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Jill Scott will drop her sixth studio album, ‘To Whom It May Concern,’ on Feb. 13. The release, her first since 2015, features Tierra Whack, JID, Too $hort and Ab-Soul. The lead single, ‘Beautiful People,’ is out now.
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Kristin Hunt
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After 4Batz and his girlfriend Anycia posted pictures of them getting married, fans wondered if it was real or from a music video shoot. The facts are 4Batz, Dallas’ gentle and atmospheric R&B star, has released a new album…
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Eric Diep
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Rocker and “American Idol” winner David Cook is expected to bring his new music to the Massachusetts shores and a New Hampshire town on his upcoming tour.
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By Angelina Berube | aberube@eagletribune.com
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ANDOVER – Local teenager Colby Junge is organizing a concert for a cause, bringing together townspeople to raise funds for the Alzheimer’s Association.
Junge, 15, is no stranger to the power of music, witnessing first-hand its impact during his late grandmother’s battle with Alzheimer’s.
While she suffered from the disease, Junge was stunned to find she still remembered the words to Elvis Presley’s ballads.
“My grandmother was really into music, and she loved Elvis. I’d come home and she’d be listening to him sometimes even dancing and singing, still remembering the words to them which was a crazy thing to see,” Junge said.
After his grandmother’s passing, Junge began forming his own connection to music by playing guitar, leading him to wonder how he could connect his musical background and those affected by the disease.
“I started playing guitar after she passed away, so it’s been about two years now, but just going back to listen and listen to Elvis’s records, it kind of inspired me to take my music background and take the inspiration I have from her and Elvis and put that into trying to relate to other people,” Junge said.
Junge ultimately decided on a concert, combining his love for music with a goal of raising funds to fight Alzheimer’s.
“I just thought, what can I do to help other people going through this? I play guitar, so I figured let’s do a concert,” Junge said.
While he is a Boxford resident, Junge considers Andover a “second home” as it is the location of his family’s business leading him to opt to have the concert in town.
Planning for the event, called “Melodies of Hope,” began in December when Junge talked to town officials about the concert.
“I introduced the idea to a couple people, and they loved it, they thought it was great. They had a lot of questions because at that time I was just a 14-year-old kid with a big idea,” Junge said.
After getting a positive reception, Junge formed a lineup of artists including Black Klover, The Shadow of the Rose, The Boondock Sinners and Frankie Bonsignore.
“All these bands are doing this at no cost to them, which is great for our cause. It gives more money to the Alzheimer’s Association,” Junge said.
Similarly to the musicians, the Andover community contributed to the event through donations, free pizza, advertising and more.
Now, Junge is preparing for an influx of people to the event which will run July 13 from 4-8 p.m. at the Cormier Youth Center and feature a variety of music genres.
While the event is the first, Junge hopes that it will not be the last, aiming to expand it every year.
“I figure once the first year goes by, we can maybe get more sponsors next year as long as it’s a successful event, and go from there and make it a little bit bigger of an event each year, which I think will be great, a positive thing to bring the community together,” Junge said.
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By Caitlin Dee | CDee@eagletribune.com
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Whether they admit it or not, every former girl-group singer wants their solo debut to hit like “2003 Beyoncé performing ‘Crazy in Love.’” Four years ago, Normani came remarkably close with the sprightly R&B track “Motivation.” The single, and its Aaliyah-inspired follow-up “Wild Side,” capitalized on the pageantry that made her stand out in Fifth Harmony. After two unforgettable VMA performances—the handstand-into-a-split in 2019 and the steamy Janet Jackson homage in 2021—Normani laid low; both parents were battling cancer, and shifting management due to creative differences didn’t make anything easier. DOPAMINE, her highly anticipated debut-slash-comeback album, still can’t shake the anonymity of her ensemble days, but it lays the foundation for what Normani will be known for: her Southern roots and a voice as plush as a pair of fuzzy dice.
Rather than the bubbly pop of “Motivation,” which Normani has notably tried to distance herself from, DOPAMINE trades in the suave R&B of her childhood. “Lights On” is reminiscent of the sultry yet danceable croons of noughties Janet. “Insomnia,” co-written by none other than Brandy, could slot into the R&B star’s 2002 album Full Moon. The writing is solid and witty (“Don’t even address me unless you gon’ undress me”) but musically, the primary tasting notes are understated familiarity and reverence for the past. Normani’s smooth vocals are the only quality truly unique to her, and at times even that induces a highway hypnosis effect.
