D'Angelo

Fri., July 6 – Main Stage: D’Angelo, Charlie Wilson, Trey Songz, Keyshia Cole, The Pointer Sisters. Superlounge Stage: Marsha Ambrosious, Q. Parker, Super Jay, Khris Royal, Kindred the Family Soul, Vivian Green, Stephanie Mills, Gary Clark Jr., Rebirth Brass Band, SWV, Goapele.

Sat., July 7 - Main Stage: Mary J. Blige, Ledisi, Tank. Superlounge Stage: Eric Roberson, Teedra Moses, The Stylistics, Robert Glasper, Dru Hill, The Original Pinettes Brass Band, Stephanie Mills, Big Sam’s Funky Nation.

Sun., July 8 - Main Stage: Aretha Franklin, Fantasia, Kirk Franklin, Mary Mary. Superlounge Stage: Melanie Fiona, Carl Thomas, Alex Boyd, Eve, The Stooges Brass Band, Estelle, Luke James, Raheem DeVaughn, Bridget Kelly.

Kevin Hart was just announced , too! Single day tickets are priced from $50 to $300 per person per night. Also, weekend packages range from $150 to $900 per person. Tickets are available through Ticketmaster or at http://www.essence.com/festivals/2012/essence-music-festival/tickets.

A strong team of knowledgeable, young professionals led by Richard Penton is at the core of Sky Movement. Producing a cacophony of output, they push to reflect the company’s core mission of finding opportunities to successfully marry music, marketing and multimedia.

Within Sky Movement, music is perceived as the pipe that constructs global platforms and unique experiences. Brands including Scion and Fuse Beverage have been beneficiaries of the Sky Movement experience. Hailing from the Northwest region where software and coffee beans reign supreme, there is a pioneering spirit within Sky Movement’s Tacoma headquarters that translates into new approaches and calculated risk. The company sprang up from a living room and a P.O. Box into a full-fledged multi-media business encompassing office space, two recording locations, video editing bays and a photo studio; all in the space of a year and a half.

Largely known as the home of Grammy-nominated songwriters The Writer’s Block (Nicki Minaj, Rihanna, Travie McCoy), Sky Movement also houses the songwriting and production talents of 2012 McDonald’s Flavor Champion DJ Risk One, Tryfe, Illoquint, The Blueprint and Luke McPherson. Beyond the company’s publishing endeavors, William Jordan and Clemm Rishad are the two primary brands on the Sky Movement artist roster. Sky Movement’s consulting division has seen its clients featured in prominent online media outlets such as: XXL, The Fader, AllHipHop, Vibe and Skee TV. The Sky Movement’s multimedia department is headed by Maurice Taylor and has created videos for a number of both local and national partners. Internal multimedia work for Clemm Rishad’s upcoming solo release “The Beginning” looks to showcase independent music video production at its finest while the Jon Augustavo helmed Nipsey Hussle “Rose Clique” was recently featured on YouTube’s front page.

“To be everywhere the Sky is” was Richard Penton’s premise in founding Sky Movement. Counting expansive growth in all of the company’s departments, it is safe to say the premise is working.

https://twitter.com/#!/@skymovement
or visit the website at www.theskymovement.com

The Writer's Block: William Jordan & Clemm Rishad

It was October 28th, 2010. A stable of onlookers watched a fresh pool of ink dry. In Tacoma, Washington, one of the rainiest cities in America, anything dry so close to November is a call for celebration. However, these festivities were particularly special, as they punctuated the arrival of a new musical movement. A large wooden desk in the corner office of Platinum Reign Studios propped up a joint Rondor-Beluga Heights contract. What William Jordan and Clemm Rishad signed was a birth certificate for possibilities.

Especially noted for their contributions to Nicki Minaj’s “Fly,” The Writer’s Block has garnered a platinum single, an American Music Award and a Grammy nomination. Touting a songwriting portfolio that includes Nicki Minaj, Rihanna, Iyaz, Travie McCoy, Jason Derulo and others, The Writer’s Block have only begun to allow the world into their unique perspective.

