!!! "HI WELCOME TO I M SOUND PRESENTS THE WORLD LARGEST MUSIC INDUSTRY FOR ALL YOUR CONCERTS,EVENTS,FESTS, NEEDS IS ESTABLISHED WITH THE BEST SUPERSTARS,CELEBRITYS,SUPERMODELS,PAPARAZZI, MEDIA,PRESS IN THA WORLD WE HANDLE ALL CONCERT FEST NEEDS IM SOUND HAS 20 MILL INSURANCE REAL TALK CELEBRITYSUPERSTAR/DJ/CEO/HEADCHAIRMAN/PROMOTER/EVENTORGANISER/BOOKING AGENT/ENTERTAINER/PRESENTER/ PRODUCER/MANAGER/DIRECTOR/ORGANISER/OWNER/ENTREPRENEUR abn :39 961 806 421 STOP BYE AND DROP SOME LOVE 2 THA PAGE !!! Studio fee: $ 52,500

100 % DOWN PLUS $500.00 AUS STUDIO TIME PER DUBPLATE
100 % DOWN PLUS $250.00 US STUDIO TIME PER DUBPLATE
PRIVATE APPERANCE $1,000000 US
PRIVATE PREFORMANCE $400,000 US
PRIVATE DINNER $25,000 US + PRIVATE APPERANCE
PER PICTURE $60,000 US CELEBRITY SPEECH $800,000 US CELEBRITY SUPERSTAR DJS fees can sometimes be £50,000 + TRAVEL + EXP & ACCOMMODATION presenter – £10,000 celebrity auto graphs $5500 - $10000 US celebrities themselves are also paid a fee £25000. We're talking fees of between $10000 and $100000 for Australian celebrity endorsement, and between $100000 and $500000 for an international A minimum of $10000.00 non-refundable reservation retainer is required to secure "im sound presents" for the event events,live proformances,etc date(s). This amount shall be subtracted from the total price of the event !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Every day, A&R reps listen to hundreds of solicited demo CD’s. They get so burdened by it that they don’t even get thru half of them. The traditional way of sending your tapes or CD’s is slowly dying out and chances of your demo getting listened to diminish considerably. To get A&R’s attention, you must contact them directly. It is very important to have real contacts and know ways on how to approach them on a business-t0-personal level. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! The Two Most Important Things You Need To Know

1) NEVER ASSUME what the DJ should already know. It's your event and you know what you want the DJ to do - the DJ can only guess until completely informed. You need to give your DJ as much information as possible.

2) If YOU Are Paying The DJ - YOU ARE THE BOSS and THE DJ WORKS FOR YOU. Tell them in advance what is needed, required and expected. It's their job to bring DJ equipment, have and play music that you want, be dressed appropriately for your event, etc. RATES FOR GENERAL EVENTS
General are Non-Wedding events such as Parties, Class Reunions, Birthday(21 & up), Pig Roasts and similar events . for wedding and corporate rates → click here

• Friday or Saturday
• $6000 or more*.per hour + travel +exp+accommodation
Deposit: $3000 (non-refundable. However, it is deducted from total cost).
Balance: $3000, to be paid at beginning of event. • New Years Eve (no matter what day of the week)
• $10,500 or more*per hour !+ travel +exp+accommodation
Deposit: Required Deposit of $4000 is non-refundable (however, it is deducted from total cost). !!!! Date: Friday or Saturday banquets - Corporate
Price: $7500 per hour + travel +exp+accommodation NOTE: this rate is Temporarily Discounted by $225! see explanation
Deposit: $3000 (non-refundable. However, it is deducted from the rate). Date: New Year's Eve Price: $10,500 per hour + travel +exp+accommodation
Deposit: $4000 (non-refundable. However, it is deducted from the rate).
Balance: must be paid before midnight. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ALL UNPAID DEBTS 2 BE PAID IN 90 DAYS YOU WILL BE ISSUED WITH AN INVOICE BUSINESSES COMPANYS ECT OR CELEBRITYS WILL BE REFERRED 2 THE DEBT COLLECTERS & ANY ONE WHO INSULTS CELEBRITYS WILL BE REFERRED 2 THE ATTORNEYS !!! ALL ARTISTS CURRENTLY AVAILABLE FOR VOICING AND DUBPLATES.
PLEASE CONTACT imsoundpresents@hotmail.com FOR INFORMATION AND PRICEING...CONTRACT SERVICES, PRODUCTION, MIXING, MASTERING,
GRAPHICS AND MANUFACTURING SERVICES ALSO AVAILABLE.

