Thanks for contacting us. We've received your submission. The days of eye-popping bonuses for bankers are coming to a screeching halt. Wall Street payouts are expected to plummet by as much as 45% as financiers face economic headwinds and a looming recession, according to new data from compensation consulting firm Johnson Associates. “Most Wall Street professionals will be quite disappointed and surprised when they receive their year-end bonuses,” said Alan Johnson, managing director of Johnson Associates. “For the traditional master of the universe … it’s going to be a difficult year.” Investment banking underwriters — who got the biggest bump in 2021 with bonuses surging 35% amid a jump in mergers and acquisitions — are going to see the biggest drop this year after deal-making fell off a cliff. Johnson Associates projects bank underwriters will see bonuses nosedive 40% to 45% — taking bonuses back to pre-pandemic levels. Johnson said bonuses at large private equity firms are expected to drop 5% to 10%, while mid-to-large private equity firms will drop 10% to 15%. Asset management professionals, and those working with ultra higher net worth individuals, will see a decline of around 20% to 25%, according to the consulting firm. Wall Street workers shouldn’t bank on a windfall next year, either, added Johnson. “[This year] has been a real downer and next year is looking so-so,” Johnson said. “We all knew it was a bubble but it’s never fun piercing the bubble.” The reduced payouts are a dramatic change from last year, when the war for talent was raging and junior employees seemingly had endless opportunities. Now, Johnson said, most people in finance are just trying to hold on to their jobs. On the positive side, sales and trading divisions, which saw profits decline as pandemic volatility slowed in 2021, are expected to capitalize on market uncertainty yet again — with some fixed-income traders nabbing bonuses that are 20% higher than the previous year. Likewise, some hedge funds are having a bumper year. Macro hedge funds are expected to rake 10% to 20% more this year than last.
Alison Wonderland is one of Australia’s most popular electronic dance music producers. The artist from Sydney has received multiple ARIA nominations and has also won the award for “Breakout Artist” at the Billboard Dance Awards in 2018. In May of this year, she released her third album, Loner, which has proven to be as spectacular as her last two albums, Run and Awake. Both albums peaked at #1 on the Billboard US Top Dance/Electronic Albums charts respectively in 2015 and 2018). On November 5, Alison Wonderland performed at San Francisco’s Bill Graham Civic Auditorium as part of her Loner Headline Tour. Here is a review of the performance on November 5 provided by Alison Wonderland, who also released her latest track, “Down The Line“, late last month. The doors at Bill Graham Civic Auditorium opened at 7 p.m. and the fans were excited to see one of EDM’s top female DJs/producers. Back in June, Alison Wonderland’s Bay Area tour stop was supposed to be in June at The Greek Theatre in Berkeley, around the same time she released her single, “Forever“, but she had to reschedule due to health reasons. When those doors at the auditorium opened, the fans knew they were going to be in a for gnarly time. The opening acts were the rising Future Bass, Portland-based producer Quiet Bison and the hometown artist and rising star Mr. Carmack, who actually grew up several blocks away from Bill Graham. Both producers put on performances that got the crowd going and showed that they can become renowned names in the electronic music industry in the near future. After their sets concluded, there was a 15-minute changeover that anticipated Alison Wonderland’s arrival on stage. When she arrived though, the bass was booming and the crowd were roaring, which are signs that this show was going to be a fanastic one. Alison Wonderland electrified the crowd with her mixes of old and new bangers that made her into one of EDM’s most popular female DJs/producers. One of the things that the fans looked forward to seeing from the artist was her equally-magnificent vocals. Alison Wonderland’s singing voice is another example of her vast array of musical skills that she continues to enhance each year in her great career. Even with the delays that the COVID-19 pandemic brought onto the music industry, the Sydney artist showed the Bill Graham Civic Auditorium crowd that she has not missed a step in her music production. 2023 will be another year where Alison Wonderland is still traveling the world performing to her adoring fans, especially EDC Mexico and the Lollapalooza festivals in Chile, Argentina, and Brazil. Check out some of the photos from the event and also while listening to her amazing music via Spotify. Lorem ipsum dolor sit amet, consectetur.