Creating music in a distinctly Northwestern style that holds universal appeal, Writer’s Block houses a sound that draws from the introspective nature of Tacoma reality. No theme or musical styling is safe from a remarkable Writer’s Block interpretation. William Jordan’s background as a vocalist and multi-instrumentalist combined with Clemm Rishad’s expertise as a rapper and vocal composer make for consistently honest, passionate and compelling audio.

Highlighting collaborations with Beluga Heights President JR Rotem, S1, ID Labs, Mars from 1500 Or Nothing and fellow Rondor signee Anthony Kilhoffer as their favorites, Writer’s Block has been recording music at a breakneck pace to fuel a successful 2012. In addition to being songwriters, Will and Clemm are solo artists. With Clemm preparing an independent campaign with assistance from West Coast mainstay DJ Skee and Will exploring a project with JR Rotem, the Writer’s Block intend to be known from both sides of the studio glass.

The Writer’s Block act as creative directors for a team of producers and writers called The Sky Movement. Working with a roster that includes McDonald’s Flavor Champion DJ Risk One, Tryfe, Illoquint, The Blueprint and Luke McPherson, Will and Clemm are working to expand upon the groundwork of Northwest greats like Quincy Jones, Kurt Cobain and Jimi Hendrix by instilling their contemporaries with the tools necessary to develop singular musical and professional identities. Currently working on Sean Kingston, Justin Bieber, T.I., Christina Aguilera and Cobra Starship, Writer’s Block is always excited to work with new writers and producers.

They can be reached via twitter
https://twitter.com/#!/willjordanmusic
https://twitter.com/#!/@clemmrishad
or at their website http://writersblock253.wordpress.com/

By Darryl Crews

Mr. Scates, who holds a Master’s Degree in Business Administration from Averett University, held positions at SESAC, PM Music Group, and Ruffhouse / Columbia Records prior to joining Arrow. In addition, he has worked with superstar recording artists including Michael Jackson, Beyonce, Alicia Keys, The Fugees, Boyz II Men and Bone Thugs N Harmony throughout his many years in the entertainment business. During his tenure at SESAC, Scates signed 2010 and 2011 SESAC songwriter of the year, Rico Love, as well as Day 26, RichGirl, Bone Crusher, Jacob Latimore, Q Parker of 112, Nikeshia Briscoe, Jay Fenix, BXC, Atozzio Towns, Eric Sire, Miykal Snoody, Nas Star, Travis Greene and London. Adding to the long list of Mr. Scates’ accomplishments in the music industry, he authored a book, 10 Steps to Successfully Managing Recording Artists, which was published in October 2004.

Scates is extremely excited to join the Arrow team and looks forward to contributing to their continued success and achieving new goals at the company. He says, “Arrow is a global business with a remarkable edge. I want to continue building upon the success of the label by maintaining and strengthening its position as a worldwide brand.”

An affiliate of Creflo Dollar ministries, Arrow Records has claimed a unique position in the contemporary gospel music scene with its spirit-filled holy hip-hop attitude and a praised-based roster crossing a variety of genres from urban to acoustic, from old school R&B to jazz. “Music That Pierces The Heart” is Arrow’s hallmark and the label has been the home to multi-instrumentalist Shonlock, gospel singer Canton Jones, saxophonist Jeff Sparks, acoustic popster Jonathan Phillips, and Brooklyn-born alt-rocker Kathy Camejo.

Terrance Stewart, known to many of you as DJ Bay Bay, aka Governor of I-20, is definitely the man in the cities of Dallas, Texas and his native hometown of Shreveport, Louisiana. Since 2007, Bay Bay has been engaging Dallas listeners during the KKDA-FM (K104) Afternoon Takeover, each and every weekday from 3pm-7pm. When not on the air, you can find Bay Bay spinning music and hosting nights at Koko Pelli’s, one of Shreveport’s premier adult party spots.