Normani is at her best when she is brash and animated, channeling sounds and flows from her Southern youth. She’s got ties to Atlanta, New Orleans, and Houston all over the album: “Bling-bling-blaow” she sings of her platinum records and iced-out jewelry over a funky bassline on horn-laden opener “Big Boy,” complemented by Starrah’s Auto-Tune’d flexes. “Candy Paint” has the potential to eclipse the braggadocious aura of “Big Boy” but Normani’s laid-back flow becomes monotonous even when her tempo quickens. She leans heavily into her Texas roots on the album highlight “Still,” when she flips a testosterone-filled Mike Jones sample into a strip-club anthem for the ladies kicking up their feet and making it rain hundreds.
DOPAMINE is a solid reintroduction to Normani’s sultrier side that, unfortunately, currently exists in a similar conundrum as Dua Lipa post-Future Nostalgia: Her mysteriously cool it-girl persona is thrilling in three-minute doses, but after a couple of tracks with big hooks, you come across some filler. On DOPAMINE, the house-lite of “Take My Time,” the Kelly Rowland’s “Commander” dupe “Little Secrets,” and the James Blake-assisted “Tantrums” feel obligated to demonstrate versatility through genre experimentation. At times it feels like a solo artist searching for an identity through sound, not always through songwriting.
Though she has writing credits on a majority of the album, Normani’s solo songs often feel plucked from a communal pile. As an alum of one of the biggest American girl groups, a survivor of Hurricane Katrina, and a person who has had to confront mortality and celebrity from a young age, Normani’s story seems ripe for an album format—once she’s ready to tell it.
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Heven Haile
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As a potentially psychedelic experience that often transcends description, new-age music finds an unexpected analog in human birth. There’s nothing trippier or more ineffable than generating new life, deploying cellular tools to create something more than the sum of its parts. With tracks like “Generous Pelvis” and “Placenta, Nourishment, New Home, The Galaxy,” Carlos Niño & Friends’ Placenta makes explicit the connection between the genre’s fascination with womb-like sounds and the physical odyssey of labor. Assembling a who’s-who of the L.A. ambient-jazz scene—including tourmate André 3000, who plays flute on “Birthworkers Magic, and how we get hear…”—and a heady concoction of bells, chimes, synths, whistles, leaves, plants, and shakers, Niño and his far-out compatriots develop an LP with a life of its own—a gestalt marvel.
Opening track “Love to all Doulas!” sets the tone for this mystical instrumental odyssey, Nate Mercereau’s horns punctuating a drone that builds like something (or someone) crowning. “Some rest for the Midwives…” locks us into the groove, an itinerant shuffle that was recorded live with drummer Jamire Williams and saxophonist Sam Gendel in the historically spiritual SoCal town of Ojai. Later, the sound of breathwork and an accordion expand and contract like two sets of ribs on “Placenta, Nourishment, New Home, The Galaxy.”
Thematic breaks, like the compact and propulsive “In Appreciation of Chico Hamilton’s Vast Influence on the West Coast Sound,” provide a welcome respite from feet-in-the-stirrups embodiment. They also keep the record from becoming too conceptually on the nose, flexing Niño & Friends’ range and dynamism. “This ‘I’ was not” takes French composer Ariel Kalma’s spoken-word meditation on ego and lifts it out of the yoga studio with shimmering cymbals and warbling organ. “Either you is, or not. Not more. Nevertheless, life is—always,” he intones, teasing a Seussian riddle stage-set with celestial sounds. “Bi-Location,” another (undetectably) live recording named after the concept of inhabiting two different places in the same physical body at the same time, showcases Andres Renteria’s nimble hand drumming underneath a layer of hazy synthesizer, a sound like something crawling towards the surface and then panting in the aftermath against Aaron Shaw’s dreamy tenor sax.
Like much of Carlos Niño & Friends’ work, the record straddles the boundary between structure and improvisation, jazzy riffs and spasms that return to the gravitational pull of a central motif. “Surges, Expansions” feels the most in progress and least finished, a little unsure of itself (albeit aptly titled). “Moonlight Watsu in Dub” is the record’s most conventional attempt at a groove, groomed enough to play in the lobby of a chic hotel, and all the less interesting because of it.
