Friday, October 23, 2015

Sean Penn Seeks to Sanction Lee Daniels Over Tactics in Defamation Fight

The legal dispute between Sean Penn and Empire co-creator Lee Daniels is turning on tactics quickly.
Image result for sean pennIn September, Penn filed a $10 million lawsuit over a comment that Daniels had made to The Hollywood Reporter. In an interview, Daniels defended Empire star Terrence Howard over media reports of domestic trouble. "[Terrence] ain't done nothing different than Marlon Brando or Sean Penn, and all of a sudden he's some f—in' demon," Danielstold THR. "That's a sign of the time, of race, of where we are right now in America."
In his lawsuit, Penn alleges that "Daniels falsely equates Penn with Howard, even though, while he has certainly had several brushes with the law, Penn (unlike Howard) has never been arrested, much less convicted, for domestic violence, as his ex-wives (including Madonna) would confirm and attest."
Daniels plans to raise some sort of First Amendment defense for his comments, and apparently he sees procedural advantage in fighting the lawsuit in federal court rather than a New York state court. So Daniels' attorneys submitted a notice of removal of the case, citing diversity jurisdiction — Penn lives in California, Daniels in New York.
Removals to federal court are fairly routine and usually don't spark fireworks, but not this time.
In a letter from Penn's team to a federal judge today, filed in court, the move is called "improper and legally defective" because under the forum defendant rule, a civil action can't be removed to federal court if the defendant is a citizen of the state where the action is brought. In other words, because Daniels is a New Yorker, he has to face the lawsuit in New York Supreme Court.
Penn's lawyer, Mathew Rosengart, says in his letter that the case must be remanded to state court and that Penn is entitled to his costs and attorneys' fees.
Daniels is being represented by James Sammataro at Stroock, who wasn't immediately available for comment.

Billboard Touring Conference & Awards

November 18-19, 2015
Roosevelt Hotel, NYC
The Billboard Touring Conference & Awards is the premiere event dedicated to the live music industry. Now in its 12th year, the Billboard Touring Conference features industry-leading programming that informs, educates and provides a forum for promoters, producers, agents, managers, venues, sponsors, marketers, production professionals, merchandisers, digital music executives, ticketing companies, and all touring-related businesses about the industry's latest opportunities and current challenges.

Jay Z Wins Copyright Trial Over Egyptian 'Big Pimpin' Sample

Jay Z’s got 99 problems, but an unfavorable verdict in the trial over his hit “Big Pimpin’” ain’t one.

Jay Z 2015
In court Wednesday, judge Christina Snyder found the nephew of Egyptian composer Baligh Hamdi did not have standing to pursue the claim Jay Z and producer Tim “Timbaland” Mosley illicitly sampled his uncle’s song “Khosara Khosara” in the iconic hook of “Big Pimpin’.”
The verdict ended a week-long trial in which the plaintiff, Osama Fahmy, argued the Egyptian concept of “moral rights” applied to Jay Z’s license for “Khosara Khosara” and required the rapper, Timbaland and their record label to get Hamdi’s family’s permission to sample “Khosara Khosara.”
Jay Z and Timbaland responded Fahmy could not invoke Egyptian moral rights over the American license for the song, and when Fahmy signed all rights to “Khosara Khosara” to the Middle Eastern record label Sout El Phan over a decade ago, he lost the standing to pursue the lawsuit.
Snyder told the court yesterday she would decide whether Egyptian law applied and whether Timbaland’s license from EMI was valid. If she decided it did, the question of whether Jay Z and Timbaland infringed would go to the jury.
“Fahmy lacked standing to pursue his claim,” said Snyder in court Wednesday. “In light of that decision, it will not be necessary to submit to the jury whether ‘Big Pimpin’’ infringed ‘Khosara Khosara.”
“I had to hear the testimony of Egyptian law experts in order to reach that decision, she added. She dismissed the jury at about 10:30 a.m.
“We and our clients obviously are very pleased with this decision. The court correctly ruled that the plaintiff had no right to bring this case and cannot pursue any claim of infringement in connection with Big Pimpin’ whatsoever,” said the defendants’ attorney Christine Lepera in a statement.
“After a lengthy litigation, Defendants have been vindicated in their position that they have every right to exploit "Big Pimpin'" wherever they choose, including in records, films and concerts,” added her co-counsel David Steinberg, who represented defendants including Universal Music and Warner Music.

Adele's Comeback Song 'Hello' Has Arrived

The multi-Grammy winning singer will release her third studio album '25' on Nov. 20.