RESPECTS. !!! PRICE CHANGES DEPENDING ON THA CELEBRITY !!! IM SOUND PRESENTS Mon OPEN 24 HOURS

Tue OPEN 24 HOURS

Wed OPEN 24 HOURS

Thu OPEN 24 HOURS

Fri OPEN 24 HOURS

Sat OPEN 24 HOURS

Sun OPEN 24 HOURS !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! income is bold and underlined, expenses are not.

Advance: $ 250,000
Manager's cut: $ 37,500
Legal fees: $ 10,000
Recording Budget: $ 150,000
Producer's advance: $ 50,000
Studio fee: $ 52,500
Drum Amp, Mic and Phase "Doctors": $ 3,000
Recording tape: $ 8,000
Equipment rental: $ 5,000
Cartage and Transportation: $ 5,000
Lodgings while in studio: $ 10,000
Catering: $ 3,000
Mastering: $ 10,000
Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000
Video budget: $ 30,000
Cameras: $ 8,000
Crew: $ 5,000
Processing and transfers: $ 3,000
Off-line: $ 2,000
On-line editing: $ 3,000
Catering: $ 1,000
Stage and construction: $ 3,000
Copies, couriers, transportation: $ 2,000
Director's fee: $ 3,000
Album Artwork: $ 5,000
Promotional photo shoot and duplication: $ 2,000
Band fund: $ 15,000
New fancy professional drum kit: $ 5,000
New fancy professional guitars [2]: $ 3,000
New fancy professional guitar amp rigs [2]: $ 4,000
New fancy potato-shaped bass guitar: $ 1,000
New fancy rack of lights bass amp: $ 1,000
Rehearsal space rental: $ 500
Big blowout party for their friends: $ 500
Tour expense [5 weeks]: $ 50,875
Bus: $ 25,000
Crew [3]: $ 7,500
Food and per diems: $ 7,875
Fuel: $ 3,000
Consumable supplies: $ 3,500
Wardrobe: $ 1,000
Promotion: $ 3,000
Tour gross income: $ 50,000
Agent's cut: $ 7,500
Manager's cut: $ 7,500
Merchandising advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Publishing advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Record sales: 250,000 @ $12 =
$3,000,000
Gross retail revenue Royalty: [13% of 90% of retail]:
$ 351,000
Less advance: $ 250,000
Producer's points: [3% less $50,000 advance]:
$ 40,000
Promotional budget: $ 25,000
Recoupable buyout from previous label: $ 50,000
Net royalty: $ -14,000
Record company income:

Record wholesale price: $6.50 x 250,000 =
$1,625,000 gross income
Artist Royalties: $ 351,000
Deficit from royalties: $ 14,000
Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000
Gross profit: $ 7l0,000
The Balance Sheet: This is how much each player got paid at the end of the game.