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Linnie Greene
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It took 52 years and an eight-hour docuseries to confirm that the recording sessions for the Beatles’ Let It Be weren’t exactly the miserable, band-killing ordeals that the namesake 1970 documentary had made them out to be. But long before Peter Jackson put a feel-good spin on the Beatles’ dying days in Get Back, Paul McCartney had already made it clear he was totally cool with having a documentary crew hovering over his shoulder during his most vulnerable moments of creation—because a mere five years after the Let It Be experience, he eagerly subjected his post-Beatles band Wings to the same cinematic scrutiny.
Riding high on the runaway success of 1973’s Band on the Run, McCartney and Wings set up shop in Abbey Road Studios for four days in August 1974 and let filmmaker David Litchfield document their every move as they whipped through a sprawling setlist of recent hits, upcoming singles, B-sides, neglected album cuts, off-the-cuff medleys, instrumental jams, songs that wouldn’t be officially released until the following decade, ’50s rockabilly covers, and even a few Fab Four favorites. The result was a documentary called One Hand Clapping, whose overriding concept wasn’t so much “get back” as “get born”—an opportunity to show skeptics that Wings weren’t merely McCartney’s appendages, but a blossoming group fueled by the same sort of collaborative camaraderie and derring-do that his previous band possessed a decade prior. Alas, like the 1969 project, things didn’t go exactly as planned, and it’s taken five decades for a definitive document of the moment to see the light.
From day one, Wings were burdened by a seemingly insurmountable contradiction. “For me, I like working with a gang of people, I like a little team,” McCartney told Litchfield. “I’ve never been a solo performer, so it’s natural for me to find myself a group.” Despite his stated desire to be part of a community, the fact is, no one but John Lennon could hope to be on equal creative footing with Paul McCartney in a band. In former Moody Blues member Denny Laine, McCartney found not so much a new partner as a trusted accomplice who could both fill the harmonic holes left by Lennon’s absence and flex the extra guitar muscle required in the hard-rockin’ ’70s. But even with the core of McCartney, keyboardist wife Linda, and Laine in place, Wings were always a band in flux, with different personnel appearing on each record; the triumphs of Band on the Run ultimately owed more to the trio’s crafty approach to their low-tech setup in EMI’s Lagos studio than to a proper band coming into its own.
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Stuart Berman
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In the days since the release of Taylor Swift’s surprise double album, “The Tortured Poets Department,” fans and critics alike have attempted to interpret and decode the masterful, metaphorical lyricism on the singer’s 31 new songs. Now, Swift is offering a direct glimpse into her mind and songwriting process through a new Amazon Alexa feature.
On Monday, Amazon launched an album experience featuring Swift’s commentary on the inspiration behind some of the “TTPD” tracks. The feature can be accessed through the Amazon Music app, or by saying to an Alexa device, “Alexa, I’m a member of the Tortured Poets Department.”
RELATED: Taylor Swift mentions Bucks County band the Starting Line in new song
Topics for Swift’s commentary include the first single from the album, “Fortnight” with Post Malone, along with “Clara Bow,” “Florida!!!” with Florence + the Machine, “Who’s Afraid of Little Old Me?” and “My Boy Only Breaks His Favorite Toys.”
As a Swiftie, I had to give the feature a try … for investigative journalism purposes, of course! So, I said the magic words to my Alexa, which played a beat of ominous music before informing me, “You’re in.” Before I could revel in what felt like my initiation into an exclusive club, Swift’s voice filled the airwaves:
“Hi, I’m Taylor, taking you behind the scenes of my new album in a unique listening experience called track-by-track, only on Amazon Music,” she said.
From there, Swift launched into the following explanation of “Fortnight.”
“‘Fortnight’ is a song that exhibits a lot of the common themes that run throughout this album. One of which being fatalism — longing, pining away, lost dreams. I think that it’s a very fatalistic album in that there are lots of very dramatic lines about life or death. ‘I love you, it’s ruining my life.’ These are very hyperbolic, dramatic things to say. It’s that kind of album.”
Doing my due diligence as a Swiftie, I filmed my initial interaction with Swift-via-Alexa and posted it to TikTok to share the news of the Alexa feature with other fans.