A one-time dancer and choreographer, musician, and Grambling State University student, Bay Bay was always somehow keyed into music or the music industry. He’s become known to many as the inspiration for Hurricane Chris’ multi-platinum debut single, “Aye Bay Bay,” certainly a turning point in both the careers of Bay Bay and Hurricane Chris.

Part of Bay Bay’s significance to the marketplace is his ability to spot new talent, hear the hit potential in songs, and get them played on the air and during his show. He wields a lot of influence in that regard, and is on speed-dial at many major and indie labels. Bay Bay basically personifies the term, “Street A&R.” Once listed at No. 23 on the Source Magazine’s Power 30, Bay Bay says, “My brand is to introduce new music, whether it’s on a national, local or regional level. I like to think I’m a very influential resource in my area. I’m in the community, the clubs and radio heavily.”

It’s no surprise that many of the local artists in and around Dallas are garnering greater response in the market than many of the major label artists with larger marketing budgets behind them. “Dallas is a very special place,” says Bay Bay. “If you can make it in Dallas, you can make it anywhere. The same can be said for Shreveport. If you’re on, you’re on. If you can generate a buzz, Dallas will normally support what is uniquely theirs. And, with me being a tastemaker, everyone, of course, wants to be introduced on the ‘Bay Bay show’.”

KKDA and the ‘Bay Bay show’ can lay claim to ground zero for a bevy of acts—among them, some of the hottest underground acts to hail from the South and Southwest over the last five years; whether Hurricane Chris, the GS Boyz (known for “The Stanky Leg”), Big Chief, Young Black, Dorrough, Gatorman, T-Cash, JJ the Freestyle Prince, Doski G, Tum Tum, Prime Time Click, Mr. Lucci, Cottonmouth, Big Tuck, Pooca Leroy, [Dallas-based] Rich Mind Records, and dozens more. “I’m so excited about the local scene, because we really have some great music coming out of here, like Silverback Records. I think they’re gearing up to be the new Cash Money. But these are people I rock with,” says Bay Bay, who maintains close ties with numerous DJ Coalitions. “I’m good friends with Tony Neal of the Core DJs. We are like brothers. I’m a Heavy Hitter DJ. And I used to be a Hitman DJ.”

What’s keeping Bay Bay even busier these days is the promotion and buzz being generated by his own single, “Trunk Full of White” (AnWhat Entertainment). The song features Yo Gotti, Dorrough, and Jim Jones. Regarding the label, Bay Bay says, “AnWhat Entertainment is a machine that consists of a bunch of DJs, street teams and dancers, all under one umbrella. It is a hub to create opportunities for independent artists and for artists looking to generate a buzz.”

Bay Bay will be the first to attest that his success didn’t come quick or by working alone. He’s been through some rough times, and has gone through the fire and back. He also shares that a number of friends and mentors have helped in shaping his career, individuals he’s mentioned like KBTT air personality Jabber Jawz, Shreveport PD Quinn Echols, K104 air personality Cat Daddy, former K104 PD Skip Cheatham, current K104 PD George Cook, K104 morning show producer Gary Saunders, and K104 owner Hymen Childs. “I went to private school, so many of my teachers and my marching band director Cleveland White also mentored me. But I thank everyone who God put in my path.”

