The song introduces a unique sound influenced by the likes of Ludacris and Sean Paul to name a few. The track itself can be seen as an extension of Kardinal Offishall as a person. Born in Toronto, Kardinal Offishall is a Jamaican Hip-hop artist who waited for the right moment to become North America’s new superstar. Kardinal Offishall brings together his experiences of working with artists like Akon, Sean Paul, T-Pain, Rihanna and Keri Hilson along with his experiences of performing in India to create tracks.

“There’s a lot of artists that question: When is it gonna be my time? How come I haven’t blown the scene open yet? For me, it’s been a crazy interesting ride. I believe everything happens for a reason. I’ve been able to work with so many artists just based on a respect factor—anybody from Timbaland to Busta Rhymes—and I’ve been able to soak up all the jewels along the way. The time is now because I’ve seen a lot, learned a lot, and I can best serve my purpose,” says Offishall. Learn more about Kardinal Offishall at http://www.kardinaloffishall.com

Download ‘Action’ at http://www.mediafire.com/?n3f8eld93yb87av

Learn more about Filip Filipi at http://www.filipfilipi.com and Gappy Ranks at http://www.itzcaribbean.com/gappyranks

DJ Ill Will leaked this hot new single from his upcoming album “Tha Alumni”. DJ Ill Will has worked with many hot artists including Drake, Chris Brown, Wiz Khalifa, Yung Berg, Bow Wow, and Tyga. Working his way to millions of downloads a month and in the top 1,000 U.S. web sites with hotnewhip.com, DJ Ill Will is known for tags like ‘your wifey’s favorite DJ’ and “Cuff Yo Chick”.

Kajmir Royale produced the track and Kevin ‘Kassanova’ Davis wrote and sang the chorus for ‘Live the Life’.

Kajmir Royale has accumulated over 50 million plays and sold over 4,000 instrumentals to artists globally on SoundClick.com as a music producer in the past five years. He has major placements with Bow Wow, Gudda Gudda, Lil Twist, Ya Boy, De La Soul, Mistah Fab, Jae Millz, Yung Berg, Crooked I, Hell Rell, JR Writer, DMX, Wiz Khalifa and many more.

Download the song here: http://www.hotnewhiphop.com/en/play/s/43827a5-38328/

Young Money’s Gudda Gudda follows up his classic mixtape “Guddaville” w/ Part 2 “Back 2 Guddaville” Hosted by DJ Ill Will & DJ Rockstar. Includes features from Lil Wayne, Mack Maine, Jae Millz, Vado, Killa Kyleon, Short Dawg, Ya Boy, Waka Flocka, Jay Rock & MORE!!

Tracklist:

1. Back 2 Guddaville Intro (Prod by I.N.F.O.)
2. Lock My CEO Up feat Waka Flocka (Prod by C-Note)
3. I’m Up feat Mack Maine (Prod by Tha Bizness)
4. Break Em’ off (Prod by The Cartel)
5. Gudda feat Jay Rock & Menace (Prod by Dame Grease)
6. Blockstar
7. Willy Wonka feat Lil Wayne (Prod by Jahlil Beats)
8. Small Thing to a Giant feat Lil Wayne
9. Mo Murda feat Vado & Jae Millz (prod by Hardhead)
10. Vent (Prod by Hardhead & Moe)
11. Club to the Crib
12. Callin Out feat Shannel
13. Polo
14. Purple Stuff
15. Get It feat Short Dawg
16. Hold Up feat Killa Kyleon & Short Dawg
17. Bang Bang feat T-Streets (Prod by Monster Beats)
18. Money or Graveyard feat Lil Wayne (Prod by Lil Wayne)
19. Dank N Drank feat SparkDawg & Ya Boy
20. Martian (Prod by Camron Reams)
21. Extraordinary (Prod by Kajmir Royale)

www.twitter.com/imguddagudda
www.twitter.com/deejayillwill
www.twitter.com/realdjrockstar

AMC is a technology enabler for mobile network operators and service providers in the Middle East and North Africa for Mobile Content Delivery Solutions though mABLE Platform. In addition, AMC is also a developer and provider of various mobile applications such as SMS competitions, Video Sharing communities, real-time gaming connected solutions.