@frak.attack through this alexa feature taylor talks about the inspo for multiple songs on TTPD including fortnight, clara bow, florida, WAOLOM, & MBOBHFT #THETORTUREDPOETSDEPARTMENT #taylorswift #torturedpoetsdepartment #swifties #swifttok ♬ original sound – franki
Based on the comments on the video, some people didn’t have as much luck utilizing the feature. Many claimed their Alexa misheard them, with multiple users saying their device thought they were asking to listen to “Eclectic Donut.”
Technological difficulties aside, this new feature gives fans a rare intimate look into the songwriting process of Swift, while also leaving the album largely open for Swifties to interpret and relate to things that have happened in their own lives.
For her explanation of the song “Clara Bow,” Swift discusses how the entertainment industry teaches women to see themselves “like you could be the new replacement for this woman who’s done something great before you.” “Florida!!!” is an ode to Swift watching “Dateline” and seeing how some criminals try to reinvent themselves in the Sunshine State, while “My Boy Only Breaks His Favorite Toys” is about being with people who “devalue us in their mind.”
As for “Who’s Afraid of Little Old Me?” Swift was inspired by “bitter” feelings about how society treats artists.
“What do we do to our writers, and our artists, and our creatives? We put them through hell,” she says. “We watch what they create, then we judge it. We love to watch artists in pain, often to the point where I think sometimes as a society we provoke that pain and we just watch what happens.”
Listeners can also learn more about the meaning behind key words on the album by saying to their Alexa, “Alexa, give me a ‘Tortured Poets Department’ word.” Plus, a special “TTPD” introduction by Swift will play when users tell their devices, “Alexa, play the latest album by Taylor Swift.”
Since the release of “TTPD” on Friday, Swift has been smashing records. “TTPD” became the first album to exceed 200 million streams in a single day, according to Variety. With the new release, the Berks County native became the most streamed artist in a single day in Spotify history, breaking her own record from when “1989 (Taylor’s Version)” dropped in October. Amazon and Apple also said that Swift’s album broke records across their respective streaming platforms, according to CNN.
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Franki Rudnesky
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Who is she collaborating with?
Post Malone and Florence Welch (of Florence + the Machine) are both credited on the album’s track list.
What’s on the track list?
Swift released the official track list for the album in an Instagram post in February. They are listed as:
1. “Fortnight” (feat. Post Malone)
2. “The Tortured Poets Department”
3. “My Boy Only Breaks His Favorite Toys”
4. “Down Bad”
5. “So Long, London”
6. “But Daddy I Love Him”
7. “Fresh Out the Slammer”
8. “Florida!!!” (feat. Florence + the Machine)
9. “Guilty as Sin?”
10. “Who’s Afraid of Little Old Me?”
11. “I Can Fix Him (No Really I Can)”
12. “LOML”
13. “I Can Do It With a Broken Heart”
14. “The Smallest Man Who Ever Lived”
15. “The Alchemy”
16. “Clara Bow”
She has also announced bonus tracks “The Manuscript,” “The Albatross,” “The Bolter,” and “The Black Dog.”
Shouldn’t there be an apostrophe in the title?
No. It’s fine. The department doesn’t belong to the tortured poets, it’s a department of tortured poets. Find something else to worry about.
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Kase Wickman
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Gotham Knights came out a week ago and I’ve found it exceedingly difficult to find anything to love about the open-world loot brawler. Red Hood’s snickerdoodle recipe, maybe? The latest Batman game borrows from a ton of other, mostly better rivals, and struggles to craft a clear identity in the process. Kotaku’s Levi Winslow also spent the last week trying to save Gotham city from feuding gangs and supervillains, and the two of us sat down to try and hash out what the game does well, what it does poorly, and all the ways it left us confused.
Levi Winslow: Ok. So, like, I feel Gotham Knights is a bifurcated game, something that has two separate identities living within itself. First, there’s the narrative action-adventure stuff where you’re solving crimes, meeting the villains, beating up goons before getting a cutscene taking you back to The Belfry. That is a solid gameplay loop. Then you hit the open world. I don’t dislike it, There’s some enjoyment in grapple-hook-jumping from one rooftop to another, but the RNG RPG-ness of it, the Diablo-like nature to the unnecessary loot grind, makes for some of the most tedious parts of the whole game. What do you think? How do you feel about the linear narrative juxtaposed with the open-world grind?