Adele as she appears in the "Hello" videoAdele is back with her first single in three years. "Hello," a soaring new ballad that offers the first taste of the British singer's highly anticipated third album, 25, debuted in the early hours of Oct. 23.
The chorus features Adele's signature soaring vocals as she sings, "Hello from the other side / I must have called a thousand times / To tell you I'm sorry for everything that I've done." Accompanied by a piano and drums for most of the track, which was produced by Greg Kurstin (SiaBeyonce) and recorded in Los Angeles, orchestral bells and big, ambient synths fill out the sound during the song's last act.
The title is apt for a comeback song with such excitement behind it. Adele has been in something of a career hibernation since the birth of her first child in 2012. "Hello" is the Grammy winner's first release since her 2012 recording "Skyfall" from the James Bond film of the same name reached No. 8 in the U.S. and No. 2 in the U.K. Though "Skyfall" was a one-off, a bridge between a four-year wait between albums.
That wait will officially come to an end Nov. 20 when Adele's album 25 arrives. Adele announced the big news on Wednesday, Oct. 21, just days after publishing a Twitter letter in which she told her fans, "I'm sorry it took so long, but you know, life happened.” The singer has described 25 as a "make-up record," more adult in theme and tone.

Saturday, October 10, 2015

Is Sony Really Trying to Sell Its Publishing Giant?

Image result for sonyIt appears that Sony Corp. has triggered a clause in its co-ownership agreement of publishing giant Sony/ATV, which it shares with the Michael Jackson estate, that allows for either party to initiate a buyout of the other, signaling that the beleaguered multinational is looking to either sell its half of the Sony/ATV joint-venture ownership to the Michael Jackson estate or buy Jackson out. The reasons for the trigger remain mysterious, though a problematic relationship between the partners is an oft-cited rumor. Whatever the outcome, the finish line on any deal remains far in the distance. The news was first reported by the Wall Street Journal's Hannah Karp.

Sony Corp. (SON.L, SNE) is moving closer to selling off its half of Sony/ATV Music Publishing, after recently triggering a clause in its contract with its co-owner, the Michael Jackson estate, that allows one party to buy out the other, the Wall Street Journal reported citing people familiar with the matter.
Sony/ATV is co-owned by Sony and the estate of the late pop star. Sony and Jackson have jointly owned the company since 1995, each with a 50% stake.
Music industry veterans reportedly estimateSony/ATV's value at around $2 billion. Sony hasn't put a price tag on its share yet.
Lenders were notified when Sony triggered the exit clause last month. There is no guarantee the process will result in Sony selling its half.
Sony/ATV's structure grants both partners the right to counter any offer to buy out the other side, as well as to bid for the half each doesn't own.

Saturday, August 29, 2015

When does a frame stop being just a frame?

…when does it 

become something 

more than 


That answer can never really be answered because so few frames have actually been able to accomplish that. Most people go about their lives buying and wearing regular frames… something to block the sun from your eyes, others, though, respect frames. They KNOW the frames, and know that each piece can mean something different. If you base your style on what fits, then you are lost and may God have mercy on your soul. At the Vintage Frames Company we fit frames to your personality. Now, there are a few options that will leave you stunned and in awe, but there is one frame in particular, The Ultra Goliath II frame, that will leave you speechless.
This frame has made a name for itself being the BOSS Frame. Heavy hitters like the fictitious "Ace" Rothstein from casino and Zombie afficionado George A. Romero were never seen without this frame. Now a days, the biggest leaders in the industry are sporting them, as if they were born to. Cee-Lo Green the king of modern soul has an extensive collection ranging from precious metals to clear acetates. Security extraordinaire and TV heavy weight Chris "Big Black" Boykin also keeps the Ultra Goliath in his company.
The oversized frame takes command on any face, it creates a long lasting impression. If you are shy or dont like attention then I don't think this is the frame for you. This frame is for the "Go big or Go home" personality. If you can handle the attention and the praise then you need to get yourself a pair RIGHT FUCKIN NOW! and you can do that at The VINTAGE FRAMES SHOP

