Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
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.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
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.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
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.
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.
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.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
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.