Ethan Gach: I’m incredibly underwhelmed by both so far. Everything just fits together so awkwardly, and I mean everything. The individual scripted cutscenes? Great. Love ’em. Completely fine. But everything else, going room-to-room in a story mission, crime-to-crime in the open world, and even enemy-to-enemy during the big brawls, all just feels rough and uneven and not good. Like you could describe the back-of-the-box bullet points of this game, and I’d go, sure, that sounds fine. It’s not the new Arkham I want, but I love the Batman comics, I love the universe, lets go jump off some rooftops and solve some mysteries. And yet almost nothing in this game feels actually good to do in my opinion.
Levi: Can’t argue with you there. The gameplay is especially clunky and imprecise. I don’t mind the combat. It isn’t as smooth as Marvel’s Spider-Man or as impactful as the Arkham games, but it definitely carries more weight and feels way better than Marvel’s Avengers, which is the closest comparison I could give. Like you said, something about it all just feels off and awkward. I really can’t stand the stealth and how sticky and slippery the characters are. You wanna open this chest after busting some skulls, but you gotta stand in this exact spot to trigger the contextual button input. Deviate from it just a little bit, like barely even a centimeter, and the prompt will disappear. Or you’re perched on this ledge to scope the area, looking for some stealth takedowns but, whoops, you accidentally flicked the left stick forward and now your vigilante has just jumped off and lands in front of the enemies you were trying to stealth. It’s frustrating.
Ethan: Yeah I basically haven’t even bothered with stealth for that reason, especially because the rest of the incentives feel like they are pushing me toward just complete chaos. Who have you been playing as? I’ve rotated every mission, but so far I think Red Hood is my favorite, mostly because he feels the most substantial and least slippery. Batgirl is a close second.
Levi: Lol, I’m just a perfectionist who wants to complete all the challenges. So when it’s like “Perfect whatever number stealth takedowns,” I’m like, “Bet.” But yeah I started with Nightwing, then switched to Batgirl, who’s been my main ever since. She’s just so OP, it’s insane. I’ve heard Red Hood is pretty good so I’m gonna have to give him a try. What do you think of Robin? Considering how frustrating stealth is, I couldn’t imagine playing him because of how stealth-focused he is. His bo staff’s looks cool.
Ethan: There are too many big enemies and dudes that will come at you from off-screen, to the point that I just didn’t want to bother with Robin after the first time I tried him. I also really don’t like Gotham Knights’ version of the character. I’m a huge fan of The Animated Series’ take on Tim Drake, and this feels more like a weird cross between Spider-Man’s Peter Parker and Star Wars Jedi: Fallen Order’s Cal Kestis, if that makes any sense.
I also don’t really feel any compulsion to grind, which is weird, but I think mostly stems from just how diffuse everything is. There are not nearly enough villains in this world to beat up to sustain an entire upgrade and crafting loop.
Levi: Very that, both on Robin’s timidity and the unsatisfying number of villains in the open world. Gotham here truly feels lifeless. Sure, there are citizens wandering the streets and GCPD patrolling their headquarters (or getting bullied by some dudes), but there’s no energy to the city. I know I compared Gotham Knights to Marvel’s Avengers—which I admittedly did like for a hot minute—but I can’t help but wanna play Marvel’s Spider-Man every time I’m protecting Gotham. There’s something about the bland color palette and the sameness of the districts that strips Gotham of its character.
Ethan: I think the city itself looks cool, and I like the way they tried to play off the four heroes’ iconic color palettes with the neon lights and how steam and fog hang on the skyline. But I also kept thinking of Spider-Man, mostly because I was always frustrated I couldn’t chain the grappling hook together like I was web slinging.
I think a large part of that is how much space you have to cover because of how scattered the actual things for you to do are. I would have preferred a much smaller but denser section of the city than having to hopscotch around all the dead space. Usually, open-world games thrive on constantly finding things on the way to your objective that distract, intrigue, and send you down an entirely separate rabbit hole. Here it really does feel like moonlighting as an Uber driver in the worst-paved metropolis in the world.
Levi: Yeah, like, there really isn’t a whole lot to do in this world. And what’s available to do is incredibly repetitive: Go here, beat up some guys, check out a clue, escape before GCPD shows up, rinse and repeat. Don’t get me wrong, I’m having fun dominating dudes as Batgirl. But the fun isn’t as satisfying as in other, better superhero action games that have come out recently.