Record company: $ 710,000
Producer: $ 90,000
Manager: $ 51,000
Studio: $ 52,500
Previous label: $ 50,000
Agent: $ 7,500
Lawyer: $ 12,000
Band member net income each: $ 4,031.25

The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! If this is an outdoor event, please make sure that DJ and equipment are in an area that is
sheltered (E-Z-Up). DJ reserves
the right to NOT perform if it felt that adequate shelter is NOT provided. In the event of
electrical storm, your event will be
suspended and the equipment shut down for the safety of your guests. There are no refunds
for suspension or cancellation Time may be added at the end of the event to make up for the suspended
time at the sole discretion of
the DJ. In the event that the DJ is unable to perform, DJ will provide a suitable replacement at no
charge for the event described. If
DJ is unable to provide a replacement, compensation in full, including ALL fees collected will
be issued within FIVE days of
the event. events cancelled within 30 days of the event date will be subject to a 100% cancellation fee.
These cancellation fees
are not a penalty but rather shall be considered compensation to DJ for loss of other business
opportunities.The parties acknowledge that this Agreement may be negotiated and transmitted between
the parties by means of a
facsimile machine and that the terms and conditions agreed to are binding upon the parties.
Upon the Agreement being
accepted, copies of the facsimile will be validated by both parties forthwith. !!! Our celebrity database currently contains information on over 6,000 famous motivational speakers, athletes and celebrities. It is impossible to list, maintain and provide accurate fee information and updated bios for all of the individuals we have access to, as this information frequently changes. Please contact your representative today for full bios, updated fee information and individual consultation.

Below is a small sample of our celebrity speaker roster. We have relationships with all of the top talent agencies, managers, bureaus, public relations firms and agents, which allow us access to virtually any celebrity entertainer or public figure imaginable. PLEASE CONTACT US IF YOU ARE INTERESTED IN ANY CELEBRITY OR ATHLETE NOT LISTED BELOW. We have access to many people not listed here and are happy to provide you with any information you may need.!!!! All American Speakers Bureau provides famous celebrity speakers for marketing and personal appearances, including top-rated Business Motivators, Entertainers, Sports Celebrities, Political Figures, Motivational Speakers, Authors, Comedians, Celebrity Chefs, Political Commentators, Columnists, Writers, Actors, and Musicians to corporations, universities, associations and organizations throughout the world. We can help you book a celebrity personal appearance, motivational speaking engagement, corporate event, charity fundraiser, corporate golf outing or private party. We can also represent your company in securing the best celebrity marketing talent for product endorsements, celebrity spokesperson campaigns, celebrity appearances, voice-overs, conventions, and meet and greets. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!! .Actors, Agents, Managers, Animators, Distributors, Producer Reps, Studio Execs, Marketing and PR Execs, Directors, Filmmakers, Documentarians, Screenwriters, Cinematographers, Editors, Composers, Songwriters, Visual Effects Artists, Digital Artists, EFX people, Production and Set Designers, PAs, Still Photographers, Costume Designers, Make-Up Artists, Choreographers, Stuntpeople, Casting Directors, Game Designers, Models, Music Video Artists, Musicians, Clapper loaders, Gaffers, Grips, Film Fans, Hollywood Celebrities and anyone passionate about film. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Small businesses which trade in personal information are also covered.

While NSW privacy laws (the PPIP Act and HRIP Act) are based around a primary set of privacy principles, the Federal Act is based on different principles depending on what area it is regulating: !!!! * 11 information privacy principles govern the handling of personal information by Commonwealth and ACT government agencies * 10 national privacy principles govern the handling of personal information by health service providers, and by private sector businesses with an annual turnover of over $3 million. Privacy NSW has no role in administering the Federal Privacy Act. The Federal Privacy Act is administered by the Office of the Federal Privacy Commissioner. For advice about the Federal Privacy Act or to make a complaint about a breach of the Federal Privacy Act, please contact the Office of the Federal Privacy Commissioner !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!Mechanical Royalties
music royalties

Record companies and recording artists, as well as the writers and publishers, all make money based on the sale of recordings of their songs. How those royalties are calculated, however, is about as intricate and controversial as everything else in the music industry.

Writer/publisher mechanical royalties

First, there is the calculation of mechanical royalties for writers and publishers. These royalties are paid by the record company to the publisher. The publisher then pays the writer a share of the royalty (typically split 50/50).