A hole-in-one experience is coming to loanDepot park with Topgolf Live Stadium Tour. Players can tee it up within a unique setting as part of Topgolf’s signature game experience, produced by REVELXP in collaboration with loanDepot park. For the event, the Miami Marlins baseball field will sport a different look, with targets spread across the field at various distances. Participants will be positioned with their groups at hitting bays located in the seating bowl across the 1st base line as they tee off and take aim at targets staged throughout the field. Utilizing Toptracer technology, each shot is traced and instantly scored, allowing for friendly competition for all skill levels. Tee times are reserved in one-hour increments, with prices starting at $70 per golfer (up to 6 players per bay). Experiential tickets are also available and include exclusive access to a behind-the-scenes tour of loanDepot park, a photo on the field, a gift bag, and more. What are the dates and times of the event? Thursday, December 8: Hourly tee times from 11:00 AM – 8:20 PM Friday, December 9 & Saturday, December 10: Hourly tee times from 11:00 AM – 9:30 PM Sunday, December 11: Hourly tee times from 11:00 AM – 6 PM Players are encouraged to arrive at least 30 minutes prior to their tee time and are welcome to stay following their designated tee time to experience the Fan Zone. How long are the tee times? Each tee time is one hour in duration. Is on-site parking available? Parking is available in the First Base Garage (1502 NW 4th St, Miami, FL 33125) at a rate of $10 per vehicle. Once parked, use code 43201 in the PayByPhone app to pay. What are the points of entry and exit and what areas of the ballpark are being used for the event? Player entry is via West Plaza Gate 8 and the First Base Dugout Club Entrance. Hitting bays are located along the first base line of the main concourse. There will be 5 targets on the field at various distances for golfers to take aim. Can I bring my own golf clubs? No, personal clubs are not permitted. What clubs are available for use? 9 Iron, Sand Wedge & Pitching Wedge Are there youth clubs available? Yes, there are youth clubs available at each bay. Are there any left-handed clubs available? Yes, we have left-handed clubs for 9 Iron, Sand Wedge & Pitching Wedge. How does the game work? Each player has 5 shots to hit at the 5 different targets on the field. The further back the target is, the more points it is worth, with the last shot worth double. After each player in the bay then hits their 5 shots, the player with the highest points will win that round. The goal is to try to win as many rounds during the tee time as possible. Does buying tickets mean I have my own bay? Yes, tickets are sold in full bay purchases (6 tickets total). Are there going to be other people in my bay with me? No, tickets are sold as a full bay. If you have less than 6 players, you may purchase the full bay and it will remain private to your group. What is included in an experience ticket? An experience ticket includes: loanDepot park VIP Tour following tee time (including access to the field), two (2) Drink Tickets, a limited edition Topgolf hat by Black Clover, a Topgolf Lifetime Membership, one (1) $10 off gameplay at Topgolf redeemable at any US location (excluding Las Vegas), and an exclusive Topgolf Live drawstring bag. Will there be food or beverages available? Yes, concessions will be available for purchase and can be ordered directly to your hitting bay. What happens if it rains during my tee time? loanDepot park is equipped with a retractable roof – the event will continue as planned! Are there youth tickets? No, we do not offer a youth discount. Are there spectator tickets? Yes, spectator tickets are available for $10/person. Spectator tickets provide access to the Fan Zone and to watch Topgolf, but do not allow the guest to participate in the Topgolf Live games. Are there any refunds? No, there are no refunds. Refunds will only be issued if the event gets cancelled due to reasons outside of our control. Are there multiple games to choose from like at a normal Topgolf? No, we only provide the Topgolf Live game.
This was a tough one. The Mercedes-EQ EQE Sedan is essentially the EV equivalent of the vaunted E-Class, a car known for its elegant design, responsive driving dynamics, and technological advancements (and our 2021 Car of the Year). But Mercedes also uses its EQ subbrand to set vehicles like the EQE apart from its more traditional models—all while making a statement about the future. This car does that, though the final result is controversial. It starts with the ungainly proportions of the 2023 Mercedes-EQ EQE350+. Because it uses a shrunken version of the Mercedes EQS’ platform, it exacerbates that car’s molten shape, making it even more awkward. It does have some design flair, however, thanks to its perforated wheel design and shiny black grille adorned with tiny three-pointed stars. Touching the overly complicated door handles triggers soothing music as you enter its stunning interior. Our EQE test car’s cabin was a warm two-tone café au lait and ivory with dark matte wood and copper highlights. Keeping the white steering wheel clean might be a challenge, but the overall package is impressive. “Spaceship alert! The EQE’s white interior is just bizarro-world cool the first time you step inside,” director of editorial operations Mike Floyd said, adding that he loved the turbo-fan HVAC outlets. The EQE even has three noise profiles, which some found silly. Its diamond-stitched perforated leather seats are heated, cooled, and comfortable. Instead of a massage, the car offers ” kinetics” for those riding up front, where the seat moves to stimulate muscles to keep you comfortable and alert. It also “wins the back seat test,” technical director Frank Markus said. He called out the second row’s excellent thigh support, pull-down armrest with pop-out cupholders, dual-zone climate control, and a pullout tray with two USB outlets. The EQE shines with technology that works well and delights. Our test vehicle didn’t come with the higher-end Hyperscreen, but many judges prefer the less overwhelming base display, shared with the S-Class. Freaky graphics in the driver cluster include a blue oval ring that radiates outward as you accelerate and becomes smaller as you decelerate. Speaking of acceleration, the EQE lights off with a rush, as most EVs do, and then relaxes at higher speeds. Judges felt the car’s suspension was supple in most instances, yet it exhibits an uncharacteristic harshness over some obstacles. And although its rear steering system imparts nimbleness and a tight turning radius, we did experience more body roll than anticipated for a high-end luxury sedan. Cruising along at freeway speeds, we found the EQE’s lane centering and automated lane shift impressive. When it came to slowing the EQE down, the brakes’ reaction to inputs drew mixed reviews. Some judges never warmed to how Mercedes tuned its EV braking systems, which move the pedal for you as the car adjusts the amount of regenerative braking. “Brake feel is not progressive, and pedal travel is far too long,” guest judge Chris Theodore said. Others, like Floyd, thought its overall braking setup wasn’t out of line for an EV. Among the COTY participants, the EQE350+ was the most efficient vehicle in the field, and like its fellow EQ-branded models, it’s a rolling representation of where Mercedes is headed in the EV space. But ultimately, it faltered against the weight of high expectations. “It’s supposed to be an E-Class EV but doesn’t quite feel like one,” Theodore concluded, putting a cap on our judges’ sentiments.