Ethan: I also feel like the game is in a very weird place tonally. Batman’s family is left to figure out what their relationships are without him to orient them, but they are all pretty unfazed by the actual fact that he’s dead. And despite the dramatic premise, things get off to a very slow start. I will say I prefer aspects of Gotham Knights’ gameplay to Marvel’s Avengers’—whose combat felt indistinct and very much in the licensed game bucket—but the way the latter was shot felt like a much better approximation of the feel of the MCU than Gotham Knights is for the DCU.
As a Destiny guy who loves a mindless gameloop I can sink into at the end of the day, I thought I was primed to see the glass half full in Gotham Knights, but that’s just not what’s happened.
Levi: Same. I really wanted a mindless loop that offered solid gameplay with an intriguing story, and Gotham Knights misses the landing. There are good elements here, don’t get it twisted. The combat is fine, serviceable actually. And the sometimes tender, sometimes tense moments between characters during cutscenes is captivating. But the actual meat and potatoes of the game, the core gameplay loop, just isn’t as satisfying as I was hoping. I’ll finish it, though. I’ve completed Nightwing’s Knighthood challenges to get his Mechanical Glider, so I gotta do the same for Batgirl. And I wanna play some co-op to see just how untethered the experience is, but I can’t imagine thinking too much about Gotham once I finished the story. It isn’t sticking in the same way Marvel’s Spider-Man did.
Maybe that’s an unfair comparison, but truly, in my head canon, Gotham Knights is somewhere between Marvel’s Spider-Man and Marvel’s Avengers. It’s fine, but I don’t know if that’s necessarily a good spot to be in.
Ethan: I’m still only about halfway through the game, but feeling much less generous. It’s an indecisive mix of a bunch of games without any one solid thing to hold onto. The co-op that I’ve tried so far is very decent overall, and I think certainly sets a kind of standard for games like Far Cry—which have traditionally struggled with multiplayer that feels consistent and rewarding—to aim for.
But man, every aspect of the Batman mythos recreated here feels like it’s done better elsewhere. Maybe when the four-player mode comes out it’ll be closer to the 3D brawler it should have been. At this point I almost wish it were a live-service game. At least then there might be a shot at a better 2.0 version a year from now.
Levi: Right? Gotham Knights certainly feels like it could’ve been a live-service game. I’m hoping that four-play co-op mode Hero Assault extends to the open-world stuff too. There are four heroes. This game should be chaotic as hell, kinda like that underground Harley Quinn mission with that punk rendition of “Livin’ La Vida Loca.” That, so far, has been the most memorable part of the whole game.
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Ethan Gach and Levi Winslow
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Press Release
–
Aug 4, 2022
WESTON, Fla., August 4, 2022 (Newswire.com)
–
The Black Knight Satellite Album was released alongside the documentary “The Black Knight Satellite, Beyond the Signal” written and directed by Melissa Tittl and executive produced by President/CEO of 4biddenknowledge Inc. Billy Carson. This album quickly gained popularity for its knowledge-based songs and extraordinary features on the tracks. The Black Knight Satellite album has been out now for two months and has made the Amazon best-selling music chart, competing with albums by Snoop Dogg, Kevin Gates, and Eminem.
Featured on the album is President of 4biddenknowledge Inc., TV host, and billboard artist Billy Carson aka 4biddenknowledge; billboard artist Donny Arcade, who has four albums on the top of the DRT Charts and 40 albums in global distribution; billboard artist CrewZ with 16 albums in global distribution; entertainment mogul Dame Dash; multiplatinum recording artist of international acclaim Havoc of MobbDeep; and Mo B. Dick, who helped produce most of “No Limit” records between 1995-1999.
About 4biddenknowledge Inc.
4biddenknowledge Inc. is a corporate conglomerate consisting of multiple business ventures, including a TV streaming platform, book publishing company, record label, e-commerce, and a social media platform.
Investment Opportunity
4biddenknowledge Inc. is currently selling shares to raise money for business expansion. Investors looking to be part of this rapidly expanding business can find more information about this investment opportunity by following the link below.
https://us.trucrowd.com/equity/offer-summary/4BiddenKnowledge
Elisabeth Hoekstra
2645 Executive Park Dr.
Weston, FL 33331
954-256-1515
Source: 4biddenknowledge Inc.
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