cooking placing the turkey in it. Lifting fifteen pounds turkey is not simple when it is believed. Try to pick it up when it’s hot and you have fifteen hungry individuals looking at you.

Please keep in mind that grownup meals can damage the child’s well being. Making meals for children is very easy job if you adhere to the right path. Its all depends on our available recipe checklist. If you know the great kids recipes then you are totally free from tension otherwise no require to be be concerned. Just verify out some child’s unique recipes web sites and print one the simplest recipe. One you would have the recipe then wholesome food is not very much.

The peanut paste scare drove house what a great deal of us have known for a lengthy time, you can’t control what goes into everything your family members eats, particularly if you are serving shop cooking-bought foods. Choose up a few specialty appliances to make homemade meals that your family members loves, some choices are a peanut butter maker, a yogurt maker or a food dehydration to make your personal fruit leather, yogurt and peanut butter.

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