In the United States, the royalties are based on a "statutory rate" set by the U.S. Congress. This rate is increased to follow changes in the economy, usually based on the Consumer Price Index. Currently, the statutory rate is $.08 for songs five minutes or less in length or $.0155 per minute for songs that are over five minutes long. So, for example, a song that is eight minutes long would earn $.124 for each recording sold.

As in most areas in the business world, however, there is room for negotiation. It is not uncommon -- in fact, it is more the norm -- for record companies to negotiate a deal to pay only 75% of the statutory rate, particularly when the writer is also the recording artist. (See the "Controlled Composition Clause" below.) Although there is a statutory rate, there is no law against negotiating a deal for a lower one. Sometimes it is in the best interest of all parties to agree to a lower rate.

Recording-artist mechanical royalties

Recording-artist royalties (and contracts) are extremely complex and a hotbed of debate in the music world. From the outside, the calculation appears fairly simple. Artists are paid royalties usually somewhere between 8% and 25% of the suggested retail price of the recording. Exactly where it falls depends on the clout of the artist (a brand new artist might receive less than a well-known artist). From this percentage, a 25% deduction for packaging is taken out (even though packaging rarely costs 25% of the total price of the CD or cassette).

That sounds simple enough, but there are many more issues that affect what a recording artist actually makes in royalties.

Free goods - Recording artists only earn royalties on the actual number of recordings sold -- not those that are given away free as promotions. Rather than discounting the price to distributors, many record companies give a certain number away for free (about 5% to 10% depending on the artist). Recording companies also give away many copies to radio stations as "promo" copies. There is also a reduction in royalties made for copies of the recording sold through record clubs.
Return privilege - Recordings in the form of CDs or cassettes have a 100% return privilege. This means that record stores don't have to worry about being stuck with records they can't sell. Most other businesses don't work this way, but the music industry has to be more flexible and timed to demand. What's hot today may be forgotten tomorrow... This leads us to reserves. The recording company may hold back a portion of the artist's royalties for reserves that are returned from record stores. (Usually about 35% is held back.)
90% - Back in the days of vinyl records, there was a lot of breakage when record albums were shipped out for distribution. Because of this, recording companies only paid artists based on 90% of the shipment, assuming that 10% would be broken. Even as vinyl was phased out, this practice continued. Today it is gone for the most part, but there are still a few holdouts.

So, here is how it looks so far. Let's say a CD sells for $15. Right away we deduct 25% from that for packaging, which makes the royalty base $11.25. Now let's say our artist has a 10% royalty rate and that his CD sells one million copies. That sounds great! The artist would earn $1,125,000! Except 10% of those were actually freebies, so we really have to calculate that royalty based on 900,000, which makes the royalty $1,012,500, and of course, there are few costs we haven't talked about yet.Advances and recoupment

Typically, when recording artists sign a recording contract or record a song (or album), the record company pays them an advance that must be paid back out of their royalties. This is called recoupment. In addition to paying back their advance, however, recording artists are usually required under their contract to pay for many other expenses. These recoupable expenses usually include recording costs, promotional and marketing costs, tour costs and music video production costs, as well as other expenses. The record company is making the upfront investment and taking the risk, but the artist eventually ends up paying for most of the costs. While all of this can be negotiated up front, it tends to be the norm that the artists pay for the bulk of expenses out of their royalties.

Let's see what these recoupable expenses do to our artist's $1,012,500 royalty we calculated earlier. Suppose the recording costs were $300,000 (100% recoupable), promotion costs were $200,000 (100% recoupable), tour costs were $200,000 (50% recoupable), and a music video cost $400,000 (50% recoupable). That comes out to:
$300,000 + $200,000 + $100,000 + $200,000 = $800,000

Suddenly our artist isn't making a million plus, he's making $212,500. But don't forget there is also a manager to be paid (usually 20%), as well as a producer and possibly several band members. The artist won't see any royalty money until all of these expenses are paid.