AMC is also a publisher and distributor of a wide range of quality mobile content with focus on mobile games including interactive and multi-player. Our service offering also includes localizing/arabizing/developing content based on local market requirements.

With offices in Palestine, Saudi Arabia and contact points in Jordan, Egypt, Algeria, Qatar, Syria, UAE and Kuwait. We cater to the needs of more than 20 different network operators serving more than 40 million subscribers.

The content includes Full Tracks, Ring Back Tones, Ring Tones and Music Videos. AMC will utilize its distribution network to offer Aardvark Records artists to the wireless platforms available in the Middle East and North Africa. This marks the first time the British label’s releases will be available for sale in these territories. It’s a region with over 40 million mobile subscribers which marks a significant extension of Aardvark’s brand identity reach.

The partnership between AMC and Lead Alliance was brokered through New York based Big Apple Style Marketing, a key Lead Alliance digital distribution and branding development partner.

CHICAGO – May 5, 2010 . . . The T-Mobile® City Chase presented by BlackBerry®, the world’s largest urban adventure series, brings its rock-climbing, snake-slithering, Sudoku-solving, endurance-testing experience to Denver on Saturday, June 5.

Part obstacle course, part scavenger hunt, City Chase involves teams of two who compete in mental, physical and adventurous challenges that will push them out of their comfort zones while rediscovering the beauty of their city. Teams must complete ten ChasePoint Challenges (from a list of several dozen) before crossing the finish line. The list of ChasePoints is kept secret until the morning of the race, however past ChasePoints have asked teams to participate in a Marine boot camp drill, hold a 40 pound reptile, write a drivers exam, and take cooking lessons with world renowned chefs.

Teams can use technology, call family and friends for help, access the Internet and even solicit help of complete strangers while relying on their own two feet or public transportation to move from ChasePoint to ChasePoint — each team is given a RTD Day pass to help them get through Denver’s Downtown core.

Denver prizes include the latest BlackBerry Smartphone, Merrell gear, gym memberships and local gift certificates. In addition, the winning team in Denver will win a trip to compete in the National Championship against teams from Austin, Chicago, Dallas, New York, Philadelphia, San Diego and Seattle. That winning team will go on to compete against 15 City Chase Champion teams from across the globe in the City Chase World Championships.

This year’s Chasers will also be helping to raise money for Sports for a Cause, a Denver-based 501(c)3 non-profit organization dedicated to restoring damaged playgrounds and youth athletic facilities, collecting and distribute sporting goods equipment to schools and recreation departments, and generate awareness of the need for safe playgrounds, facilities and schools throughout the Denver area that still exists today.

“Denver is a fantastic city with a strong Downtown layout, filled with active people who love adventure,” said Jason Erkes, City Chase USA President. “My best advice is for teams to register early, get some training time in before the June 5 City Chase, and then get ready to do more in six hours than most of their friends will do all summer long.”

Lead Alliance supporters get a $15.00 discount for a team registration. Enter ADRIAN or DOWNEY, as the coupon code to receive the discount. Feel free to share this with your Facebook friends, other email friends or even Tweet it – help spread the word!

For more information visit http://www.citychaseusa.com/events/view/66

We get over 500 records sent to us each week via Email, Myspace, Twitter, Facebook, etc. It’s difficult for us to listen to every song we receive. In an effort to increase the amount of material we listen to we’ve outlined “10 Reasons we didn’t listen to your music” :

1. The first contact you had with one of our staff: tweet, email, facebook, Linkedin, etc. you sent us had a link to your music in it. Try starting out with a “Hello!” Introduce yourself.

