Author: JD
Andrew Road House
THIS SHIT STUPID !!
Matthias Schoenaerts for Louis Vuitton Men’s Bags Spring-Summer 2014 Campaign
Nomade Grand Damier Sirius-à-Dos is a large grey suitcase that can be carried on shoulders, in hand or even as a backpack. Ideal for an overnight trip, this bag is sized at 22″ x 14.2″ x 7.1″ and priced at $12,300. The Nomade Grand Damier Néo Greenwich is slighter smaller than the Sirius. It is well shaped to accommodate all that a well-dressed gentleman needs to carry along. Made from brownish gray leather, it is sized at 18.1″ x 16.5″ x 9.1″ and is priced slightly over $7,000. The Nomade Damier Oversize Cabas North-South sported by Matthias, in the image featured above from the campaign, is available for $5,500. The cognac hued man purse sets the trend with its elongated perforation pattern on the leather. The Cabas North-South is comfortable sized at 13.4″ x 16.9″ x 5.1″, making it an ideal bag for an urban dandy. It is also available in East-West edition.
HOME FOR THE HOLIDAYS…. by DABS MYLA!!
I LOVE THIS SHIT
We Found Out What It Takes To Be A Big-Time DJ
courtesy of Caroline D’Amore Caroline D’Amore at The Bounce Music Festival in Puerto Vallarta, Mexico DJs only gained rock star status a few years ago, thanks largely to the rise of electronic dance music (EDM). But these days, DJs like Calvin Harris can rake in over $200,000 in a night, while other “Electronic Cash Kings” like Skrillex, Avicii, and David Guetta routinely make millions every year. “Good DJs do one of three things,” says Sujit Kundu, whose DJ management agency SKAM Artist celebrates 10 years in the business this year. “Sell bottles, sell tickets, or attract girls. But great DJs do all three at once.” As DJs move from the fringes of the music world — hauling crates of records to remix — to arena-filling original performers, we spoke with Jermaine Dupri, Caroline D’Amore and DJ Five, who are all represented by SKAM, to find out what it’s like to be a part of the music industry’s fastest-growing sector. Hip-hop versus electronic “The EDMers got respect for DJs, from an artist’s perspective,” Dupri, a mega-hit producer who formed Kris Kross in the ‘90s and started managing Mariah Carey in October, tells Business Insider. “But the crowd is doing basically the same thing with their fists up. There’s the buildup and then the drop in the mix. If you hear a Jay Z record in a hip-hop mix and you’re from New York, you act even more boisterous to represent where you’re from,” Dupri adds. He said DJing in hip-hop has a lot to do with nostalgia and where you were when certain videos and songs came out. courtesy of SKAM Artist Jermaine Dupri D’Amore likes the universal appeal of electronic music. After she elbowed her way into the DJ business (“Some guys would be like, ‘Yea, I’d sleep with her, but I wouldn’t hire her to DJ,’” she says), she turned to DJ AM, who helped her get her first pieces of equipment, and started playing electronic gigs, which have long been popular in Europe and Asia. In Tokyo, she opened for Will.I.Am at the MTV Music Awards. That night, she got to hang out with Black Eyed Peas singer Fergie. “She came into the DJ booth and she goes, ‘Girl, you’ve got to turn around, blot your face and then turn back around when you’re ready to give them a good picture,'” D’Amore recalls. Electronic dance music mines pop culture and music for material. D’Amore remembered a show where she played a remix of “Twist and Shout,” then got on the mic and asked anyone who remembered “a little movie called Ferris Bueller” to get up and do the dance. The digital shift courtesy of SKAM Artists DJ Five Scratching vinyl on turntables was the critical skill when DJs enjoyed their first heyday in the ’80s. “The digital shift didn’t make a difference to consumers,” SKAM founder Kundu says. “But it made it easier to be a DJ. Back in the day, Funkmaster Flex might be the first one to get a new disc ahead of his competitors, so his mixes would be fresher for a time. Now people can rip all the music they want, it’s on the Internet, so the edits they do become more important than the songs they mix.” Mixing with CDs later became popular, but DJ Five, an “open format” DJ who “spins in all styles,” says the change between tracks isn’t as clean on CD. He works largely on his computer and sets aside time twice each week to download new songs for sets. Dupri has a separate computer dedicated to DJ work. He downloads music before each performance to fit the “flavor” of the city he’s in. “If people see me in the club all week, they think ‘Oh this guy parties all the time,'” Dupri says, “but I’m really in there doing research.” If somebody requests a track mid-show, he says he can download it on the spot in two minutes or less. D’Amore uses her computer to store her music library and manipulates the mix with a Pioneer CDJ digital turntable