Kandi is the executive director and a co-founder of Asian Solidarity Collective, and lives in Chula Vista. Uy is on the Freedom & Justice Committee of Asian Solidarity Collective and lives in South Park. Le is a co-founder of Asian Solidarity Collective and lives in Rolando Park. The leaked audio recording of a conversation among three Los Angeles City Council members and a labor official exposed deeply racist ideologies and actions among political leaders entrusted to lead us. The anti-Black and anti-Indigenous rantings of Councilmembers Gil Cedillo, Kevin de León and Nury Martinez, and union leader Ron Herrera revealed their deep disdain for community organizations and their use of redistricting to protect their personal political ambitions. This crisis is a call for San Diegans to question the limits of representation and visibility, to demand more than a racial checkbox for the people we elect, and to invest in multiracial coalitions that have the power to reshape systems that do not serve the people. Opinion United Against Hate Week has spread to more than 200 communities, and San Diego is participating for the first time this year.
We believe the community engagement we built in San Diego serves as a model and an important counterpoint to those politics of division. Last year, we were part of a citywide coalition led by people of color to advocate for fair and just districts in San Diego. While many Asian American and Pacific Islander groups advocated for a 40 percent AAPI “Empowerment District,” we wanted to push even further for gains that served Black, Latinx, LGBTQ+ and Muslim communities. And we observed Asian American community members argue out of self-interest for their neighborhoods to be grouped with more White and affluent communities instead of more integrated neighborhoods. To address issues like anti-Asian hate and White supremacy, we need to consider the needs of all oppressed communities — even as we advocate for our own. Through our advocacy, we push the AAPI community beyond a sense of racial hierarchy and alignment with Whiteness and wealth, and towards unity and shared interest among all communities instead. We founded Asian Solidarity Collective in 2016 to build Asian solidarity intersectionally with Black, Brown and Indigenous folks, people with disabilities, and queer and transgender people of color. The necessary work of building authentic cross-racial relationships is not easy and doesn’t happen overnight. Our coalition pushed for a map of nine San Diego City Council districts that was carefully agreed upon by more than 40 organizations in order to create five majority-minority districts, and we refused to yield to White supremacist divide-and-conquer tactics. The city’s redistricting commission ignored 2020 census data and decided to uphold the power of two affluent coastal districts instead of putting the diverse neighborhoods of Clairemont Mesa, Linda Vista and Serra Mesa together into one district. Some commissioners accused our coalition of having a “suspicious” agenda and gave more credence to public comments from planning groups and “individual residents.” This is another example of the decades-long disenfranchisement of Black, Indigenous and people of color communities in San Diego.
However, we know that our communities are more powerful than disgraced political leaders or out-of-touch commissioners. We came together, and we turned out. Alongside the San Diego Communities Collaboration Coalition, the Unity Coalition, the San Diego Asian Pacific Islander Coalition and Neighborhood Voices, we won an AAPI “Empowerment District” in San Diego City Council District 6 with an over 40 percent AAPI population. By working together, we strengthened both Latinx representation in District 8 and Black representation in District 4 to ensure these communities’ political power is not diluted. And we worked alongside LGBTQ+ organizations and leaders in our coalition to preserve LGBTQ+ voting power in District 3. We demand our city do more over the next decade to recruit diverse redistricting commissioners from working-class Black, Indigenous and people of color communities. San Diego-based grassroots organizations need more funding to lead and take part in coalition and commission meetings. We need to build more capacity for community engagement efforts specifically around redistricting. We need more access to demographers. All commissioners should undergo diversity, equity and inclusion training, and have a commitment to equity before making decisions about how our communities are represented. And, finally, we need independent legal consultants for communities of interest to legitimately question dubious practices in redistricting such as maps created by commissioners behind closed doors and drawing districts to retain political power. We didn’t win all that our coalition had wanted, but we leaned on our solidarity practices within a system that continuously pits communities of color against each other. Our partners gave us grace and reminded us to be accountable to each other. We will continue to choose one another over a system that proclaims itself the only pathway. Together, we are the pathway.
Our shared work toward collective liberation is a political win in and of itself, regardless of the measures we pass or the maps we get to define. Solidarity is everything. We want to say it loud and clear for those in privileged positions of power: There is no power like that of the people organizing for each other’s liberation. Get Weekend Opinion on Sunday mornings Editorials, Commentary, Reader Reaction and a touch of Steve Breen delivered every Sunday. You may occasionally receive promotional content from the San Diego Union-Tribune. Commentary We must engage and listen to our communities to determine how we can meet the needs of all constituents.
Commentary In the society we want to create, there is no room for racism. There is no room for anti-Black, nor anti-Indigenous practices.
Commentary We want to help empower Californians to step up to combat bias and discrimination.
Commentary Incidents of hate crimes, intimidation and verbal hate can manifest into physical violence and even death.
Commentary We must protect LGBTQ children and families — the criminalization of our community is happening now.
Commentary Our country, our culture, our economy, our foreign affairs and our safety must serve and include everyone — but Arab Americans are often left behind.