2. You sent us attachments, or just a link to your mixtape or album. We recommend sending your best single. We aren’t sure yet if we even want to hear ONE track from you but you just sent a lot of them.

3. You just sent sent 300 other people the exact same tweet or facebook etc. All those tweets show up on your profile. That will stop people from following you because you look like a spammer and cause followers to unsubscribe because you’re flooding their time-line.

4. You emailed a CDA File or WMA file. We can playback WMA files but that means we have to download them first instead of just being able to preview them in a browser. Learn to rip/import a CD. You can’t just drag the songs off the disc into an email.

5. You sent me a link where we had to go through 2-3 screens of ads and wait 45 seconds before we could download it (Limelinx, MegaUpload, etc). We recommend one nicely designed web link or EPK and linking if anywhere to Z-share. Recipients can immediately preview the music and still have an option to download it. In a perfect world we would get an MP3 links to the songs to click and listen.

6. We have no reason to listen to your music… You sent your music but you really didn’t give us any reason to check it. Why do you want us to listen to your music?

7. You just CC’ed us on an email to like 500 other people… we personally don’t appreciate my email being circulated for any and everybody to have. Setup a Fanbridge account or at least start using the BCC field instead so you aren’t exposing everyone’s email address.

8. YOU THE ARTIST sent it to us. If your music was really hot and you were doing the things that you need to be doing, we would be hearing about it from other people (Managers, Agents, DJs, A&Rs, Publicists, Promoters, FANS, Other Artists or Producers).

9. We’ve already heard about you or your music. Believe it or not this is a small industry and there are very few people in it that are actually here to help independent artists. Don’t think that we don’t talk to each other. So, if you have a reputation for Bullsh*tting, Trying to get something for nothing, Being lazy, lying or just making Bad Music you’ve probably been the topic of discussion once or twice.

10. You’re more concerned with getting heard than being listened to. You’ve sent us plenty of songs, emails, videos, etc but have never taken time to follow up to see if we’ve listened to any of them or what I thought. You’re more concerned with throwing punches than landing them.

Lastly remember, we’re busy…

We may have every intention on listening to your music but as you know sometimes the day can just get away. By the time we had the free time we forgot all about the link you sent me. This can be easily avoided if you focus on building a relationship instead of sending out songs.

Mike Downey
CEO, Lead Alliance Media Group
Los Angeles * Denver * Colorado Springs
http://www.LAMGworldwide.com

http://fblink.com/mikedowney
http://linkedin.com/in/mikedowney

Learn more at http://sparkdawg.com

After gracing the pages of Ozone Magazine & appearing on over 200 mixtapes in the last few years, Spark aka SparkDawg is finally ready to give the world his own taste of Texas music via his 1st ever solo effort entitled “B4 THE MAJOR DEAL”. Through his relationship with various DJs & media outlets, SparkDawg has been interviewed & recongnized by the top music websites in the world, including AllHipHop.com, WordOfSouth.com & of course GritsAndEggs.com. After a brief stint as a member of BME/Warner Bros. recording artist Lil Scrappy’s “G’s Up Click,” SparkDawg’s independant grind earned him a nomination at the 2006 Southern Ent. Awards for “Mixtape Rookie Of The Year.” Although Spark didn’t win that particular category, he did come away with an award for “Best Rap Mixtape” for a mixtape he co-hosted with Swishahouse super star, Paul Wall & former Swishahouse member, Magno aka Magnificent. The award winning mixtape was called “Streets Of The Dirty South 4″ & was a mixtape by DJ Explicit. The buzz from SparkDawg’s underground single “Hit Me On My Sidekick (Sidekick Pimpin’) helped him catch the eye of coporate America which almost landed him an endorsment deal with T-Mobile. Unfortuanately, T-Mobile was hesitant to take such a chance in an “unsigned” artist. Not one to sit around & lick his wounds, Spark decided to prove his doubters wrong by hooking up with Texas Mixtape Giant, DJ Grip, for this soon to be classic mix-album. According to Spark, “I call this tape a mix-album instead of a mixtape because I use 100% original production on every track & once DJ Grip added his touch with an amazing intro along with the scratches & blends, the whole thing flowed like an 80 minute mixtape.” Spark aka SparkDawg is definately a superstar in the making & a lot of companies have already taken notice. One company in particular is Cash Is King Clothing which sponsors SparkDawg & provides him with they’re latest gear. They also provide clothing for Paul Wall, DSR (T-Town/Universal Records), So So Def, Smitty (J. Records), Gritboys (TVT Records) & many more. Ask around & you’ll see that SparkDawg’s name rings bells across the south. His latest accomplishment is a nomination at the 2007 Get’Em Magazine Awards in Pensacola, Florida where SparkDawg is up for “Best Underground Male Rapper.” Other nominees in that category include former HotBoy & Cash Money member, B.G. & DefJam/Slip-N-Slide’s newest artist, Plies. After the predicted success of “B4 THE MAJOR DEAL,” Spark does not plan on being labeled “underground” for long…especially since singing a “group” deal/joint venture with SCARFACE (of the Geto Boys) to release SparkDawg’s click, GREENCITY’s new album. According to Scarface, “SparkDawg is a STAR!”