Bay Bay goes on to say that, “There are no quitters in the music game, only those who quit before it’s their time. This game is about hustle, branding, having a good product to brand, personality and networking. It’s also important to have a good attitude. I’d like to see today’s young DJs start doing a better job of being actual DJs when it comes to playing music. You’ve got too many DJs that want to be artists—and there is nothing wrong with that—but you got a lot of DJs who don’t play a variety of music because they have artists, and they’re too focused on being CEOs than taking on the responsibilities of being a good DJ. The internet should not be the only source to expose people to get new music. DJs have got to step up and continue to do the work of a DJ and being the best at what it is we do.”

https://twitter.com/#!/dj_baybay

Amazon.com, Inc. recently announced that Amazon Studios is expanding its development efforts into comedy and children’s series. Amazon Studios is Amazon’s content development division that uses audience feedback to identify great, original entertainment customers will love. Starting today, series creators are invited to upload their proposals for comedy and children’s programming to Amazon Studios at http://studios.amazon.com/getting-started/series. The best comedy and children’s series will be distributed through Amazon Instant Video, Amazon’s digital video streaming service.

“Amazon Studios wants to discover great talent and produce programming that audiences will love,” said Roy Price, director of Amazon Studios. “In the course of developing movies, we’ve heard a lot of interest from content creators who want to develop original series in the comedy and children’s genres. We are excited to bring writers, animators and directors this new opportunity to develop original series.”

Each month, Amazon Studios intends to option one promising new project and add it to the development slate where it will be tested for viability with an audience. If Amazon Studios elects to distribute a full-budget series, the creator will receive a $55,000 payment, up to 5 percent of Amazon’s net receipts from toy and t-shirt licensing, and other royalties and bonuses. Amazon Studios’ production company, the People’s Production Company, is signatory to the Writers Guild of America and to The Animation Guild, Local 839.

To submit, a project must have a five-page description, along with a 22-minute pilot script for comedies, or an 11-minute pilot script for children’s shows. Within 45 days of submission, Amazon Studios will either extend an option on the project for $10,000 or invite the creator to add the project to the Amazon Studios site. If a project is not optioned, creators may remove their idea from the Amazon Studios site or leave it to get community feedback.

Amazon Studios new series development is led by Joe Lewis, previously with 20th Century Fox and Comedy Central, and Tara Sorensen, formerly with National Geographic Kids.

Amazon Studios launched in November 2010. Since then, more than 700 test movies and 7,000 scripts have been submitted and 15 movie projects are currently under development. For more information about Amazon Studios, visit http://studios.amazon.com. Follow the Amazon Studios blog, Hollywonk (http://www.hollywonk.com) for up-to-date news, tips on filmmaking and writing or insightful interviews with industry leaders.

After reading a recent interview that Forbes.com conducted with industry veteran Kevin Liles on tips to becoming a record executive,I started thinking about the expanding roles of artist managers. Liles, a former president of Def Jam Records and the Warner Music Group, is currently one of the industry’s top managers. Inside the Forbes article, Liles cites the shrinking employment opportunities for young execs on the major label level today, but he brought to light the rapid number of artists who were popping up independently.

“Those people need executives, those people need managers,” he says. “I say the greatest job you can get now is to be a curator, to be next to the artist and to help him curate his brand to the world.”
Ask anyone and they will tell you the role of management has changed. No longer does one just record a couple of demos, host a showcase for some A&Rs, and shop for a deal. In this mass digital/social media world, so much is required when it comes to breaking an artist. If managers are doing more, shouldn’t the job title and description change to reflect their expanded roles?

“Today’s manager has to know about a lot more than just music. They have to know about social networking, online music subscriptions services, things that didn’t exist years ago,” says Attorney Glenn Litwak, Partner in the Los Angeles-based firm Litwak & Havkin. “They have to know about licensing, sponsorships, endorsements, transitioning to film and TV. There is a lot going on now.”

Attorney Richard Jefferson, General Partner at the L.A.-based, M.E.T.A.L. Law Group, concurs. “Managers seem almost like project managers now, because they’re overseeing all different aspects of an artist’s career. One manager I know is working harder on the merchandising end than with the record label. She understands that the branding side may make more money for her client than the actual record. She’s also creating a reality show for her band and getting them on live tours. The focus has moved away from just dealing with the record label.”