Get Weekend Opinion on Sunday mornings Editorials, Commentary, Reader Reaction and a touch of Steve Breen delivered every Sunday. You may occasionally receive promotional content from the San Diego Union-Tribune. Editorials
With a meticulous eye for detail, Corey Divine creates intricate and beautiful tattoos It’s easy to become lost while gazing upon the art of Corey Divine. As a specialist in sacred geometry, Divine’s detailed lines blend in with the anatomy of the person wearing the tattoo, somehow standing out while simultaneously appearing as if they’ve always been a part of the body. We spoke with Divine about how he became enthralled by mandalas, the sneaker he created with Dominic Ciambrone and much more. In second grade, a few class friends were copying the covers from the Goosebumps books. I thought it was so cool! So I started doing it myself. Then the following years, I’d copy some Dragon Ball Z characters and Pokémon. I always just drew with pencil in school. I started painting a mural on my wall as a teenager once, but it’s really just been drawing and tattooing. It was probably around 10th grade, 2005. When the show “Miami Ink” came out. I was fascinated and became obsessed. 2005, right away. I did get an apprenticeship a few years later. I was tattooing anything I could at first. Then I gravitated towards new school color tattooing before getting into my current style, geometric blackwork. I’m currently tattooing geometric and mandala tattoos. I like to collage different designs together and flow them with a client’s musculature. I love the aesthetic of them, they’re timeless and used in all cultures around the world. I definitely zone out and listen to music as I work. I’m usually less anxious when I sit down for the day, locked into a tattoo session for hours. I also use this time to reflect on thoughts—past, present and future. I had seen a few big connecting-people pieces online and wanted to try it out. I’d love to find some more couples or friends to experiment more on. It can be pretty difficult to pull off if the pieces are very detailed, but sometimes with a minimal design it can be much easier. I actually started out focusing fully on color. I was doing color for the first half of my tattooing career. I’m not sure exactly why, but one day I switched to strictly black ink and never went back. I’ve recently gotten into music production. I started learning last May. My friend Adam “MIRR.IMG” has been mentoring me on the music program FL Studio. We’ve done a couple of collaboration songs together, and I’m now starting to really get the hang of it and making my own songs. I’d like to start meshing my art more with my music, album art, VJ visuals, merch designs, etc. My goal is to DJ my music at concerts and festivals. Chaim and I have done several collaborations over the years since I first met him in Berlin. He now lives in LA right near me. Our last collaboration was great and with a really nice client. We meshed our two styles together and did her back in one session. I’m sure we will be doing plenty of collars in the near future. The Shoe Surgeon collaboration was an amazing experience. I’ve been friends with Dom for a few years and we talked about doing a shoe for a while. We finally made it happen. It took a couple of visits to his amazing production studio where we went back and forth on ideas before we laser-etched a design I came up with onto leather and constructed an Air Jordan 1.
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WebsiteLiveNationLive Nation Company: Live Nation Department: Live Nation UK Production Location: Farringdon, London and Touring Reports to: VP International Production Working Hours: Full time Role Description Primarily to co-ordinate and manage the production aspects of all shows promoted by Live Nation, Metropolis and the wider group of companies working within the Live Nation group under the instruction of the production directors. Shows will be at club, theatre, arena and stadium level as well as any ‘special events’ that fall outside of a traditional venue setting. The role will manage all production aspects in advance of on sale, through to completion and thus ensuring the tours are delivered to the highest level for the Company, the Artist, the Promoter and the General Public. Other key aspects include updating and the refreshing of internal venue information, H&S paperwork and resource information is also a key part of this job. The development of on-sale databases, plans and manifests for future reference for Production, Promoting and Ticketing departments within Live Nation. This role also involves liaising with Artist representatives/management as well as other company departments (promotions / ticketing / marketing / sponsorship / accounting) to ensure that individual department objectives are met, as well as the Artists, and delivered on a tour-by-tour basis. There will also be a requirement for the candidate to frequently travel with prominent tours as a Live Nation representative. In addition, and as a by-product; delivering a successful and profitable venture for all parties will thus ensure the maximum benefit to the ticket buying public. This ensures repeat business for the Artist and the continuation of Live Nation as leader in this field.
Who you are Competencies / Skills / Knowledge / Experience Essential Desirable What the role includes Equal Opportunities We are passionate and committed to our people and go beyond the rhetoric of diversity and inclusion. You will be working in an inclusive environment and be encouraged to bring your whole self to work. We will do all that we can to help you successfully balance your work and home life. As a growing business we will encourage you to develop your professional and personal aspirations, enjoy new experiences, and learn from the talented people you will be working with. It’s talent that matters to us and we encourage applications from people irrespective of their gender, race, sexual orientation, religion, age, disability status or caring responsibilities. The Company Live Nation Entertainment is the world’s leading live entertainment company, comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Media & Sponsorship. Ticketmaster is the global leader in event ticketing with over 500 million tickets sold annually and more than 12,000 clients worldwide. Live Nation Concerts is the largest provider of live entertainment in the world promoting more than 40,000 shows and 100+ festivals annually for nearly 4,000 artists in over 40 countries. These businesses allow Live Nation Media & Sponsorship to create strategic music marketing programs that connect over 1,000 brands with the 98 million fans that attend Live Nation Entertainment events each year. For additional information, visit livenationentertainment.com To apply for this job please visit the following URL: https://livenation.wd1.myworkdayjobs.com/LNExternalSite/job/Farringdon-London-United-Kingdom/Production-Manager_JR-54165 → Email Marketing & CRM ExecutiveAcademy Music Group London, UKFull TimeCompetitive Events Programme Manager, EnglandForest Live UKFull Time£43,311 – £46,949 Research & Administrative AssistantILMC London, UKFull TimeDOE IQ is the leading global news platform for the live music business. IQ’s news, features, information and analysis is read by 100,000 professionals worldwide each month. IQ publishes a regular magazine, several annual reports, and a daily news digest, IQ Index. The IQ family also includes ILMC, the live music industry’s top international conference, and the International Festival Forum (IFF).