and a Pioneer DJM-900nexus mixer. Booking and the business Some musicians make money off their records, but not DJs. Cutting a record just gets a DJ’s name out to club owners and festival organizers. It builds a buzz and brings audiences out to shows. The real money for DJs is in performances, and for them, Las Vegas is Mecca. Many DJs negotiate weekly or bi-weekly performance schedules in Vegas, which covers all their expenses and gives them a regular income. Then they travel the world making more lucrative appearances. D’Amore flew to Atlantic City in December for less than 12 hours between some standing performances on the West Coast. “Vegas is cool because it’s such a destination,” says D’Amore, who’s had six-month residencies at the Hard Rock Hotel at Rehab and Body English. “The audience is less pretentious than in the LA clubs. People from all over the world come, and when they go home, they build your fan base where they’re from.” Playing Vegas also tends to bring a measure of celebrity exposure. DJ Five, who currently has Vegas residencies at Tao and Hyde, played a show attended by Kanye West and Kim Kardashian for her birthday in October. At the higher levels, having professional representation is essential. When DJs really hit the big-time, splitting time between Vegas residencies, music festivals and world tours, they want someone else taking their booking calls. “Someone might offer you $2,000 when they should really be offering you $10,000,” Kundu says. “I know the difference. I’m the equalizer, and I can help get songs on the radio, TV, VEVO, MTV, iTunes to help you get that bigger offer for a show.”
Hawks Top NBA’s Best With Win Over Pacers
@RASHARD79 WHATS UP!!!!!! HAWKS POSTGAME NOTES: — The Hawks never trailed and defeated the Pacers at home for the 12th consecutive time in the regular season … Atlanta improved to 13-4 when holding opponents under 100 points. — The league’s top team in assists (25.3 per game), the Hawks’ 27 assists marked the 34th game (out of 36) this season with at least 20 helpers … Atlanta’s reserves outscored their counterparts from Indiana 34-25 , as every Hawk to see action recorded at least one assist and converted at least one field goal. — Atlanta opened the game on a 12-0 run and allowed first quarter season-lows of 12 points and .238 FG% (5-21), giving the Pacers their largest deficit after the first quarter this season… Atlanta also set a defensive first-half best by limiting the Pacers to 32 points on a season-low-tying .325 FG% (13-40) … The 32 points was the Pacers’ season-low for any half. — Entering the game fourth in 3FGM per game (9.3), the Hawks’ 10 3FGs marked their 16th game this season with at least 10 three’s. — Atlanta forced 20 Indiana turnovers, marking the fourth time this season the Hawks have forced at least 20 turnovers. — Pero Antic scored a career-high tying 16 points (6-10 FGs, 3-6 3FGs, 1-2 FTs) and added four rebounds, one assist and a block in 27 minutes … Antic is the second player in NBA history to make at least two 3FGs in each of his first four career starts at center (Tim Thomas). — Kyle Korver’s third quarter four-point play extended his NBA record of making at least one three-pointer for the 105th consecutive game … The four-point play was the 10th of his career, fifth this season and the 33rd in franchise history … He finished with a game-high 17 points (6-8 FGs, 3-5 3FGs, 2-2 FTs), two rebounds, two assists and a steal in 37 minutes. — Mike Scott led all reserves with 15 points (5-9 FGs, 1-2 3FGs, 4-4 FTs) … He added four rebounds and an assist in 17 minutes … Over the last four games, Scott has averaged 12.0 points and 4.0 rebounds in 18.3 minutes (.515 FG%, .400 3FG%, .833 FT%). — DeMarre Carroll contributed 11 points (5-8 FGs, 1-3 3FGs), four rebounds, four assists and a game-high three steals in 39 minutes … Carroll has 11 steals in the last four games (three games with at least three thefts). — Jeff Teague totaled 15 points, six assists, five rebounds and a steal in 35 minutes … Teague has had a share of the team lead in assists in 33 contests this season. PACERS NOTES: — The Pacers outscored the Hawks 17-14 in fast break points, 7-6 in second chance points and outrebounded Atlanta 46-34. — Paul George recorded his fourth double-double of the season, tallying game-highs of 28 points and 12 rebounds … He added three assists and two steals in 42 minutes. POSTGAME QUOTES: HAWKS HEAD COACH MIKE BUDENHOLZER: (On the game) “I think that was just great and competitive from the beginning to the end. That’s what we’ve really been talking to the group about, that that was what was going to keep us on track and keep us getting better and improving. I thought the competitive spirit from the very beginning was excellent. It showed on the defensive end. It was one of our best defensive games. In particular the first half, the