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Yawn. I can see this track growing. Still… You know how I feel about it. Did I miss the scene from what THIS produced? Shawty with the ill body is in the black dress. I like silhouettes now.

Hailing from Northern California - - Oakland/Bay Area the stomping grounds of Too Short, comes forth another rap phenomenon (Bazialini pronuounced: Bay zah lini). You’ll be very surprised to hear he sounds nothing like his California brethren. Bazialini has straddled the rap game like a giant that has one foot in the heart of the wood grain gripping streets of Houston and the other in the playerlistic styles of the South. The man oozes talent from his rap game, a veteran to the club scene, and a pro on his collaborations this cats presence is so profound that the streets are watching and waiting to see what he will do next. If the success of his current singles “Ballin Off The Wall” and “Thowed” are any indication - - I would say he is headed straight to the top. To hear music, show schedule, or contact him. Visit : www.bazialinimusicgroup.com

[audio:Bazialini-Thowed.mp3]

By Danny Miles

Desmond Child is a hit machine. He’s written or co-written successfully with a diverse array of artists, including Kiss, Ricky Martin, Joan Jett, Aerosmith, Hall and Oates, Iggy Pop, the Baha Men, Clay Aiken and many others. According to the Miami native, making it to the writing elite is as much about industry as it is inspiration.

Start with the title

Child says his early writing style was relatively haphazard. “I’d sit at the piano, play chords, and mumble along until some melody or word sequence would come to me,” he recalls. And while he had a few early hits using that method, he changed his creative process in his mid 20s. “I met [songwriter] Bob Crew, who taught me the complete opposite approach — which is actually the most professional way,” he says. “Come up with a title first, and then write the rest of the lyrics geared to setting up your title — which is the usually subject of the song.”

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ASCAP receives payment for public performances of songs and compositions by negotiating license fees with the users of music (radio, TV, cable, bars, clubs, restaurants, shopping malls, concert halls and promoters, web sites, airlines, orchestras, etc.) and distributing these monies to members whose works were performed.

ASCAP pays directly and fairly. ASCAP is guided by a “follow the dollar” principle in the design of its payment system. In other words, the money collected from television stations is paid out to members for performances of their works on television; the money collected from radio stations is paid out for radio performances, and so on. ASCAP tracks music use on these and other media and live venues to determine which music has been performed, and the appropriate writers and publishers to be paid.
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Unless you have entered into a publishing agreement, thereby assigning your publishing rights to someone else (i.e. a publishing company), you own the publishing rights and the corresponding publishing income, to any song you have written or co-written. When you write a song by yourself, you own 100% of the writer’s share as well as 100% of the corresponding publisher’s share of any income that song may generate. If you have one collaborator, you each own 50% of the writer’s share and 50% of the publisher’s share. Therefore, if you have written a song and haven’t published it, you are a song publisher. Maintaining your publishing rights has two big advantages: You earn double the money and you have leverage in the event your song is recorded. Once you have a song to represent (either one of your own compositions or another writer’s song whose publishing rights have been assigned to you), it’s easy to become a publisher. All you need to do is:
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Maybe I should’ve put the 2nd one first. I know Sin loving it. A few more under the jump.

Even More here…

With a cast of Don Cheadle, Chiwetel Ejiofor, Taraji P. Henson, Mike Epps, Vondie Curtis Hall, Cedric the Entertainer & Martin Sheen Talk To Me will be released to limited views on July 20th.

The powerful real-life story of Ralph Waldo “Petey” Greene (portrayed by Academy Award nominee Don Cheadle), an outspoken ex-con who talked his way into becoming an iconic radio personality in the 1960s in Washington, D.C. Sparked by both the era’s vibrant soul music and exploding social consciousness, Petey openly courted controversy at a white-owned station. Relying on his producer Dewey Hughes (double Golden Globe Award nominee Chiwetel Ejiofor) to run interference, Petey’s unprecedented “tell it like it is” on-air style gave voice and spirit to the black community during and exciting and turbulent period in American history.

Deep down inside, everyone wants to be a star. That’s why it’s no surprise that so many beatsmiths are trading in their boards for the mic. Although there’s the occasional success story (Dr. Dre), not everyone is as fortunate. Creating countless hits for some of the game’s top artists since 1998, Swizz Beatz ignores the odds and adds his name to the list of producer turned rapper hopefuls with One Man Band Man. Not counting his 2002 compilation, Swizz Beatz Presents G.H.E.T.T.O. Stories, which was more of a showcase of his production prowess and how many rap friends he had on speed dial, this marks the South Bronx, N.Y., native’s official solo debut as an MC rhyming without any assistance for the majority of the disc.

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Desert Storm & Dipset Byrdgang member Stack Bundles was murdered in Queens. You should remember Stack from all of those mixtape drops with the likes of Fabolous, Joe Budden, etc.

Dip Set Byrdgang member Stack Bundles was reportedly killed early Monday morning (June 11) in his hometown of Far Rockaway in the New York City borough of Queens.

Police have not yet released details on the case, however DJ Envy at New York radio station Hot 97 announced on the air that Stack had been shot to death. Envy also reported that Stack was seen at New York nightclub Stereo as late as 4:30 a.m. on Monday.

While he hadn’t yet attained widespread popularity, mixtape fans have been aware of Bundles’ lyrical skills for several years. The rapper, who also led his own Riot Squad crew, first began attracting major attention as a member of DJ Clue’s Desert Storm family. His work on freestyles alongside more established MCs, such as then-camp members Fabolous and Joe Budden, let the scene know immediately he could hold his own weight.

While he worked to secure a label deal, Stack released a myriad of solo mixtapes and appeared on Clue’s street CDs. Last year, he popped up on Jim Jones’ M.O.B. (Members of Byrdgang) mixtape (the same mixtape that introduced Jones’ monster smash “We Fly High”), along with the currently incarcerated Max B.

Jones told MTV News last year that Stack had approached him one night in a club, and the only thing he liked more than Stack’s audacity was his skill on the mic. Jones planned to not only release Stack’s solo debut, but also to highlight him on Byrdgang releases as well.

On Monday morning, MTV News reached out to a grieving Jones, who said he needed some time to get his thoughts together before speaking on the death of his friend and artist.

MTV News will have more on this story as it develops. [ Source ]