Hi, what are you looking for? What Do DJs Use to Make Music? Lexini Blanco Is Taking the Entertainment and Music Industries by Storm How To Become a Roadie How To Become a Nightclub Security Officer How to Become a Cocktail Server Pronto Spazzout Brings High Energy in Latest Visual “Jiggy Music 2” Rising Musician and Producer Lil Mav on Building His Music Career Malix is set to have a MONSTER 2023 With Latest Drop, “Hey Playa.” Phil Crown is back with another banger, “Broken Wings” GIUSEPPE OTTAVIANI – ‘HORIZONS [PART 2]’ New Music New Music New Music New Music Album ReleaseAlbum ReviewTrance New Music New Music New Music New Music New Music By Published Pronto Spazzout just dropped his video for his record “Jiggy Music Pt. 2” and it looks like it was a movie. We got women twerking on stage at what looks to be a live show and we have a crowd of people reacting positively to the music. Pronto’s following is serious and his fans rock with him big time.
As far as the song goes, it has a very catchy hook and the bars that Pronto Spazzout is giving are fire. It’s really interesting how he can jump in and out of different flows , while still riding the beat and giving a great performance. This is a high energy record and we were giving a high energy video. Pronto Spazzout has really been working hard. His YouTube channel has over 5 million views and the video for “Jiggy Music Pt. 2” has hit 40k views in a short period of time. This shows hard work and dedication to his craft , along with not giving up and staying focused on building the brand.
Pronto Spazzout just dropped his video for his record “Jiggy Music Pt. 2” and it looks like it was a movie. We got women twerking… As I woke up this morning to find the outside of my house covered in snow, I leaned over to check my phone and…
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Image Credit: Plugin Alliance Kirchhoff-EQ is a parametric EQ with 32 frequency bands “built for all professional applications” with dynamic processing. Modeled on real-world devices, the Kirchhoff-EQ has analog-matched curves and 15 filter types with continuously variable shapes, in addition to 32 vintage EQ types. Furthermore, the Kirchhoff-EQ has highly flexible dynamic processing functions with “ultra-low distortion”. And Three-Body Technology states “Kirchhoff-EQ has made digital-domain frequency response more approximate to its analog counterparts without high-frequency cramping,” they continue “this technique is applied to all filter types in Kirchhoff-EQ”. The dynamic functionality of the Kirchhoff-EQ provides “the richest functions you have ever seen”. They allow you to achieve “unlimited possibilities of dynamic EQ functions”. Kirchhoff-EQ is on sale for an introductory price of $199 while its regular price will be $299. However, you can use the coupon code KIRCHHOFF-14999 at the checkout to get it for $149.99 for a limited time. Additionally, this EQ is included in all MEGA and MIX & MASTER Bundles at no extra cost, and available to FOREVER 29 users. Create music your way with royalty-free samples from RouteNote Create! Browse, download, and keep professional sounds right now and download one-shots, loops, FX & full sample packs for as little as $2.99 a month. Your email address will not be published. Required fields are marked *
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Hi, what are you looking for? What Do DJs Use to Make Music? Lexini Blanco Is Taking the Entertainment and Music Industries by Storm How To Become a Roadie How To Become a Nightclub Security Officer How to Become a Cocktail Server Pronto Spazzout Brings High Energy in Latest Visual “Jiggy Music 2” Rising Musician and Producer Lil Mav on Building His Music Career Malix is set to have a MONSTER 2023 With Latest Drop, “Hey Playa.” Phil Crown is back with another banger, “Broken Wings” GIUSEPPE OTTAVIANI – ‘HORIZONS [PART 2]’ New Music New Music New Music New Music Album ReleaseAlbum ReviewTrance New Music New Music New Music New Music New Music By Published The music industry is crowded, and blowing up as an artist is not easy. It’s even more difficult when you don’t have the money or connections. Music is expensive, and besides excellent music skills, you need cash to break through the noise, making it harder for young artists. This was Lil Mav’s case. Born Malik Piper, Lil Mav is a young producer, musician and songwriter from The Bronx. https://genius.com/artists/Lil-mav Lil Mav didn’t come from a financially stable background. Mav and his four siblings were raised by a single parent surrounded by poverty and violence, and for some time, Mav believed it was impossible to make it out of the ‘hood’ as he didn’t have the tools even to launch his production career. But he didn’t want to give up on his passion. Lil Mav stayed focused, worked hard, and believed in his vision. Today, this is one of the things that set him apart. Mav uses music to speak to young people, especially those in the hood. Lil Mav shares bits of his story in his songs, showing other young dreamers that it is possible to make their dreams a reality. He developed a passion for music at a young age. He explains that music was his escape from the violence, which inspired him to start writing his music. But Mav didn’t stop there. He wanted to learn more about music and started looking into production. Mav officially began music production when he was 16. He started trying out different things with FL studio and writing music. According to the fast-rising producer and singer/songwriter, his goal is to use music to create a safe space anyone can run to. Mav shows other young artists that it is possible to achieve it. Lil Mav built a successful brand at 22. He worked with music industry giants like Kanye West. Mav recently worked with Kanye to produce the notable hit, “City of Gods”, by Fivio Foreign, Kanye West, and Alicia Keys. “City of Gods” is one of the songs on Kanye West’s album, Donda 2. The song is also the lead single to Fivio’s debut album, B.I.B.L.E. Lil Mav’s unique production and writing style enabled him to cement his spot in the fiercely-competitive industry. His music has attracted a lot of attention in and out of the US, with many praising his sound. Mav wrote and produced several songs that have been trending sounds on various streaming platforms. His work also made it to Billboard’s Top 100 and Hot 200. He recently got his first plaque, RIAA-certified gold. Lil Mav built his music career from scratch and reached the top. While it has been tough, he made his dream a reality by not giving up. Lil Mav is a billboard charting producer and is projected to win a Grammy in 2023. As he continues to thrive, Lil Mav is focusing on collaborating with more artists as he uses his brand to encourage and empower young creators.