Controlled-composition clause
So far, it sounds like the money isn't in making the music, it's in writing it. While this is a true statement, controlled-composition clauses make it less fair to folks who are both the songwriter and recording artist of a song.A controlled composition is a song that has been written and/or is owned by the recording artist. Because mechanical royalties paid to songwriters and publishers are not recoupable by the record company, meaning the record company can't deduct any expenses from them, record companies usually negotiate into the singer/songwriter's contract that the mechanical royalty rate he will receive as the songwriter/publisher will be 75% of the usual amount. In other words, as the writer of a song you record yourself, you get 25% less royalty money than you would get for writing a song that someone else records. But you'll get performance royalties when the song is played on the radio, TV, etc.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!! Performance Royalties !!!!

How are performance royalties tracked and calculated? Remember that performance royalties are tracked and paid out by the performance rights organizations like ASCAP, BMI, SESAC, and SoundExchange.

The royalty trail begins when the song is registered with one of the three performing rights organizations mentioned above. Once a song is registered, it becomes part of that PRO's collection and is available to all of its users. Most of those users have a "blanket license" to use any or all of the PRO's music, however some users license on a per program basis and only pay for the music they actually use. (This is good for users who don't use that much music.) The PROs deduct money for their operating expenses and the rest goes to the songwriters and publishers.

PRO customers include just about anyone who plays music in a public place -- even those who play "hold" music for their business. These include television networks, cable television stations, radio stations, background music services like MUZAK, colleges and universities, concert presenters, symphony orchestras, Web sites, bars, restaurants, hotels, theme parks, skating rinks, bowling alleys, circuses, you name it -- if they play music, they have to have a license and pay royalties.

Tracking the playlists

The difficult thing to imagine in all of this is how these organizations track all of that music to get an accurate record of how much royalty money needs to be paid to which songwriters and publishers. Each of the PROs use a slightly different system for calculations; we'll use the ASCAP system as an example. ASCAP uses two methods for determining performances: it either counts them or does a sample survey.

For television performances, ASCAP depends on cue sheets that program producers provide them, as well as program schedules, network and station logs, and even tapes of the broadcasts. ASCAP developed its own computer program to help studios and program producers report performances.

For radio performances, ASCAP does a sample survey of all radio stations, including college stations and public radio. To do this, it uses a digital tracking system, station logs provided by the radio stations, and recordings of the actual broadcasts.

For live performances, ASCAP reviews set lists provided by concert promoters, performing artists, and others. In the case of symphony performance information, the printed programs are submitted.

Licensed Internet sites, circuses, theme parks, etc. provide ASCAP with their own music use data.

Others that use music, like restaurants and bars, are not surveyed and simply pay a flat rate that is distributed based on trends in local radio stations (based on the type of music).

Show me the money!

ASCAP's royalty calculations are based on a system of credits. Here is an example of how the money is calculated based on the ASCAP system.

First, some general information: ASCAP weights different factors in order to come up with a song's total "credits" and a fair royalty calculation. For example, the song is weighted based on the type of performance (theme, underscore, or promotional); this is known as the use weight. A song that is featured and sung by a recording artist on TV or radio gets more weight than one that was played as background music during a radio commercial. The licensee (radio station, TV station, etc.) is weighted based on its licensing fee, which in turn is based on the licensee's markets and number of stations carrying its broadcast signal. There is a weight applied to the time of day the music is performed (particularly in television). Music played during peak view/listener times receives more weight.

ASCAP also uses a follow the dollar factor, which means that songwriters and publishers are paid based on the medium from which the money came. For example, money paid out from radio stations is paid for radio performances. A general licensing allocation is figured for fees that ASCAP collects from bars, hotels and other non-broadcast licensees. These fees are distributed to songwriters and publishers based on similar radio and TV broadcasts of the individual songs. In other words, they estimate that restaurants and bars are playing the songs at a similar rate as the local radio and TV stations.

