Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
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Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Male: You know, I was always interested in music. But when my older brother brought home Heartbreak hotel as probably a story that is similar to many others, it was a life changing event. And suddenly there was music that seems like it was for us and not for our parents. And I became an obsessive listener of rock and roll. And Elvis’ guitarist, Scottie Moore, was someone who played with a pick but also use his fingers. And he sort of an orchestral style going. And then later on on some of those records you have Jake Atkins. And both of these people had a very orchestral integrated technique in terms of how they define the records that they were making. So that was an early influence in terms of picking, in terms of finger picking. A few years later when the first wave of rock and rolls started to ebb a little bit, I got very interested in folk music. And of course the three finger traverse pick is sort of a basic thing that you learn when you get into that. I was also listening to some what you might call classical light. Some pop interpretations of classical which would add the third finger as well. And would also bring in melody lines played within a finger picking structure. I picked up on the banjo because a lot of those groups were playing banjos, so I bought myself some finger picks and was playing blue grass banjo. and that whole kind of roll which is again three fingers informs a lot of things later like world turning songs that are directly connected to that style of my. So that’s really about it that in terms of what I can analyze. You know, I am a player who was not taught. I consider myself to be sort of a refined primitive. I'm someone who does not read music. So because I learned by listening to songs and getting a chord book and played songs. It was always about the song. It also makes that difficult for me to analyze too deeply or too technically. So all of those things were made up the bulk of how I play the guitar. Now when I got in to a band after high school, I couldn’t play lead. That wasn’t part of my lexicon at all. So I played bass in that band. And it was only after that band broke up, then Stevie Nicks and I started thinking of becoming a duo that I started writing songs and added lead into my range. And by that time, I was not someone who was going to take to a pick very often. Sometimes in the studio, you use a pick for specific application. But the fact that I played lead without a pick is really just an extension of my limitations. I think if you want to look at it that way. When we join fleet with Mack, Mick tried to get me to start using a pick and it wasn’t going to happen. So that’s just the way it works out. Well, this is a song that Stevie wrote and it was on the first album which Stevie and I run with Mack. I remember that it had been sitting around for awhile before we actually met the band. And so it was waiting to find a home. That’s something that on a guitar level is not too mysterious, it’s probably the most traditional in terms of application and it was just one of those things that we wanted to keep very, very simple. Much as we did later with Never Going Back Again, that would be a song which is analogous to this. But this particular song, it is probably the least complex in terms of a picking style. It really adheres pretty close to a basic traverse pick to the whole song. There is a solo that goes over it on the recorded version which is electric. And of course that, when we do it live, that became something integrated into the single guitar. But originally, it was really just like played in the G, just. Male2: The end of that was nice how you brought little piece of melody in of the C and the B and F and D-G staying there. Male: That’s right, yeah. That’s that little two notes thing staying the same over all the changes again. Again I'm not sure, but I'm pretty sure that that is not on the recorded version. That was something to make the live version have lift. So that just worked really well.