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Gene Demby B.A. Parker Lori Lizarraga Dalia Mortada Christina Cala Diba Mohtasham The Code Switch hosts on stage in Chicago: (from left to right) Lori Lizarraga, B.A. Parker and Gene Demby. Kristan Lieb for NPR hide caption The Code Switch hosts on stage in Chicago: (from left to right) Lori Lizarraga, B.A. Parker and Gene Demby. For the last couple of years, we’ve reoriented ourselves around our homes, and that got us thinking at Code Switch: what does home really mean? Is it a city?A place? A person or group of people? A job? All of the above? Has the definition of home changed? We bring those questions to you and some special guests in our live show from the Windy City! Featuring Calumet City poet José Olivarez, the creators of the HBO Max comedy series South Side — Sultan Salahuddin and Diallo Riddle — and WBEZ’s Adriana Cardona-Maguidad, this show unpacks what it means to be at home in Chicago, and race and segregation in the city. Musical guest and Chicago native KAINA and her band play us through the show, featuring sounds from her latest album It Was A Home. Sponsor Message Become an NPR sponsor
This is a carousel. Use Next and Previous buttons to navigate From left: Michael P. Halkitis as Avery, Bill Geltzeiler as Sam and Cailyn Stevens as Rose in Creative License’s “The Flick” at Cohoes Music Hall. From left: Michael P. Halkitis as Avery, Cailyn Stevens as Rose and Bill Geltzeiler as Sam in Creative License’s “The Flick” at Cohoes Music Hall. Annie Baker’s play “The Flick” goes behind the scenes at the movies, yet the glamorous soundstages of Hollywood aren’t where this show takes place. Instead, it’s set amid the drudgery of an old movie house in central Massachusetts. The comic drama, which won the Pulitzer Prize for drama in 2014, is receiving a new production from Creative License Theater Collective that opens Friday and runs through Sunday, Nov. 27, at Cohoes Music Hall. The three principal characters are in their 20s to early 30s and earning something of a living by tending to the cinema. That includes the chore of cleaning up the popcorn, soda and worse during the breaks between screenings. The house is about to get a tech update, switching from traditional 35-mm film to digital projections. This is one of several prompts for the employees’ fragmented and ongoing conversations about work, the nature of change and the fantasies that play out in the dark. “The play, among other things, is a love letter to people who love movies,” said director Aaron Holbritter, co-founder of Creative License. “Movies are a mirror to our society and culture and this is like holding a mirror up to the mirror.” “In the movies there’s always a beginning, middle and end. If your life’s chaotic then that’s satisfying, a little more orderly, and gets you out of your head. But the play is a story of how no one really knows what they’re going to be doing in life,” said actor Cailyn Stevens who plays the character of Rose, the projectionist. “The Flick” by Annie Baker When: Opens Friday Nov. 18 and runs for five more performances through Sunday Nov. 27. Where: Cohoes Music Hall, 58 Remsen Street, Cohoes Tickets: $28-$38. Call (518) 434-0776 or go to thecohoesmusichall.org
Rose may have the coolest job of the three principal characters, but she’s ironically the one who cares least about movies. The biggest fan is Avery, the newest and youngest employee, who’s wildly adept at the star-linking game Six Degrees of Kevin Bacon and holds no film in higher esteem than Quentin Tarantino’s “Pulp Fiction.” Then there’s Sam, in his mid-30s and worried that his life’s going nowhere. “Some of the dialogue sounds like my friends talking about movies,” Holbritter said. “It’s critical with a degree of one upmanship – ‘I like this movie, this movie is good and therefore I’m a better person.’ Also, how we judge people by what they think of other things – ‘You like this and I like this so we’re sympatico, but if you don’t like it we might not get on.’” For Stevens, who graduated from UAlbany last year, there’s a level of authenticity in the circumstances and attitudes of the young characters. “I think this story rings true to people in their 20s, having graduated from school and trying to navigate life no longer being student. It’s confusing and frustrating trying to figure out.” “The Flick” is Stevens’ first production with Creative License and her second outing with community theater in the Capital Region. She grew up in Clifton Park and got the taste for acting and the all-around theatrical vibe by participating in a UAlbany production during her senior year. In September, she was seen in Paula Vogel’s “How I Learned to Drive” at Albany Civic Theater. The part of Rose is providing some welcome challenges, Stevens said. “She does things but doesn’t think of the repercussions. That gets her in some sticky situations and then she begs for forgiveness. She’s also the bossy figure who lets the boys do the work and just pops in and out with her antics. There’s one scene in particular where she has gossip that the boys had not heard yet. She likes the fact she’s the queen and source of information.” Anyone who’s had a job outside the home might recognize the connections between these characters. They’re thrown together as co-workers, are occasional competitors and might be friends, but the latter probably for only a limited time. “Workplace relationships can be close and meaningful yet outside that environment they can disappear. That’s here in spades,” Holbritter said. There’s a single set for “The Flick” – just four rows of theater seats. The audience for the play will effectively be where the movie screen would be located. Holbritter said the play seemed a good match for the historic Cohoes venue. Among other reasons, the stage is raked just as the seating in a movie theater would be. Obtaining some vintage theater seats was less of a challenge than expected. “Doing a search online we found a library that had 100 seats for sale at a very reasonable price. That was an exciting moment since we work on micro-budgets,” Holbritter said. The company committed to buying 36 seats, but they also had to factor in a full day of effort plus gas for hauling since the seats were in the town of Waterloo, about halfway between Syracuse and Rochester in Seneca County. “The Flick” marks the start of Creative License’s second season in residence at the Cohoes Music Hall, which is managed by Playhouse Stage Company. Holbritter said the residency provides “a feeling of security” and helps the troupe developed a stronger sense of identity and permanence in the mind of audiences. The six-performance run of “The Flick” continues through Thanksgiving weekend. It’s an unusual choice but the play in its unique way is about film culture and going to the movies has always been a popular pastime for the holidays. Joseph Dalton is a freelance writer based in Troy.