Here is an example of the calculation that ASCAP uses to determine the number of credits a song title has:

Use weight
x
Licensee weight
x
"Follow the dollar" weight
x
"Time of day" weight
x
"General licensing allocation"
+
Any radio feature premium credits (bonus credits for top played songs that reach a specific threshold within a quarter)
=
Total number of credits

The total number of credits is multiplied by the shares for the song (how the royalties are split between writers and publishers). This number is multiplied by the credit value for the song. The value of one credit (credit value) is arrived at by dividing the total number of credits for all writers and publishers by the total amount of money available for distribution for that quarter. For example, if there are a total of 10 million credits for a quarter, and there have been 35 million dollars collected for distribution that quarter, then the value of one credit for that quarter is $3.50.

The final number is the royalty payment. Here is how it works:

4,000 Credits
x
50% (.5) Share
x
$3.50 Credit Value
=
$7,000 Royalty payment

Royalty payments are made quarterly.

These calculations are quite difficult and vary somewhat between each of the three PROs. Visit their Web sites (links are the end of this article) for additional information on how these royalty payments are calculated.

Internet royalties

For Webcasts and other digital performances, SoundExchange was formed to collect and distribute those performance royalties. Just as in traditional media, broadcasters of digital performances of music must pay royalties to the songwriters and publishers of the music they play. Because of the Digital Performance Right in Sound Recordings Act of 1995, however, they must also pay royalties to the recording artists. SoundExchange collects electronic play logs from cable and satellite subscription services, non-interactive webcasters, and satellite radio stations. They then distribute the royalty payments directly to artists and recording copyright owners (usually record labels) based on those logs.

For more information on music royalties and related topics.