The majority of contracts state the role of a manager is to consult and advise. Technically, they are not supposed to procure employment for their clients. But in practice, many managers are directly generating revenues for their clients—leveraging all types of resources, including securing investors. Doesn’t this constitute a partnership? “I don’t see it that way,” says Litwak. “The manager with a new artist is taking a risk. He may end up not earning anything if the artist doesn’t get signed or make something of themselves.
In exchange for that risk, he’s entitled to a reward which is typically in the music business around 20% of the gross income minus certain deductions. I don’t see it as a partnership because the manager is taking the risk and not taking any money upfront.”

Jefferson expresses concern with the term partnership. “I’m not sure a lot of managers may want to use the word ‘partners’ because it’s a legal term that implies liability as well. Managers may want to keep some distance legally, like if the band got sued. Contracts always say that managers are independent contractors, and specify they are not partners; that gives them an out in the contract—unless it is the manager that caused the problem.”

Citing examples of successful unsigned artists who’ve sold hundreds of thousands of albums like rapper Mac Miller, or received millions of views and hits such as teen Pop artist Rebecca Black, one can argue that a manager could be doubling as a label head. Litwak implies there is some flexibility when composing agreements, stating parties can structure deals any number of ways, if both are in agreement. “It’s very unusual for an artist not signed to a label to be selling hundreds of thousands of albums,” he says. “Yet, the manager and the artist are free to develop any kind of relationship they want. I represented a famous actress, and over time she and her manager started producing projects together, and they did become partners. Certainly that’s a possibility depending on the circumstances. Now, when you have an experienced manager and a teenager trying to make it, they’re not going to be really looked at as partners. If you have a manager and an artist who’ve known each other for many years and they are on somewhat equal footing, even friends possibly, they can transition into more of a partnership.”

So should the manager demand more than the traditional percentage? Jefferson thinks not. “Artists should not be prepared to give up more money. The manager’s job is to expand the revenue pool, so that their 20% is bigger. I think management duties have become more diluted with the record labels but they’re in a place now to generate revenue in more areas. That’s my opinion, because I primarily negotiate on behalf of the artist. I think it would be smart to redefine the relationship after a label becomes involved. A manager’s duties could change at that point. But, I wouldn’t want to see management percentages go up, I just want to see the managers put their efforts in more places.”

Whatever the artist and manager do, Litwak believes that both parties should understand this can truly be an extended process. “There are many more things a manager must know and have expertise in to help the artist, things he didn’t even have to know or do just ten years ago. I think there is more time now. There’s more time and effort required to break an artist. It’s no longer of meeting an artist and throwing together an EPK and a single and pitching it to the label. You have to build your brand first before the label even becomes interested.”

By David A. Mitchell

The Core DJs and NuMoney Recordz Present MixShow Live 2012 (formerly The Core DJs Retreat) in Dallas, TX, May 4th- 7th, 2012 at Renaissance Hotel. MixShow Live 2012 is the newest addition to The Core DJs various promotion and networking platforms aimed to assist in the continued growth of the music industry. Beyond bringing the entertainment industry together, MixShow Live 2012 will honor legendary hip hop pioneer Scarface at their scheduled awards ceremony, hold a private screening of Ice-T’s documentary “The Art of Rap,” and introduce new programs.

Even with a name change, there will be no shortage of star power at the conference. Notable talent including Scarface, Cash Out, Jim Jones, David Banner, Master P, Juvenile, Jae Millz (YMCMB), DJ Bay Bay, and Kalenna (of Dirty Money), are among the many talent scheduled to appear in The Lone Star State to support The Core DJs’ newest venture. Attendees are also being treated to a premiere of Ice T’s documentary “The Art of Rap,” previously screened to rave reviews at The Sundance Film Festival.