Friday, July 31, 2015

Review: 'Straight Outta Compton' Is an Exhilarating Hip-Hop Epic

Review: 'Straight Outta Compton' Is an Exhilarating Hip-Hop EpicThe ferocious rhymes of hip-hop icons N.W.A.’s controversial 1988 anthem “F--k tha Police” scarcely seem to have aged when they blast on to the soundtrack of Straight Outta Compton, echoing into a world where the abuse of black Americans at the hands of law-enforcement officials remains common headline news. But if Compton is undeniably of the moment, it’s also timeless in its depiction of how artists and writers transform the world around them into angry, profane, vibrant and singular personal expression. A conventional music-world biopic in outline, but intensely human and personal in its characterizations and attention to detail, director F. Gary Gray’s movie is a feast for hip-hop connoisseurs and novices alike as it charts the West Coast rap superstars’ meteoric rise, fractious in-fighting and discovery that the music business can be as savage as the inner-city streets. A very smart piece of counter-programming in a summer dominated by lily-white tentpole movies, Universal’s Aug. 14 opener should keep the studio clocking much dollars at the late-summer box office.
Image result for Straight Outta Compton
When it dropped in 1988, N.W.A.’s first studio album (from which the movie takes its title) shook the hip-hop world from its solid East Coast moorings with its button-pushing, madly rhythmic depictions of thug life in South L.A. — an ur-text for the subgenre that would become known as “gangsta rap,” though N.W.A.’s members themselves preferred the term “reality rap.” Along with Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” (released the same year), Compton was the album that fully announced hip-hop as the rage-filled protest music of its era — a primal scream from under the boot of white authority, or what the critic Nelson George called “the full-blown sound of revolution.” The group’s charismatic 19-year-old rapper and lyricist O’Shea “Ice Cube” Jackson (played here by his real-life son, O’Shea Jr.) said he and his bandmates were merely “street reporters,” filing dispatches from the from the front lines of a resource-starved community engaged in trench warfare with the Daryl Gates-era LAPD. Everything about N.W.A. was confrontational, starting with their name (short for “Niggaz With Attitude”).
Gray’s panoramic film (running a densely packed two-and-a-half-hours) is the story of N.W.A., yes, but also of the city in those same years — a long-simmering discontent that finally erupted into the 1992 riots. But first we begin in 1986 with the DNA of N.W.A. — the friendship between Cube and aspiring DJ Andre “Dr. Dre” Young (Corey Hawkins), and their courtship of a neighborhood drug dealer, Eric “Eazy-E” Wright (Jason Mitchell), to funnel some of his illicit funds into a record label (appropriately dubbed Ruthless) for burgeoning West Coast hip-hop acts. And it’s Wright (brilliantly played by Mitchell, the biggest revelation among the young actors) who emerges as Compton’s most compellingly complex character, a hip-hop Napoleon whose small stature and high-pitched voice mask a shrewd business acumen.
Image result for straight outta compton
Even when Gray (who made his feature debut directing the real Ice Cube in the stoner-slacker classic Friday) puts Compton through the somewhat familiar biopic paces, he brings a richness of observation to the table that transcends cliche. (The exhaustively researched screenplay is credited to Jonathan Herman and Andrea Berloff, from a story by S. Leigh Savidge, Alan Wenkus and Berloff.) The live performance and recording scenes have the same loose, semi-improvised feel of the ones in the recent Beach Boys drama Love & Mercy, especially when Eazy steps up to a mic for the very first time to lay down his hit single “Boyz-n-the-Hood,” and Cube performs an early version of “Gangsta Gangsta” at a nightclub where slow-jam R&B is the house style.
These early brushes with fame bring the N.W.A. boys into the orbit of Jerry Heller (Paul Giamatti, sporting a swooping gray toupee), a veteran rock manager who pledges to lead his new clients into the lap of white music-biz respectability. But while Heller may be the prototypical wolf in Jewish cowboy couture, Straight Outta Compton is loath to pass rash judgments on its characters, whose motivations Gray and the writers strive to understand even when their actions verge on the monstrous. (The only unqualified monster here is the bodyguard-turned-mogul Marion “Suge” Knight, played with terrifying force of presence by R. Marcos Taylor.)
Compton doesn’t make the N.W.A. members themselves into paragons of virtue, even as it suggests that much of their swagger and braggadocio were more performance than reality — as well as necessary defense mechanisms on streets where real gangbangers posed a serious threat and where the police made little distinction between one type of young black man and another. Gray plunges us into that pressure-cooker atmosphere repeatedly, including one scene — depicted here as the inspiration for “F--k tha Police” — that can’t help but send a chill through the theater in light of the recent events in Ferguson and other black communities: While taking a break from theCompton recording sessions, the rappers are descended on by a swarm of Torrance cops who humiliatingly shake them down while disparaging the very existence of hip-hop.
Gray casts a wider net in the film’s second half, as friction among the three N.W.A. principals (over money, natch) sends them spinning off into their own orbits, Cube with movie projects and a platinum solo career, Dre as a prolific producer who — in and out of tumultuous partnership with Knight — helps to foster a new generation of hip-hop talent (including Snoop Dogg, Tupac and Eminem). The former friends turn rivals, trading barbed insults on their albums and occasional fisticuffs in public. Then L.A. burns, and out of the ashes, a relaxing of tensions — and hope of an N.W.A. reunion — begins to take hold. But even as the film broadens its scope, Gray’s direction remains sharp and vibrant, giving us a Rashomon-style sense of how post-N.W.A. life looked from each character’s perspective, and reaching unexpected depths of emotional power as Wright starts to succumb to the AIDS-related complications that would cut his life short, at age 31, in 1995.
The movie has been made in high but never overindulgent style, with Matthew Libatique’s richly textured widescreen camerawork deliberately avoiding shopworn images of South Central life while evoking a vivid sense of place, and the editing of Billy Fox and Michael Tronick keeping the complex narrative moving smoothly from beat to beat. The encyclopedic soundtrack — ranging across the N.W.A. catalog, its members solo ventures, their old-school R&B influences, and the top-40 pop hip-hop would displace as the dominant sound of the era — has been assembled with similarly meticulous care.