For more information on music royalties and related topics.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ALABAMA WBHJ / 95.7 Jamz Birmingham (205) 741-0957 WQEN / 103.7 The Q Birmingham (800) 500-1037 WJWZ / 97.9 Jamz Montgomery (334)395-9797 WZHT HOT 105 Montgomery (334) 279-3105 ARIZONA KZON / 101.5 JamZ Phoenix (602) 260-1015 KZZP / 104.7 KISS FM Phoenix (602) 260-1047 KKFR / Power 98.3 Phoenix (602) 260-6923 KRQQ 93.7 KRQ Tucson (520) 880-5000 KOHT / Hot 98.3 Tucson (520) 770-9836 CALIFORNIA KISV / Hot 94.1 Bakersfield (661) 328-1410 KBDS / Play 103.9 Bakersfield (661) 396-7529 KBOS / B 95 Fresno (559) 247-5595 / (800) 431-5267 KSEQ / Q 97 Fresno (559) 255-9797 KPWR / Power 106 Los Angeles (818) 845-1059 KDON / 102.5 Monterrey (888) 558-5366 / (831) 424-KDON KCAQ / Q 104.7 Oxnard-Ventura (805) 654-1526 KRCK / HOT HITS 97.7 Palm Springs (888) 977-5725 KKUU U 92.7 Palm Springs (760) 345-9236 KGGI Riverside (909) 431-5991 / (866) 991-5444 KWIE Riverside (866) 945-3961 KSFM / Sacramento (916) 766-5736 KBMB Sacramento (916) 766-1035 XHTZ / Jammin Z90 San Diego (858) 570-1903 XMOR / San Diego (619) 864-1989 KMEL / San Francisco (800) 955-5635 KYLD / San Francisco (888) 333-9490 KPAT 95.7 The Beat Santa Maria (805) 922-1041 KWIN Stockton (209) 951-5946 COLORADO KQKS Denver (303) 631-2448 KIBT Colorado Springs (719) 226-2328 KKMG 98.9 Magic FM Colorado Springs (719) 596-2442 CONNECTICUT WKSS / KISS 95.7 Hartford (860) 247-9570 WKCI / KC 101.3 New Haven (203) 230-1013 WZMX Hartford (860) 674-9307 / (860) 677-6700 FLORIDA WVYB 103.3 FM Daytona Beach (386) 255-9300 WYKS KISS 105.3 Gainesville (352) 331-2200 WPOW /Power 96 Miami (305) 550-9696 WHYI / Y-100 Miami (866) 645-9100 WJHM / 102 Jamz Orlando (877) 919-0102 WPYO / Power 95.3 Orlando (407) 295-9595 WXXL / XL 106.7 Orlando (877) 919-1067 WLLD Tampa (800) 758-9870 WFLZ / 93.3 FLZ Tampa (800) 409-9393 WMBX / X102.3 West Palm (800) 969-1023 WBTT /105.5 The Beat FT Myers (866) 843-2328 GEORGIA WBTS Atlanta (404) 741-0955 WVEE / V-103 Atlanta (404) 741-9833 WSTR / Star 94 Atlanta (404) 741-9400 WBTS / 95.5 The Beat Atlanta (404) 741-0955 WWQQ / Q100 Atlanta (404) 741-1005 WHTA / HOT 107.9 Atlanta (404) 741-1079 WIBB / 97.9 Macon (800) 813-8418 WFXM / Power 107 Macon (478) 745-3301 WQBT / 94.1 The Beat Savannah (912) 947-0941 HAWAII KIKI Honolulu (808) 296-9494 KPHW Honolulu (808) 296-1043 ILLINOIS WBBM Chicago (312) 591-9696 INDIANA WNOU Indianapolis (317) 239-1009 WHHH Indianapolis (317) 239-9696 WJFX Ft. Wayne (260) 748-4468 WNHT Ft. Wayne (260) 747-1511 WYPW / Power 95.7 South Bend (877) 737-6244 IOWA KKDM / KISS 107 FM Des Moines (515)282-1075 KANSAS KDGS Witchita (316) 436-1093 WBVD / 95.1 The Beat Melbourne (321) 308-2328 KENTUCKY WLTO Lexington (859) 253-5900 KHTN Merced (209) 567-1047 LOUISIANA WXIS Johnson City KRKA Lafayette (337) 234-1079 WEZB B 97 New Orleans (888) 340-9797 MAINE WFHN New Bedford (508) 994-1071 WRED / Red Hot 95.9 Portland (207) 773-9695 MASSACHUSETS WJMN Boston (617) 931-1945 MICHIGAN WKQI Detroit (313) 298-9595 WQHH / Power 96.5 Lansing (517) 882-0965 WJIM / 97.5 FM Lansing (517) 363-2975 WSNX Grand Rapids (616) 770-8104 WIOG / 102.5 