MixShow Live differentiates itself from the famous Core DJ Retreats with new initiative and offerings. In keeping up with technology, and its impact on the evolution of the music industry, MixShow Live 2012 will introduce the MSL2012 Interactive HUB. Beyond serving as a home base for all media and sponsoring brands, MSL2012 Interactive Hub will feature live event and interview streaming, as well as host radio stations (traditional, satellite, and Internet) and other media broadcasting live from the conference. Brands including DigitalRapBattles.com, Billionaire M.A.F.I.A, and LanaLive Podcast (hosted by Lana Fuchs) are utilizing MSL201 Interactive Hub to interact with attendees. MixShow Live 2012 is also the first DJ conference to actively involve other DJ Coalitions. The Coast 2 Coast DJs are bringing their nationally recognized “Coast 2 Coast Showcase” to MixShow Live 2012, joining WorldStar Hip Hop and Take Down the Champ, who are also creating showcases for the event. Finally, MixShow Live will introduce “Model Boot Camp” hosted by The Core Models. This portion of the conference will include specific offerings and workshops for models only.

For more information about MixShow Live 2012 visit http://MixShowLive2012.com, and also follow their Twitter feed at twitter.com/mixshowlive2012 for the latest event updates. Forward all press inquiries to Publicity Pieces.

Q: SESAC recently announced a major change regarding radio performance royalty payments from the traditional quarterly distributions to monthly distributions.

A: Yes, SESAC is always working hard to find ways to make the life of our writers easier and looking for ways to help our writers stay inspired and do their business in a less complex way. By going to monthly distribution, we feel we will assist our writers’ cash flow and overall financial situation. If SESAC can help our writers in that regard, we are happy to do it and that’s why we did it. The response from our writers has been overwhelmingly positive

Now that we are totally immersed in this digital age, how challenging is it for SESAC to keep up with its many writers and all of their activities, including tracking their numerous copyrights, and have you all recently taken on more writer-artists?

SESAC has always utilized technology to make our system flow smoother and work more efficiently and to make our business grow and be productive. The digital age is actually a good friend of SESAC! We have been using digital technology in tracking the works of our writers for years and now we look for newer and broader ways to keep up with the various technology i.e. social networking. SESAC always takes on new writers! We sign a great deal of writers each and every month of the year. We are always growing and looking to sign new writers and are very happy to do so.

TAKEN AT THE RECENT SESAC PRE-GRAMMY BRUNCH ARE (L-R): TREVOR GALE; JON PLATT, PRESIDENT, NORTH AMERICA, CREATIVE EMI MUSIC PUBLISHING; AND DENNIS LORD, EXEC. VP, SESAC (PHOTO: TEAL MOSS PHOTOGRAPHY)

You have a large roster of indie songwriters. How is the PRO able to maintain such a friendly environment towards indie artists?

SESAC is very in tune with indie songwriters and artists, and understand the music business is more and more a DIY business; indie artists are the biggest part of that. Whether they are signed to small labels or just putting music out themselves, we understand they are the foundation of this new music model. Indie artists are building their fan base online and building their fan base by touring and that’s why SESAC pays for live performances and internet performances.

Talk about the significance of your annual Songwriters Bootcamp, and is it only for SESAC writers?

We are very proud of the SESAC Songwriters Bootcamp that we’ve held for five consecutive years now. The event has grown tremendously. SESAC Bootcamp is an educational opportunity that SESAC provides for not only our writers but writers in general. We do a lot of promoting to our own writers, of course, but we don’t restrict it to SESAC writers. It’s an open event to all writers. Education is the key to success in any business, but especially in music and we are proud to provide an educational landmark such as the SESAC Songwriters Bootcamp. The SESAC Songwriters Bootcamp has traditionally been held in L.A. and will again be hosted there at the Skirball Center.

One of the most anticipated Grammy-related events are the Bryan Michael Cox-SESAC brunches. Talk about the importance of that event, and this year’s honoree EMI Publishing President, Jon Platt.