Story logic, character development and structure are paramount when writing a traditional script. Each film follows a six stage plot structure which you can read all about at Michael Hauge’s Screenplay Mastery web site.

Robert McKee’s Story tells us that you must be good at the nuts and bolts of a scene. Each scene hinges upon the other scene and everything must continue to move forward. A good story is a detective story – the audience wants to know what is going to happen next? Keep them guessing. You never want to be predictable. Scenes need to turn on at least one value charged condition of a character’s life through action – reaction. Real truth is found in underlying meaning and real entertainment is when humans experience charged values and emotion.

The first thing you must do is determine your controlling idea which is the ultimate meaning expressed in one sentence. Next write your logline, which is your pitch to a producer or studio and summarizes your movie set-up, conflict, and resolution. The American Association of Screenwriters recommends you keep the logline to three sentences. For character-driven movies include identification, connection, potential crisis, and risk. There are plot-driven scripts in which you want to highlight complications in the logline.

Loglines should consist of the following:
* Reveal your star’s situation
* Reveal Important Complications
* Describe the action the star takes
* Describe the star’s crisis decision

* Hint at the climax – danger, showdown
* Hint at the star’s potential transformation
* Identify sizzle, sex, greed, humor danger, thrills, satisfaction
* Identify Genre
* Keep it to three sentences
* Use present tense

Characters should go through raw identity, self awareness, self enlightenment, and self actualization. How your character chooses how they react to an event in your script is who they are. Reluctant heroes are always interesting if they only appear to care about themselves, but in clutch situations help others.

Next you can write a treatments which is a story concept, plot, basic characters, and sometimes snippets of dialog of main characters. Typically a treatment is 30 pages or less and can be protected by law (see below below).

Character development is extremely important to a good script. One exercise you can do is talk to your characters and interview them. Where are they from? What do they do? What drives them consciously and subconsciously? Your protagonist doesn’t need to be sympathetic, but must be empathetic. Heroes should be given insurmountable obstacles as they pursue compelling objectives.

No aspect of characterization (age, race, IQ, speech, mannerisms, beliefs, personality) may undermine credibility of character. Actions must be believable. Positive and negative charges. Compare and contrast. Subplots should contradict the controlling idea. Put characters in situations which are rich with moral quandaries and elements of good drama.

You must make sure your script is in top form before you send it to someone. Beware, sending out unsolicited intellectual property (be it script, music, anything creative basically) is very difficult and risky. You can read other scripts at Drew’s Script-O-Rama.