A Times Union contributor since 2002, Dalton has received writing awards from ASCAP and the New York State Associated Press. After starting his career at CBS Records, he ran the CRI label for 10 years and produced 300 CDs of American music. His third book “Washington’s Golden Age” was released in 2018. You can reach him at [email protected].
ADVANCE, Canada’s Black Music Business Collective, is paving the way for Black music industry professionals. Step into the journeys of entertainment industry shakers like Jesse Jones, 4Korners, and Ebonnie Rowe through The AMPLIFY Podcast. Read the exclusive Season 1 recap of AMPLIFY here. The music industry has come a long way in working towards representation of Black folks in front of the screen. But despite Black creatives’ dominance on the music charts, there is still a lot more to be done towards achieving the same representation behind the scenes. With a mission of developing, promoting, and better retaining Black talent, non-profit organization ADVANCE Music Canada has been taking major steps to transform the dynamics behind the scenes of both boardrooms and big stages. Acting as a compass for Black music professionals, ADVANCE is filling a gap in the Canadian entertainment industry by equipping Black Canadian music professionals with programs and resources to overcome systemic barriers. One of the ways ADVANCE is creating infrastructure for Black professionals is through The AMPLIFY Podcast. Presented by ADVANCE, co-produced by QCULTR, and powered by Ontario Creates, AMPLIFY sheds light on the come-up stories of Black Canadian professionals. This dynamic video series takes viewers through the highs and lows of working in the entertainment industry; providing them with a roadmap for making it big amidst the challenges of anti-Black racism. Thoughtfully curated with the intention of serving as “virtual mentorship” for its members and the broader community, AMPLIFY and its talented cast of industry professionals break down their steps to success in a real and raw way.
Walking us through their pivots, plights, and rites of passage, seven entertainment industry professionals––Jesse Jones, Ebonnie Rowe, Jermayne Clayton, 4Korners, DJ Lissa Monet, Randy Phipps, and Jamelia Campbell––detail their journeys as pioneering figures in the Canadian music business. With special insight into the barriers they overcame to solidify their spot as leading industry professionals, the cast provides practical ways for combatting the discrimination that persists in the entertainment industry. Hosted by artist and media personality, Jemeni,AMPLIFY was launched on September 29, 2022 on all streaming platforms, with new releases every Thursday. Famously known for being a marketing and branding expert through his family business, The Jones & Jones Group, Jesse Jones is a trailblazing community leader and T.V. host. He helps connect people with their favourite reality T.V. shows while assisting companies in creating an integral connection with their multicultural audiences. Founder of Honey Jam Canada, Ebonnie Rowe continues to make space for women in the music industry. Through her mentorship programme, Rowe provides career development opportunities to the best young emerging female talent in Canada. Over 27 years and counting, Rowe has combated against misogyny and pushback to help pave the way for women through music opportunities. Driven to amplify Canadian talent through artist development and management, Jermayne Clayton is passionate about strengthening the Canadian music industry. Clayton is the founder of Awesome Productions & Management, an artist management, label and publishing company. One of Toronto’s favourite D.J.s, 4Korners, is a multi-talented artist. Most famously known for being the Toronto Raptor’s official D.J., 4Korners has since taken strides toward music production and has claimed his name as an artist. Releasing his debut album, 4Korners Of the World, in October, his upbeat records and high-energy personality has racked the attention of high-profile celebrities such as Drake, Kanye West, Michael Jordan, Justin Timberlake, Paris Hilton, Selena Gomez and countless others. His journey has only just started as he continues to entertain people worldwide. With over 15 years of experience as a D.J., Lissa Monet was one of the first female D.J.s. to have cemented an established career in Toronto – pioneering a path for emerging female D.J.s. across Toronto. Co-founder of LUXELIFE SOUND, the 6x award-winning D.J., helps to place female D.J.s. at exclusive private corporate events across North America, all while continuing to break ceilings of her own. Founder of R.P. Communications, Randy Phipps is dedicated to crafting strategies that help increase media attention towards his client’s entitative and career heights. His ongoing passion for public relations stems from his successes in helping his friends build creditable recognition for their charity organizations. Since 2017, Phipps has been dominating the industry with his own company by booking his clients, such as Deborah Cox, across first-tier media platforms. Pairing her passion for music with a “stable job,” Jamelia Campbell discovered a way to live out her purpose in the entertainment industry. Working her way up the corporate ladder at Sony Music Canada in Media Relations, Campbell has worked with mainstream artists such as Khalid, Rick Ross, and H.E.R., to name a few. Today, she works with ADVANCE Music, taking the lead on their public relations affairs. She is also the Marketing and Communication Senior Manager for The Juno Awards.
