After receiving a link to Dolo the Bandit's "Roach Clips" Video from The Giant Blast affiliate The Beat Yard, New York based DJ, DJ Ms Royale (of The Free Agent DJs) had a lot of great things to say about Dolo the Bandit and his music......... here is what she had to say.......
"Dolo the Bandit goes hard. Glad to hear Hip Hop still lives. Roach Clips has a nice flow. Keep dropping bombs!"
Dolo the Bandit is The Beat Yard featured artist of the month of April.
Eeeeasy! Nice online mix download from Unity Sound. Big shouts to my homie CrossFire out there in Japan although the Unity Sound crew is worldwide from Atlanta, Florida, Jamaica, & beyond! You can get this reggae "Royal Warriors" Culture Mix (Part 2) right now right here.
I just got off the phone w my dog Slick Tone. Tone is just one of them concierge type niggas. I can call him any day of the week and find out what's poppin,where to eat,etc. Anyway,he was at the DRINKS ON ME event last weekend. He had alot of good things to say to me about the event,which meant alot because,he will let you know if you workin wit some bullshit ASAP!
The place was about 80% full,and that was great for me,being that this was the first night. All of the performers were well received. We gave out free copies of my new album #BigGame. It will be available on Itunes in a few weeks. I'll letchall know when,when I find out for sure. S/O to P Dukes, Stanza,Young Lyxx, Tre Luce, Amul9, and Reggie bishop for givin that crowd what they came to see! S/O to Maurice Garland for hosting the show,and DJ Jamad,for filling in at the last minute. Also wanna send an extra special s/o to my brother Jeron Ward for organizing the event for me! If you missed it,trust me,you won't next month. Btw,thanks to all those that bought a ticket,but couldn't make it out. Thx for your support,square bidniss!
We gone do it again next month yall, BIGGER and BETTER, stay tuned.....Lotto!
We are currently hosting a model casting call for the new faces of Le Salon Bridal!
Looking for models, experienced or new talent, to join our roster for upcoming shows and events for the bridal year!
If you feel you have what it takes please email the following: -Bust, Waist, Hip Measurements -Height -Hair Color -Eye Color -Hair Color -Comp Card (if have one) -Photo (new talent) face shot, and full body shot, please not blurry
We will then call you regarding casting call dates, times, and compesation
Hi, I'm Evan Wilder. I work in public relations for The U Network, an upcoming online television network.
Are you an aspiring but talented actress who wants to advance her career?
Congrats, this Saturday, July 2, 2011 (4:00pm -- 8:00pm), we're holding acting auditions at 300 South Main St in Royal Oak (inside of Starbucks). Honestly, we're screening for just one physically fit and healthy woman between the ages of 18 and 25. All races are welcome. If working with you turns out to be a success then you may be included in more skits. You're encouraged to bring your monologue even though it's not required. Bear in mind that we'll be shooting a SHORT online skit this Saturday at Royal Oak.
This is convenient for you if you live in or can easily commute to Royal Oak.
If you want more information, feel free to contact me at email@example.com.
LOS ANGELES (Hollywood Reporter) – The battle lines are drawn far too quickly in the uptown-meets-downtown comedy "Jumping the Broom."
The film imagines that two African-American families meet for the first time at a wedding on Martha's Vineyard where the contrast in class divisions is all the more acute. But the two matriarchs are at each other's throats on first sight so any subtlety or nuances fly right out those French doors.
Angela Bassett and Loretta Devine are superb, distinguished actresses, yet each is asked to overdo every moment with permanent scowls and body language more suitable to "Mortal Kombat." The film's makers seem unduly anxious that nearly every line of dialogue and plot development drive home the class differences between the two families for fear that -- well, what, that audiences won't get it? The real class differences on display in "Jumping the Broom" are condescending Hollywood filmmakers who distrust an audience's intelligence.
The TriStar release may open with decent box-office numbers on May 6 thanks to a talented, award-winning cast. Certainly the target audience of black Americans will contribute significantly to those numbers, but it's hard to say how well this story, which could take place within any community, will cross over to larger audiences.
The comfortably bourgeois Watson family throws open the doors of its magnificent Martha's Vineyard compound to the blue-collar, Brooklyn-based Taylors when daughter Sabrina ("Precious'" Paula Patton) rushes into an engagement to Wall Street up-and-comer Jason (Laz Alonso). It's rushed because she will soon take a job in China. And then there's her unusual personal quirk -- after a love life of some promiscuity, she has vowed to God that she now will "save her cookies" until after her marriage to Mr. Right.