The first step before showing anything to anyone is to protect your work. Register your Treatments, Loglines, and scripts with The United States Copyright Office, ProtectRite.com or WGAWest.com. Don’t make the mistake of thinking your idea is copyrightable – it’s not. Copyright will protect the literary or dramatic expression of an author’s idea but not the idea itself. A script is considered a literary expression of an idea.

Craig Mazin, author of The Artful Writer screenwriting blog will tell you that chain of title . The Writers Guild of America often times finds contributing writers to a project
through arbitration. Participation isn’t defined by employment, rather by the contribution of intellectual property. Chain of Title can be very hard to prove, but the WGA helps determine screen credit on the basis of copyrightable contributions.

I highly recommend Michael Lent’s book Breakfast with Sharks – A Screenwriter’s Guide. He breaks down the process of paper to screen and offers many helpful hints including a resource guide which includes Hollywood Literary Sales, Screen Players, Movie Bytes, Who Represents, Writers Mind, Done Deals, The Hollywood Reporter,Script Savvy, Write Movies, Ain’t It Cool News, Hollywood Creative, Representation, and Distributors Directories.

You will need a good lawyer and an agent, because the problem with sending unsolicited material is this: most people in the position of choosing projects will not even open it. The reason is that if I as an producer or an agent (the two people you would be sending scripts to) have a movie deal about a bank heist in the works and they read someone else’s script about a bank heist they are instantly incriminating themselves as plagiarists. The question becomes which script came first is what the unsigned writer will undoubtedly ask?

It takes a lot of money to make a movie. One way to sell a script is to get it in the hands of someone with money who wants to enter into the Hollywood world. Convince this person that the movie appeals to a wide range of people and get him to sign over funding. Once the first domino falls in promising (in writing) money towards film production, each following domino tips much easier. Once you have funding to produce the film, you then have ammunition to go after distributors (a studio – who gets the film into theaters, television, or DVD).

Once you get enough money, the writer suddenly becomes the producer of the film, the people with the funding are the executive producers. The writer / producer then hires a ESTABLISHED FILM PRODUCER and a SOLID DIRECTOR and hands the project over to them. The writer protects his vision while handing over the nuts and bolts of the production to people who’ve done it before, thereby protecting the financial investment of the executive producer.

Keep in mind, when funding for a feature length film isn’t achievable, sometimes people will make trailers or short form versions of their films and submit them to festivals, which then can generate buzz to further the
project to feature completion.

Keep in mind, probably thousands of scripts are sold to producers/studios/agents which never become movies. Typically on a mid-sized to major film, the writer selling a script will get a few hundred thousand for the script, & a few hundred thousand more should it actually go into “production” (meaning the movie gets made). Beyond that, tons of movies are made to sit on shelves because though produced, they never get released.

To simply sell the script first, move to LA or NYC. Then, package yourself as a successful Hollywood writer (Eurotrash clothes, eccentric neuroticism, various lies about what you’ve done professionally), then go to organization meetings (Producer’s Guild, Director’s Guild, or any of the other hundreds of independent filmmaker / writer organizations), then meet as many people as you can in positions of choosing. Go to their parties, become their friends.

In Los Angeles you will also want want to join The Office, a quiet workplace for writers and a great place to get your work done. Studying is important – The Dialogue series is a must watch, interviews by former New Line Cinema Executive Producer Mike De Luca include Sheldon Turner, Paul Hagis, and Jim Uhls. You can get these on Netflix as well. You can take Syd Field’s Screenwriting Workshop or UCLA Extension writing courses which are considered inexpensive. Personally, my homework sometimes consists of watching up to two or three movies a day and reading a lot of material – books, magazines, Web sites.

There are hundreds of script writing contests you can find online too, winning one of those will certainly add to your material’s worth. There are only two kinds of people in entertainment, beggars and choosers, guess where 99.9% of writers fall? Once you meet these people socially, THEN you can ask them to read your script. Now of course, this takes a gross amount of time and a disgusting amount of soul-selling and gut-wrenching “schmoozing” with people you really would rather not deal with. This is why entertainment is a wonderful industry.

