No, but both albums were exec produced under L.A.
He was pres of Def Jam when Janet released Discipline, then he switched to Epic Records where he handled Ciara's album.
I think he was in charge of Rihanna too when she was with Def Jam
Tim Grierson - Film/music critic: Screen International, Paste, Deadspin, Playboy, Rolling Stone, The Dissolve. Author of biographies on Wilco and Eels. VP of @LAFilmCritics.
@TimGrierson · 7m
Full review coming soon, but I loved STILL ALICE. Some intriguing parallels between Julianne Moore's performance in this and SAFE. #TIFF14
"LeJend" is turning into legend, not quotation marks required.
Righ. & she'll be on Love & Hip Hop ATL in no time
Quote:
Originally posted by Cap10Planet
Ciara won't ever be very successful again. It's crazy how she is given so many chances by major labels. They clearly see something in her. Ashanti, Teairra Mari, Brooke Valentine, etc. all came out in that era and they are really nothing. Ciara is still chugging along.
At this point i really don't know what she lacks. Mama can clearly put on a show and obliterate a stage along with having some of tha knocks, so i'm just not seeing what's going on.
Quote:
Originally posted by jax.
Overdose could've been top 10 and I'm Out could've been top 20...
At this point i really don't know what she lacks. Mama can clearly put on a show and obliterate a stage along with having some of tha knocks, so i'm just not seeing what's going on.
She's ****ing lazy.
I'll ALWAYS bring up the fact that she went on vacation the week of Ciara release.
Didn't that all start late 2008 around the time of Keeps Gettin Better?
She wuz still skinny over a year-and-a-half later when Bionic rolled around.
I follow Xtina. She was starting to getting fat in 2010. Some of the poor stans were even claiming she was pregnant that's why she stopped promo for Bionic.
This was her at the Burlesque premiere. Not that bad.
Then, at the Grammys 2011 doing the Aretha tribute she was bigger.
Cast as a cranky, depressed woman suffering from chronic pain, Cake represents Jennifer Aniston’s first low-budget, indie-style film since 2006’s Friends with Money, offering the star her most dramatically challenging part since either the latter movie or The Good Girl (2002).Covered in prosthetic scars and made up to look as dowdy and unglamorous as someone in cashmere sweatpants can look, Aniston submits an honest, sturdy performance. However, the film, directed by Daniel Barnz (Phoebe in Wonderland, Beastly) and written by Patrick Tobin, is less emotionally potent than it wants to be, and feels as if it might have been overmedicated by script doctoring to make it more palatable to Aniston’s fan base. That sizeable audience will drum up box-office support but it’s hardly likely to do We’re the Millers-sized business.
The worst crime wrought by this decade's wave of woozy, trip-hop-influenced R&B has been inciting boredom. Dreary, midtempo music often triggers that feeling, and those are two adjectives that could describe Goddess, the debut album by Jillian Banks, at both its best and worst.