In another movie, that vow and this couple might make interesting protagonists. But in this movie, they are almost dress extras at the main event, the fight between Sabrina's Old Money mom Claudine (Bassett) and Jason's postal worker mom, who might as well be called "Going Postal" Pam (Devine).
The families have never met, which doesn't prevent Claudine from fantasizing, perhaps even wishing, "They could be awful." Nor does it prevent Pam from uttering a blatant insult the moment she meets Claudine and her husband Greg (Brian Stokes Mitchell). She takes it back right away, but ceases to do so as further and graver insults spill from her mouth.
Perhaps betraying their own snobbery, Elizabeth Hunter and Arlene Gibbs' screenplay insists that their urban working-class characters are uncouth social disasters, except for Jason, of course, who is the only member of his family with a higher education. Yes, the writers do endow their rich, well-educated characters with a few flaws, but these owe more to the need for family secrets to spill out at a dramatically opportune moments.
Promising subplots never fully develop as the matriarchal battle so consumes the movie. These include a bridesmaid (Meagan Good) with a penchant for picking wrong men who hooks up with the wedding banquet chef (Gary Dourdan) and a university student (Romeo Miller) with an eye for Pam's much older best friend (Tasha Smith). Not to mention the one live-wire in the Watson family, Aunt Geneva (Valarie Pettiford), who can belt out songs on cue and has a shady enough past to deserve her own movie.
But this movie, directed without much flair by television director Salim Akil, is content to indulge in repetitive old-girl fights, which make Jason look pretty weak for failing to protect his fiancee and her family from his dangerously unstable mother. Of course, the movie contrives all sorts of r
WASHINGTON – The Supreme Court won't get involved in a fight between Eminem's former production company and Universal Music Group over downloads of the rapper's songs and ringtones.
The high court on Monday refused to hear an appeal from Universal Music Group.
The 9th U.S. Circuit Court of Appeals said F.B.T. Productions LLC's contract entitled Eminem and his producers to a 50-50 split with Universal for recordings licensed to digital distributors such as Apple Inc.'s iTunes.
The record label had paid F.B.T. and Eminem 12 percent of sales, the agreed-upon rate for physical albums.
F.B.T. discovered Eminem in 1995 before he signed in 1998 with Dr. Dre's Aftermath Records. Universal's Interscope Records distributes Aftermath recordings.
The case is Aftermath Records v. F.B.T. Productions, LLC, 10-768.
Pandora filed for an initial public offering (IPO) of common stock on Friday, lifting the curtain that had hidden the financial details of the leading Internet radio company. Now, because of the disclosure requirements placed on companies seeking an IPO, financial facts like Pandora's revenue, royalty expenses and executive compensation are now available to the public.
Pandora's revenue has grown at an incredible rate. In the nine months ending October 31, 2010, the company had revenue of $90.1 million and a net loss of $0.3 million. That will likely put full-year revenue over $120 million. In all of fiscal 2010 (the 12-month period ending January 31, 2010) the company had revenue of $55.2 million and a net loss of $16.3 million. The year before revenue was just $19.3 million and net loss was $28.2 million.
The company is heavily reliant upon advertising and gets relatively little from paying customers. While Pandora offers paid subscriptions for ad-free listening, it accounts for less than 14% of the company's revenue. Advertising accounted for 86.4% of revenue in the nine month period ending October 31, 2010. At $36 per annual subscription, that comes out to about 454,000 subscribers in the first nine months of fiscal 2010. In other words, less than 1% of Pandora's 71 million registered users (as of October 31, 2010) have opted to pay for the ad-free service. Subscription revenue has improved, however, climbing from 5.6% of total revenue in the 12 month-period ending January 31, 2009.
Royalties take a big - but declining - chunk of Pandora's revenue. The company paid out $45.42 million for content in first three quarters of 2010, or 48% of revenue. As a percent of revenue, content acquisition costs have from 119% in the quarter ended April 30, 2009 to 44% in the quarter ended January 31, 2010. They were 58% of revenue in the quarter ended April 30, 2010 and 48% in the following two quarters.
Royalties paid to the three PROs accounted to 4% of total revenue. BMI gets 1.75% of gross revenue. SESAC gets 0.38% of gross revenue. Pandora terminated its agreement with ASCAP in October 2010 because the company felt the royalty rates are "excessive." A final determination is pending.
Pandora is selling its IPO as a bridge to a successful future. "We have pioneered a new form of radio," the company states in the S-1 filing. The $100 million it hopes to raise will be used to enhance the service, develop innovative ad products, build ad sales and support organization, expand distribution, expand to other territories and expand into non-music content.