The basic rule is, if it’s too easy to get the script in their hands, they aren’t important enough to be worth wasting your time on, meaning they aren’t in the position to make your movie a reality.
Hollywood is an “old boys” club and quite honestly, unless you are geographically or financially positioned to gain access to these people, it isn’t going to happen.

Write something that a lot of people would like to see that you can make for about $10,000 to $500,000 dollars. This would mean a script set in VERY few locations and easily accessible locations, no special effects, small cast, a crew with a few seasoned professionals but mostly college interns, a concept able to be shot on digital video or 16mm film.

Think movies like Clerks, My Big Fat Greek Wedding, Home Alone, Blair Witch Project, and Meet The Parents. Think about a movie that not only would someone want to see it in the theater, but would they would also want to watch it on DVD. Comedy and horror are both genres that are consistently sellable- straight drama is much more risky.

Take the money, make the movie (be it feature length or shortform), put it on YouTube, MySpace, Facebook, MetaCafe, with your cell phone number at the end. If it’s that great a concept that someone can make money off of, the phone will ring.

When pitching a project in person, wear lots of deodorant. Forget “controlling” your sweat. You want to be able to strike a match off your pits. Know where you’re going. Get there early, but don’t go in early. Show up exactly at the time of your appointment. You’re going to wait regardless, but that’s irrelevant. Thinking too much about what you are going to say will throw a wrench in your pitch. Simply Variety or stare at the wall and laugh about how superior you are to the world. You’re not, but just do it. It helps.

In a pitch meeting, when offered a drink, accept water. Never soda. Just water. Don’t drink it yet. Wait until you start pitching. Then use it as a prop. When you get to a cliffhanger (drinks water) take a slug. Make ‘em wait. When you’re done pitching, stick around for a brief period of time to hear any immediate reactions, but not too long. You’ve got another pitch to get to right away…even if you don’t.

Now that you have a solid foundation, get busy writing and apply all the principles above. The next great writer is YOU.

The following are some exercises in screenplay writing:

Read the script to yourself and / or a friend. Give it several readings. Write notes to yourself objectively answering the following questions. If the answer to any of the questions poses a problem, issue or negative aspect of the script, then push yourself to come up with creative or craft choices to remedy it.

Entire Script

• Is it fast, easy, engaging, one-sitting read?
• Is the story clear, with a beginning, middle, and end?
• Have any threads been left dangling?
• Are additional scenes needed?
• Am I showing the audience something they have not seen before?
• Am I taking the audience to a place they otherwise could not or would not go?
• Am I taking the audience close to the edge to compel them, not repel them?

Individual Scenes

• Is the scene needed?
• Is the scene a repeat of something that has come before it?
• Does it advance plot and/or character on some level?
• Is there clarity within the scene?
• What can I do to generate more conflict?
• Is there at least one character in it pursuing an objective and coming up against an obstacle?
• Does it make the reader eager to find out what will happen next, read the next scene, and turn to the next page?

Descriptive Action / Slug Lines

• Is it clear, concise, easy to follow, fast to read?
• Can I enhance place, emotion, visualization?
• Is it simple, active, occurring in the here and now, with action verbs always in the present tense?
• Are the details of action written, as opposed to explaination, showing and not telling?

Dialogue

• Can I follow the story through it?
• Does it sound natural within the established concept, yet functional?
• Is it visual? Experiential? Are stories unfolding within it?
• Does it help clarify elements of conflict? Relationship? Character? Tone? Plot?
• Does it provide (if necessary) foreshadowing? Exposition?
• Is it tense? Witty? Colorful? Interesting?
• Am I finding new ways of saying familiar things?
• Is it consistent within the arc of the character speaking?
• Is it generating conflict, through characters disagreeing, arguing, or offering differing points of view?
• Avoiding show and tell and being too on-the-nose?