activity and the energy were very high. DeMarre Carroll, on an individual basis, really set the tone for us with his defense and activity. I thought the offense at times…the ball was moving, people were cutting and spacing…it obviously helps if we make some shots. We got off to a good start with that. I’m just happy for our guys. We have a competitive group and if we keep doing that, we’ll be able to compete with some of the best teams in the league like Indiana.” (Was the defense responsible for the fast start tonight?) “I think the defense fueled the offense, and fueled the energy we played offense with. I thought there was just a commitment on the defensive end that spilled over to the offense. People were moving and the ball was moving. We were sharper and crisper. That’s just sometimes how it works. It’s just an energy you get from playing good defense.” JEFF TEAGUE: (On his collision at the end of the game) “I’m alright. He got me on the cheek.” (On tonight’s game) “We played hard tonight. We let a couple of games slip, these past couple. We came out tonight with a lot of energy.” (On Pero Antic’s play) “He played great tonight. He stretched the floor. He shot the basketball and then he competed on the defensive end. He made it tough for Hibbert tonight, and that’s what we needed.” KYLE KORVER: (On tonight’s win) “We’re trying to re-figure things without Al. it’s going to take a little bit of time. We’re still not there, but I thought tonight was a really great game for our team. We had balanced scoring. Jeff really ran the show well. We knew where we were supposed to be. We had a great film session yesterday. Coach really pointed out a lot of things. We’ve been playing hard the last few games, but we haven’t always been organized. We want to keep playing free, but we need to have a little of organization. I thought our spacing was great tonight. We played with pace. We knew we were playing a really good team. It was a good win for us.” PACERS HEAD COACH FRANK VOGEL: (Opening statement) “I give the Hawks credit tonight. They played well. We didn’t have a strong night tonight. I give our guys credit for coming back in the second half and trying to make it a game.” (On slow start) “It was unrecoverable. It pretty much decided the game and determined how we had to play the rest of the game.” (On fourth game in five nights) “We knew it was going to be tough, but we make no excuses. You have to win every night when you’re competing for what we’re competing for. (It’s especially tough) with the way Mike (Budenholzer) is using his personnel and the way they’ve adjusted with (Al) Horford out and how they’re using their three-point shooting bigs. It’s a challenging and unique style to play against. With this being our fourth game in five nights and no preparation time to get ready for this style, we knew it was going to be a tough game.” (On what the Hawks do differently than other teams) “The spread-five is what we call it. (It’s) the three-point shooting five-man, and the three-point shooting four –man. When you’ve got both bigs on the court as three-point shooters, it makes it a challenge.” PAUL GEORGE: (On tonight’s game) “When you fall behind 12-14 points to start the game off, you give a team like this all of the confidence in the world. Plus they’re playing at home. I felt like that’s where we lost the game. We knew regardless of being down 24 (25) that we still had a chance to win. There were a couple of plays here and there that could’ve helped us get over the hump, but we just didn’t do it. This was definitely a winnable game for us, but it’s a tough stretch. This was four out of five (nights). It’s not an excuse, but it’s nothing to get too down about.” HAWKS FAN TWEET OF THE NIGHT:
V Magazine Spring 2014 Cover: Why Can’t Kate Upton Keep Her Clothes On?
The model wears a Diesel denim bodysuit, designed by Nicola Formichetti, on the cover, which also reads “Why Can’t Kate Upton Keep Her Clothes On?”. The fashion magazine created a special peel-back acetate cover for the issue, allowing you to remove the first layer, this time showing Kate Upton lightly dressed in a bikini. Photographed by Inez van Lamsweerde and Vinoodh Matadin, the cover was styled by Formichetti. Look out for the official release on January 16, 2014.
Space Miami writes an open letter to Deadmau5, offers to open its doors for free to fans
After damning club life completely after his last show in Miami was overrun with “trust fund kids,” Space Miami has offered deadmau5 an opportunity to restore his faith in nightlife culture. In an open letter to the outspoken producer, Space Miami offered Joel to cover $25,000 of his expenses to perform at the iconic nightclub. In return, Space will open its doors for free to true deadmau5 fans without the experience being marred by bottle service tables and entitled socialites with camera phones.