Introducing a few powerhouse trailblazers in the Canadian music industry, this episode uncovers how Jamelia Campbell, 4Korners, Randy Phipps, Ebonnie Rowe, DJ Lissa Monet, Jesse Jones and Jermayne Clayton started their careers. From the unpropitious internships to the conquering strides, this episode shares the untold stories about what it took to make their dreams come true. “You gotta go all in because if you don’t, there are other people that are going all in that are going to surpass you. Not that it’s a competition between people…it’s just like being an athlete. If you want to make it to the NBA, you have to play basketball every day and that has to be your focus. You can’t play other sports––and basketball––and expect it to work out. My sport was music, it was DJing.. I didn’t really have another plan. You eat what you kill. I had no choice. I gave myself no choice.” – 4Korners, Episode 1, AMPLIFY
Hustling isn’t limited to having a great work ethic. Instead, in this episode, the cast explains how fortitude is also a part of the grind. Explore how the esteemed guests gain power during their weakest moments and harness it into their purpose. “I would say dealing with adversity, number one, fear pops up and you kind of have to push past it. You have to leave it behind you and just kind of keep your eyes of the prize, [and] focus on that goal. Imposters syndrome is something that comes up a lot too. Even when you reach a certain level of success, you start to doubt yourself. You think that, ‘What am I doing here? Who am I? Why am I here? Why did they invite me to this?’…And you have this negative self-talk. So you kind of have to change the narrative that goes on in your head.” – Randy Phipps, Episode 2, AMPLIFY
This episode encapsulates the layers of mentorship these guests have experienced. From being a mentee to becoming a mentor, they explain what it took for them to gain insight into their sectors. “I started my own boutique D.J. agency called LUXELIFE Sound, and we have a roster of 10-15 D.J.s now where we just place them at corporate events. And a lot of it stems from me not wanting them to go through some of the things that I went through when I started out and to just give them a head start.” – Lissa Monet, Episode 3, AMPLIFY
Guests uncover what their descriptions of “having it all” means to them. While reflecting on opportunities and life career challenges, these guests candidly share whether they believe in having a work-life balance. “I can’t stress enough how different it was then and how easier it is to get information, to find out that you’re not alone and that there are millions of people that are struggling with certain things…so that makes a huge difference [rather] than when you just feel like you’re in this box, and there’s nobody to look to and you’ve got to figure it out.” – Ebonnie Rowe Episode 4, AMPLIFY
People of colour have an additional challenge of knowing where the line is drawn regarding racial disparities and respect within the workplace. This episode addresses how these music industry professionals navigated labels and racial conflicts within their workspaces while honouring the mountains they’ve climbed to achieve their successes. “I think we (Black people) really want to get places based on our merit, and not because of what [we] look like and checking a box…There’s a huge shift (now) that we can’t really take for granted or take likely.” – Jamelia Campbell, Episode 5, AMPLIFY
Taking a moment to pause and look back – this episode reflects on how the guests feel about their successes thus far. “Whatever the thing is that we’re really connected to, I think we really need to value that. The fact that we have an idea in our heads, that’s actually the gift. If we’re thinking it, and we can actually see it and hear, that’s like a gift.. So it’s just [up to] you to now unfold it. And unfolding it and having a billion people love it, should not impact you unfolding it. Like, you might unfold it and it might impact 10 people, but that’s still amazing.” – Jesse Jones, Episode 6, AMPLIFY
These gems are timeless reminders of the power that comes in trusting our instincts in pursuit of our callings. With initiatives like AMPLIFY, Black music industry professionals will no longer have to compete with bureaucrats for a seat at the table. ADVANCE and its allies have created their own table, and all are welcome. When asked what impact she hopes AMPLIFY has, host Jemeni says, “I’m hoping this podcast is able to uplift, inspire, empower and encourage its audience to pursue their goals, to know their greatness, to celebrate those already doing it and encourage them to take up space, because it is theirs to take.” Step by step, ADVANCE is demystifying the entertainment industry and opening up the doors for us to follow. Follow ADVANCE online for updates and future programming. This post was written by Celeste Ceres and Latoya Elle.