Now Read Just Your Leading Characters, One at a Time
Protagonist:

• Does he/she satisfy one (or more) of the basic conceits of conflict? : Character vs Character. Character vs. Self. Character vs. Destiny. Character vs. Society. Character vs. Nature.
• What can be done to amplify their dilemma?
• Are they proactively pursuing objectives within scenes and clear missions through the course of the story?
• Are they making active, decisive choices when confronted with obstacles?
• Are the arcs consistent with the way they have been set up? Do they change and grow in credible ways, with a clear sense of beginning, middle and end?
• Do they achieve objectives and missions by the resolution?
• If they have not, is it clear why they haven’t?
• Do they exhibit a wide range of recognizable human traits?
• Do we have substantial reasons to feel empathy for the protagonist and dread the antagonist’s relationship to him/her?

Next, track your Antagonist (and Romantic Interest if there is one) and ask all the same questions

Key Supporting Characters

• Are they making adequate appearances (if needed) in all three acts, or have they been neglected?
• Is each one of them needed, or just additional baggage?
• Are they contributing to plot, and/or helping define one of the leads?
• Can they be merged with another character, or be deleted without being missed?
• Do they bring something new and exciting to the page?
• With all your characters, can you further color them, give them unexpected traits and/or activities to enhance them in the readers mind, to bring them out of the realm of the obvious?

Lastly, create a rewrite plan. Use scene cards if you need to. Always make sure there is conflict!




]]> http://lamgworldwide.com/writing-and-selling-screenplays/feed/ 0 http://lamgworldwide.com/writing-and-selling-screenplays/ http://feedproxy.google.com/~r/http/lamgworldwidecom/feed/~3/vzyONZ0BPh8/ http://lamgworldwide.com/major-artists-lead-alliance-producer-famous/#comments Fri, 09 Apr 2010 01:48:19 +0000 Lead Alliance Media Group http://lamgworldwide.com/?p=2076 In under a year, Lead Alliance Music Producer Anthony ‘Famous’ Mascarenas has produced 52 tracks for the company, four of which have already been picked up by major artists, and one used on MTV.

Major artists Jay Rock, Ya Boy, Spark Dawg, and Diego Cash have hopped on Famous’ tracks. Recently his production was used on MTV’s Taking the Stage by J. Trill on a track titled ‘So Bright’.

To hear Famous’ tracks and read more about him visit http://lamgworldwide.com/music/meet-the-team/famous/




]]> http://lamgworldwide.com/major-artists-lead-alliance-producer-famous/feed/ 0 http://lamgworldwide.com/major-artists-lead-alliance-producer-famous/ http://feedproxy.google.com/~r/http/lamgworldwidecom/feed/~3/Q4EHPvfXXlI/ http://lamgworldwide.com/kajmir-royale-live-at-nuggets-lakers-game-rockies-home-opener-party/#comments Thu, 08 Apr 2010 23:33:39 +0000 Lead Alliance Media Group http://lamgworldwide.com/?p=2073 Lead Alliance recording artist and producer Kajmir Royale will perform live at halftime of the Denver Nuggets versus Los Angeles Lakers game on Thursday, April 8. Kajmir will be performing The Denver Nuggets ‘None of That’ Remix and his ‘Basketball Anthem’.

On Friday, April 9 the Colorado Rockies play host to the San Diego Padres for their home opener at Coors Field. Lead Alliance will host the official Colorado Rockies Opening Day Celebration. Special Guest Dexter Fowler, center fielder for the Rockies will be in attendance and a live performance by Kajmir Royale. Ladies drink free champagne from 9pm – 11pm.




]]> http://lamgworldwide.com/kajmir-royale-live-at-nuggets-lakers-game-rockies-home-opener-party/feed/ 0 http://lamgworldwide.com/kajmir-royale-live-at-nuggets-lakers-game-rockies-home-opener-party/