Saginaw (877) 330-9464 RHY Flint (810) 251-5937 MISSOURI KSPW / Power 96.5 Springfield (417) 862-9965 MINNESOTA KTTB Minneapolis (651) 989-4296 MISSISSIPPI WXYK / 107.1 The Monkey Biloxi (228) 388-1071 NEVADA KVEG Las Vegas (702) 320-5834 KLUC Las Vegas (702) 364-9898 KWYL Reno (877) 793-1029 NEW JERSEY WZBZ Pleasantville (609) 569-9938 NEW MEXICO KKSS / KISS Albuquerque (505) 262-5477 NEW YORK WAJZ / JAMZ 96.3 Albany (518) 476-9696 WFLY Albany (518) 476-9200 WKKF Albany (518) 476-1023 WHTZ / Z100 New York 1-800-242-0100 WQHT New York (800) 223-9797 WKTU New York (800) 245-1035 WKGS / 106.7 KISS FM Rochester (585) 222-5477 WDKX / 103.9 Rochester (585) 262-2050 NORTH CAROLINA WIBT Charlotte (704) 570-9696 WQNC / Q 92.7 Charlotte (704) 358-0211 WCCG / Soul 104.5 Fayetteville (910) 484-4932 WJMH Greensboro (336) 730-1021 WRSV / Soul 92 Jams Greenville (252) 937-6111 WDCG / G 105 Raleigh (919) 860-1051 OHIO WDHT Dayton (937) 457-9393 WAKS / 96.5 KISS FM Cleveland (216) 578-9650 WVKS / 92.5 KISS FM Toledo (877) 547-7366 WAKZ / 95.9 KISS FM Youngstown (877) 827-5477 OKLAHOMA KKWD / WILD 104.9 Oklahoma City (405) 848-0100 KTBT Tulsa (918) 460-1015 KHTT Tulsa (918) 460-1069 OREGON KXJM Portland (800) 378-2795 WRED Portland (207) 774-9733 WJBQ Portland (207) 775-7979 PENNSYLVANIA WRDW / Wired 96.5 Philadelphia (215) 263-9650 WIOQ / Q 102.7 Philadelphia (215) 263-1021 WKST / KISS 96.1 Pittsburgh (412) 937-9610 WBZW / B 94 Pittsburgh (412) 333-9494 RHODE ISLAND WWKX Providence (401) 224-1063 WPRO Providence (401) 224-1234 SOUTH CAROLINA WIHB / B 92 Charleston (843) 972-9292 WHTZ / Hot 98.1 Greenville (864) 421-9810 WHZT / Hot 98.1 Spartanburg (866) 639-4689 TEXAS KDHT / Hot 93.3 Austin (512) 390-5933 KXBT / The Beat Austin (512) 390-1043 KKPN / Planet 102.3 Corpus Christi (361) 814-1023 KNDA Corpus Christi (361) 814-1030 KZFM / Z95 Corpus Christi (361) 560-5595 KBFB Dallas (214) 787-1979 KZZA Dallas (214) 878-1067 XHTO / 104.3 HIT FM El Paso (915) 541-1043 KPRR El Paso (915) 880-5777 KBXX Houston (713) 390-5979 KPTY / The Party Houston (713) 390-5655 KBFM / WILD McAllen (888) 414-2104 / (321) 308-2328 KBBT / The Beat San Antonio (210) 470-5985 KBLZ / The Blaze 102.7/106.9 Tyler(877) 992-5293 TENNESSEE WKHT Knoxville (865) 656-1045 WMPW Memphis (901) 535-0999 WHBQ / Q 107.5 Memphis (901) 375-1075 UTAH KUUU Salt Lake City (801) 470-9200 / (801) 570-9200 VERMONT WXXX Burlington (888) 805-9595 VIRGINIA WJJS / Jammin Roanoke (800) 847-9557 WASHINGTON KUBE Seattle (877) 933-9393 WASHINGTON D.C. WIHT HOT 99.5 Washington DC (877) 995-4681 WPGC Washington DC (202) 432-9595 WISCONSIN WKSZ Appleton (866) 916-0959 WKPO Madison (866) HOT-1059 WJQM 106.7 JAMZ Madison WXSS 103.7 KISS FM Milwaukee (414) 799-1037

Jan 2010 - Dec 2010
PhD in medical marijuana

Jan 2000 - Present
http://www.reverbnation.com/djweedIman
A Full-Time celebrity dj

Jan 2000 - Present
CELEBRITYSUPERSTAR/DJ/CEO/ HEADCHAIRMAN/HUSTLER/PROMOTER/EVENTOR

CELEBRITYSUPERSTAR/DJ/CEO/ HEADCHAIRMAN/HUSTLER/PROMOTER/EVENTORGNICER/BOOKINGAGENT/ENTERTAINER/PRESENTER/MANAGER/DIRECTOR/ORGANISER/OWNER/ENTREPRENEUR/EXHIBITIONEST

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