SESAC is delighted to partner every year with Bryan and his team in presenting a brunch that gives some kudos to a lot of the songwriters and producers who have been doing a lot of work through the course of the year. Whether it’s Jermaine Dupri, Nate “Danja” Hills, Swizz Beatz, Sean “Diddy” Combs, whomever, it is a great way to honor people that the Grammys don’t necessarily focus on. Jon Platt is such a powerful force in the music business…not just Urban but pop music as well. His influence stretches across all genres and we were very proud to have him as our honoree this year.

Your main headquarters are in Nashville, with offices in NYC, Atlanta and new offices in L.A. In your opinion, is there still a primary city that is the hub for Pop-Urban music?

In my opinion there is not necessarily a specific hub for Pop or Urban music. In the last few years Atlanta has made an incredible name for itself for being the hub for some spectacular songwriters and collaborations. The way music is now there is so much going on in L.A. and so much great stuff in Miami and great music happening in New York and Nashville, and SESAC is blessed to have offices and great staffs in all of those cities that do great jobs in finding great writers as well as working with the songwriters we already have signed. So, I would say there is no particular city as our focus. All of those is cities are our focus, and all the places in between. For more information on SESAC and its upcoming events and activities, visit www.sesac.com

The Avengers is the sixth installment in the Marvel Cinematic Universe franchise launched in 2008 with Iron Man, and followed by The Incredible Hulk, Iron Man 2, Thor and Captain America. What makes this adventure unique is that it’s the first in the series to revolve around a team of comic book superheroes.

The actors playing those title characters reprise their roles with the exception of Edward Norton who has been replaced as The Hulk by Mark Ruffalo. Otherwise, we again have Chris Hemsworth as Thor, Robert Downey, Jr. as Iron Man, and Chris Evans as Captain America. The film also features the return of Jeremy Renner as Hawkeye and of Scarlett Johansson as Black Widow, who appeared in Thor and Iron Man 2, respectively.

Since we’ve already met all the members of The Avengers, director Josh Whedon doesn’t have to waste time familiarizing us with their unique abilities. Instead, the plot unfolds right on the heels of the post-closing credits scene of the previous sequel which had Nick Fury (Samuel L. Jackson) ominously enlisting the assistance of Captain America for a dangerous mission with global ramifications.

So, it’s no surprise that, at this picture’s point of departure, we find Fury assembling The Avengers. After all, as the director of the top secret espionage agency, S.H.I.E.L.D. (an acronym for Strategic Home Intervention, Enforcement and Logistics Division), it is his job to protect humanity, especially from a diabolical villain bent on world domination.

In this case, that would be Thor’s evil, presumably-exiled brother, Loki (Tom Hiddleston), who has managed not only to escape from an outer space abyss on Asgard but has gotten his hands on the Tesseract, a cosmic cube containing the key to limitless, sustainable energy. With Loki en route to Earth, it falls to Fury to plan a coordinated defense of the planet.

That task proves easier said than done, since it calls for cooperation among individualistic superheroes with fragile egos who aren’t used to sharing the limelight. Thus, we are treated to pre-showdown posturing when Iron Man teases Thor about both his accent and costume by asking, “Doth mother know thy wear her drapes?” Or when he sarcastically compliments Dr. Bruce Banner (aka The Hulk) by saying, “I’m a big fan of how you lose control and turn into a giant green monster.”

Of course, such witty banter subsides in favor of camaraderie once Loki arrives with his army of alien warriors called Chitauri. Each Avenger’s talent comes in handy, of course, during the ensuing, eye-grabbing fight sequences, including Hawkeye’s bow-and-arrow, Thor’s hammer, Captain America’s shield, and so forth.

Between a sophisticated script and thrill-a-minute special effects, The Avengers easily adds up to the best Marvel Comics screen adaptation yet. A remarkable treat which only serves to ramp-up audience expectations for the vaunted franchise’s next offering, Iron Man 3.

Excellent (4 stars)
Rated PG-13 for intense violence and a drug reference
Running time: 142 minutes
Distributor: Walt Disney Pictures

To see a trailer for The Avengers, visit: