Archive for November, 2009

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Panama (Prison Break)

Monday, November 30th, 2009
himfryang asked:


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The plot summary in this article is too long or detailed compared to the rest of the content. Please edit the article to focus on discussing the work rather than merely reiterating the plot. (May 2008)

anama

Prison Break episode

Episodeno.

Season2Episode20

Written by

Zack Estrin

Directed by

Vincent Misiano

Productionno.

2AKJ20

Originalairdate

March 19, 2007

Episode chronology

?Previous

Next?

“Sweet Caroline”

“Fin Del Camino”

List of Prison Break episodes

“Panama” is the 42nd episode of the American television series Prison Break and is the 20th episode of its second season. The episode aired on March 19, 2007. The plot features the protagonists’ escape to Panama while subplots include that of Sara Tancredi, Brad Bellick, Fernando Sucre, Theodore “T-Bag” Bagwell, Alexander Mahone and Benjamin Miles “C-Note” Franklin. Regarding the casting of this episode, Paul Adelstein (who plays Paul Kellerman) does not appear in this episode. This is Benjamin Miles “C-Note” Franklin’s last appearance in the plot and series altogether.

Summary

The bag containing Charles Westmoreland’s millions is passed from hand to hand at the Mexico City International Airport. The chain of custody ends with T-Bag (Robert Knepper). When the airport employee asks T-Bag about the contents of the bag, T-Bag simply gives him a 20 dollar bill and tells him it’s none of his business.

Fernando Sucre (Amaury Nolasco) and Brad Bellick (Wade Williams) are also in the airport. When the three cross paths, T-Bag runs, takes a taxi cab, and rides away. Sucre runs after the cab and tells T-Bag that he really needs the money. Sucre is able to grab the luggage tags, while T-Bag tells the driver to drive faster.

When Bellick balks at the luggage tags being shown to him by Sucre and threatens his freedom, Sucre grabs Bellick’s gun. Bellick replies that he has Maricruz in a hiding place, with enough food to last for only three weeks. Although he accuses Bellick of bluffing, Bellick produces Maricruz’ rosary as proof, and Sucre realizes that he has no choice but to work for Bellick.

Bellick and Sucre go to the Mexico City Department of Tourist building. The man at the desk insists that there is no record of Erik Stammel. Sucre tells the agent in Spanish that he does not like “that gringo” (Bellick) either, but if he cannot find Stammel, then a loved one will die. The man at the desk appears to agree to apprise Sucre of any updates to T-Bag’s whereabouts. He later calls Bellick’s cell phone, who passes the phone to Sucre. Sucre informs Bellick that T-Bag is en route to Panama City.

A maid later enters T-Bag’s hotel room, picks up the wig with a look of disgust on her face. T-Bag is on his way out of the hotel with his money, but is spotted by a Mexican police officer. He attempts to escape.

FBI Internal Affairs Agent Richard Sullins (Kim Coates) is an interrogation room with Agent Wheeler (Jason Davis) Sullins presents a deal to C-Note (Rockmond Dunbar); his eighteen year sentence (his original sentence in addition to penalties related to the escape) would become eighteen months.

C-Note balks at the offer, noting that the last time an offer was made to him, there was a string attached which he was to be hung at the end of. He further reasons that with Mahone’s connections, he would not last eighteen days in custody and holds firm on his demand of being a free man. As C-Note calls for the guard to take him back to his cell, Sullins then offers no jail time, in addition to Witness Protection Program coverage for him and his family. C-Note agrees.

C-Note is later taken out of his cell, where he meets Kacee, Dede, and Richard Sullins. Sullins hands C-Note an envelope containing information pertaining to his new identity, as he advises C-Note to stay out of trouble and to attend the court dates. C-Note leaves the Cook County Correctional Facility with his wife and daughter.

Michael Scofield (Wentworth Miller) and Lincoln Burrows (Dominic Purcell) are aboard a freighter docked in Chicago, Illinois bound for Panama.

Sara Tancredi (Sarah Wayne Callies) is en route to the docks, as she hears about President Caroline Reynolds’ resignation on the radio. Michael calls her, and they conclude it is best to disappear as he had originally planned.

FBI Agent Lang (Barbara Eve Harris) is tailing Sara, and informs Agent Alexander Mahone (William Fichtner) of their location. Mahone replies that he will be right there.

Sara realizes that she is being tailed by the authorities. Unwilling to lead them to Michael and Lincoln, Sara tells Michael by telephone that she is already aboard the ship and that she loves him. She then stops her car, and approaches Agent…(and so on) To get More information , you can visit some products about , . The Polyester Cotton Denim Fabric products should be show more here! 



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How to Get an Amazing Demo Reel

Monday, November 30th, 2009
Gwyn Gilliss asked:


AUGUST IS DEMO REEL Month!

Part I-   How to Get an Amazing Demo Reel

 

1-  Choose Roles That Show Your “Type” And Range. That means how would you be

cast in Primetime/Daytime TV and Films TODAY? Almost all TV series are written in a

consistent format which includes classic types: Interns/Doctors, Lawyers/Criminals,

Detectives/Investigators, Spies/CIA agents, Geeks/Ordinary people and **** women

doing something naughty or illegal. That’s why we have series like; House, NCIS,

Raising the Bar, Law & Order, CSI, Criminal Minds, 24, Desperate Housewives,

Burn Notice, How I Met your Mother, 30 Rock, etc… OK, so you need to show

WHAT characters in WHICH of these shows you could play. If the clip you want to

put on your reel isn’t in the genre of one of the above shows, exclude it. Simple.

2- Don’t put “Heavily Dramatic” Scenes on your reel.  This is the biggest mistake

of beginners who want something “juicy” and “serious” to show they can act. Wrong.

Good acting is subtle. Did you ever notice that most student films include a lot of

screaming, heavy drama, crying, yelling obscenities and firing of guns? They think

it’s cool. The real industry does not. Scenes that are clever, fast-paced, witty or

humorous, entertaining, intelligent and subtle are closer to the real thing. Go for

those.

3 - Don’t Include the Horror, Alien Or Other Sci-Fi With Special Effects Scenes.

Exclude anything overly graphic, gratuitously violent and unwatchable. First time

indie directors love these scenes because it fulfills their agenda to produce a

sensational, money-making, low-budget first feature. It doesn’t fulfill YOUR

agenda. No A-list Casting Director or top Agent wants a client whose tacky

demonstration of talent consists of being pursued across the Mall’s parking lot

by a maniac wielding a chain saw. Get something better to represent you if

you want representation and any work at all!

4 - Don’t Shoot Or Write Your Own Scenes Unless You Really Are A Professional

 Writer who’s been writing for years. But then why would you need an actor’s

 demo reel?  Find a company (see TAM below) that can produce, write, shoot and

 edit a scene or two for you. You deserve the best so go to professionals. And NEVER

 use a scene that’s from a REAL series- it’s illegal and you’re breaking the copyright

 law! Besides, you’ll never look as good as the original. Don’t shoot yourself in the

 foot as well!

5- Get The Advice Of An Excellent Editor Who Has Worked On Major Primetime

TV series not just edited low budget indies. The style is different, the pacing, the

music, the LIGHTING and the length of scenes. Better yet, find a Career Coach to

advise you on choice of scenes/roles, wardrobe, image and style. The roles

you will be offered are exactly the ones you display on your reel. Get advice.

6- Make It Short, Fast Paced And FUN! - Show Off Your best traits, personality and

acting ability. Agents can tell in about 10 seconds if they want to work with you.

They don’t need to see a long boring dramatic scene. On your website you could

post two or three (1-2 minute) complete “scenes” but if you have a good editor you

should create a “SIZZLE reel”. It has about 6-8 (5-10 second) clips that come to a

total of one minute and is much like a fast paced, fun, intriguing trailer to a great

 movie. You can even include a clip from a commercial or music video. Agents, CD’s,

 Film producers - EVERYONE in the Industry loves “SIZZLE reels”! So get one!

HAPPY AUGUST!

Successful Marketing!

Gwyn



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Solving The Unanticipated

Saturday, November 28th, 2009
Cathy Peterson asked:


You must now know that musical instruments constitute a class of very delicate appliances. You must have worked for days trying to make a choice on what will be best for you. You might have become extremely excited about the arrival or imminent arrival of the device. You are expecting a superior quality item, but your delivery has arrived with some defects. What becomes complicated is that the delivery agent only tells you he has been paid to deliver and can do nothing more than that. The local representative of the manufacturer may not be competent to solve your problems. Even when you have been assured that your problems will be solved, is it worthwhile waiting again, similar to what you have been doing? What is the price tag associated with your patience, your worries and other mental and psychological stresses? When such a situation occurs, relax and be calm. You may consider attempting the following suggestions.

Your first option is to make the delivery agent realize that the goods delivered are not in a good state. Then complain, preferably in writing, to the local agent of the manufacturer or if possible to the seller directly. List all particulars of defects. Make sure that you do not attempt to ‘manage’ using the devices in that defected state. State the objective of your complain without fear. What do you want? Do you want a refund, a new set of appliance, a repair or a replacement of the defective items? Take a look at your locality. There might be a consumer protection department from which you will seek advice. At times, it may pay to threaten the manufacturer or seller on a possible litigation. A prompt action might follow.

Next be unrelenting in your demands. Your predicaments were not caused by you. The tortfeasor must work with your pace. Allowing them dictate to you may compel you waiting indefinitely. Give them a list of option to select. Make them know you relied on their credit worthiness. Tell them that failure on their part will entail litigation. The truth is that no business will want to put its credibility tested in court.

If possible, get in touch with a legal counselor. He will make an appraisal on any terms and agreement signed between you and the seller. Legal terminologies may be difficult for you to understand. You may realize that the terms of the contract were not fair.

If you have an agreement which entitled you to part payment on receiving the goods, decline to pay the balance until your queries have been addressed.

Tell the manufacturer you are informing others, maybe through the media, of their unreliability and that you intend in the future to select another manufacturer. He will never want this to occur. No honest businessman will ever dream of such an awful public relation.

One of the best qualities realized by even the manufacturer is your personal composure. Completely take control of your emotions. Do not be ruled by intuition. Investigate on the possible causes of these defects. Some are natural. While stating you objectives, you may even sympathize with the manufacturer. Tell him the two of you started together and you will not wish to make an awful publicity on him and that despite this incident, you still intent to continue good relationship with him. You will be surprised that your wonderful diplomacy will bring your good results.



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Tips For Finding Jobs In Music In Your Hometown

Saturday, November 28th, 2009
gregory van duyse asked:


ou live in a small town in the middle of nowhere, it still may be possible to find jobs in music and not have to move out of your home. Some people have a hard time being creative and doing research on the best places for jobs in music. If you live in a small town or just think that there are no jobs in music where you live, here are some ideas to get you started. Check your phone book or the local yellow pages for the nearest big city. If it is only a half hour to an hour away, it may be of your interest to find a job in the music industry there. It may be a long commute, but if you really have a passion for music, you will do it. Also, some music jobs can be worked from home some days of the week as this may be an option as well for you. Look up different music industry places such as recording studios, theaters, record labels, music stores, and advertising and public relation agencies that deal with music and entertainment. The type of job that you pursue depends on what you want to do in music. Your little town or suburb may be bigger than you think when it comes to jobs in music. Is there a local bar or pub that frequent books live entertainment? Could they use a booking agent or can you talk to some of the local bands that play there to be their representative or agent? Do you have a local theater that puts on plays or musicals? What about your local high school: do they need a choir, orchestra or theater instructor? Finding jobs in music is possible in just about any place; you just have to know where to look and get creative. You also have to learn how to sell yourself and you may just be making up your own job in the music industry in your hometown.

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Finding a Manager

Saturday, November 28th, 2009
Jaci Rae asked:


A very important person on your successful team is your manager. Finding a good, responsible and reputable manager is not an easy task. If you don’t already have a manager, you may not need one. Experience proves, however, that you can only go so far without one. But how do you obtain a manager if you don’t already have one?

That’s a tricky one. While I have a huge list in my book, The Indie Guide To Music, Marketing and Money, you also need to get references. Once you obtain a list of managers you want to talk to, that are also interested in having a meeting with you, and here is a partial list of questions you should ask a manager to find out if they will be a good fit for your musical career.

• What style of music do you represent? • How big do you think for your clients? • Do you consider and pursue corporate sponsorships, etc.? • What territory do you cover? • How are you paid - what is your percentage rate?

Before you can even question a manager, you’ll probably have to send them a press kit in order to get your first appointment. As always, be sure to contact them prior to sending out packets. Most unsolicited press kits either end up coming back unopened or are simply thrown away.

If you find that you decide you want specific recommendations for management, contact major record labels and ask the staff who they use. That will help you determine who you should contact for management. At least then you will be dealing with a manager who already has a working relationship with a major label and who can hopefully get you a contract. Most managers, however, who are associated with major-labels, will not accept submissions from anyone other than the record labels themselves or high profile industry contacts.

That doesn’t mean you shouldn’t or can’t contact the managers the major labels recommended and pitch your music anyway. Someone may say yes! Most managers will take a percentage rate of any venues or money they are involved in bringing in for you and your band. When selecting a manager make sure your contract is very explicit on this point. You should never pay your manager for income you receive that you developed on your own. Make sure you are not locked into a contract that will compensate them for money or gigs they had nothing to do with negotiating for you.

Steer clear of anyone who asks for money up front or states that they want a percentage of any and all money you earn. I have spoken with some of the largest mangers and management firms in the industry who stated this clearly is not reputable or ethical behavior for a manager. There are no legitimate managers who ask for any money up front, or a monthly retainer/salary. If they do, chances are they are trying to start up their own business and don’t have the level of experience you need to succeed.

Asking for money up front is also a way of stating they do not believe in you enough to take a risk. Why would you want to work with anyone who does not believe in you? And, why should they work for you if they are already getting paid, whether or not they get work for you? The main point is managers only make their money if they make you money. That should be motivation enough for a manager.

Once your package is submitted to a manager, give them a few weeks to review it before following up. When you do your own personal follow-up, make sure you ask them what they thought of your press kit. Ask them if they’ve listened to your CD. Your follow-up can also provide an excellent opportunity for constructive criticism on how you can make the improvements your press kit or CD.

If both parties (you and they) decide you would like to work with each other, you’ll need to sign a contract. It is essential that you get a lawyer involved at this point. You should never sign any contract until you let an entertainment attorney who has the expertise you need advise you.

The same rules apply to booking agencies, as do managers. Never sign a contract until you have had your lawyer look it over and examine it for any hidden clauses. Once I was given a contract that actually stated the booking agent would receive 5% on any and all money I earned, in addition to the 15% that the booking agent would receive for any venues they procured for me. That meant 5% of anything I earned, even if it had nothing to do with music would go to them. Protect yourself. Read your contract even before you hand it off to your attorney for review.

Finally, never sign an exclusive contract. If you sign an exclusive contract, you will not be able to accept any gigs from outside firms. It also means you will not be allowed to follow through on any gigs that you negotiated yourself or already had in place as standing gigs. If you sign an exclusive booking contract you could also wind up with a booking agent who may not even negotiate any work for you and your band. Then you’re stuck.

There are only a few major booking agencies that will require you to sign an exclusive contract. One is the William Morris Agency. Their names will speak for themselves. You can rest assured that if you sign with on of these agencies your chances are very high for getting work. If an unknown booking agency requires you to sign an exclusive contract, just say NO!



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Winamp 5.551 Build 2419 PRO Release

Tuesday, November 24th, 2009
putinlrp asked:


Nullsoft Winamp is a fast, flexible, high-fidelity media player for Windows. Winamp supports playback of many audio (MP3, OGG, AAC, WAV, MOD, XM, S3M, IT, MIDI, etc) and video types (AVI, ASF, MPEG, NSV), custom appearances called skins (supporting both classic Winamp 1.x/2.x skins and Winamp 3 freeform skins), audio visualization and audio effect plug-ins (including two industry dominating visualization plug-ins), an advanced media library, Internet radio and TV support, CD ripping, and CD burning.

• The Full veion plays MP3s, AAC, WMA, and more; Compatible with Winamp 2 Plug-ins; Full Support for classic and modern skins; Plays Videos; has a Powerful Media Library; Browse Internet Radio & TV Stations; Integrated Internet Music Videos & Songs; Bundled Visualizations; and Burn & Rip CDs.

• The LITE veion plays MP3s, AAC, WMA, and more. It is compatible with Winamp 2 Plug-ins and has full support for classic skins.

Winamp Highlights:

• New portable device features - transcoding, new sync options, USB thumbdrive player support, video sync, direct-from-device playback

• Faster ripping

• Improved AAC and aacPlus encoding

• Unicode metadata, filename, and title support

• iTunes-compatible gapless playback (MP3/M4A) and encoding (M4A)

• Optional 24bit playback

• ReplayGain support

Winamp Player Features:

- Plays Music and Video Files (aacPlus, MP3, AAC, WMA and more!)

- Compatible with Winamp 2 Plug-ins

- Full Support for Classic and Modern Skins

- Plays Videos (NSV, WMV, and more!)

- Powerful Media Library

- Browse SHOUTcast Radio & TV Stations

- Browse Winamp Music Videos & Songs

- Integrated AOL Video Content (News, Sports, Movies & more)

- AOL Radio Featuring XM

- SHOUTcast Wire (podcast directory)

- Predixis MusicMagic (dynamic playlisting)

- Bundled Visualizations

- Burn CDs (Limited to 2x - 48x in Pro!)

- Rips CDs (Limited to 8x aacPlus, AAC, WMA - Unlimited aacPlus, AAC, WMA and MP3 in Pro!)

- 50 free mp3s from Emusic

- Includes Winner of the Internet

- Surround Music Project!

- Includes an MP3 of ‘Mercy Me’ by Alkaline Trio

- Rip/Encode music into aacPlus, AAC, WMA, or MP3!

- Burn CDs up to 48x!

Changes in Winamp 5.55:

• New: Turkish, Portuguese-BR & Romanian installer translations and language packs

• New: WBM system for lazy-loading of *.w5s files

• New: [Bento skin] Playlist tab (optional)

• New: [ml_impex] iTunes-compatible Media Library database import/export plugin

• Improved: [gen_ff] Faster & no flicker when loading/switching skins

• Improved: [gen_jumpex] New ‘Add to Library’ shell menu item & other tweaks

• Improved: [gen_jumpex] True unicode search support

• Improved: [gen_ml] Optional alternating row colo for list views

• Improved: [gen_ml] Optional skinned menus

• Improved: [in_mod] Experimental ExtendedRead support (transcoding, burning, etc)

• Improved: [in_mod] Now uses global Playback config for thread priority

• Improved: [in_mp3] APEv2 tag editing/creating tweaks

• Improved: [in_mp3] Show instantaneous bitrates for AAC VBR

• Improved: [ml_local] Media Library searches now ignore diacritics

• Improved: [ml_local] New ‘Category’ and ‘Lossless’ database fields

• Improved: [ml_local] New playcount Tracking Control options

• Improved: [ml_local] New ‘Play/Enqueue random’ item for top level filte

• Improved: [ml_online] New toolbar and various other tweaks & optimizations

• Improved: [ml_online] Support for 3rd-party Services

• Improved: [vis_milk2] Pixel Shader 2.0 & 3.0 support tweaks

• Improved: [vis_nsfs] Unicode title display for currently playing track

• Improved: [Winamp Agent] Localization support

• Improved: [Winamp Modern skin] New spectrum vis options

• Fixed: Accessibility fixup for Format Info string in Alt+3 dialog

• Fixed: Genre not being saved with Autotag feature in Alt+3 dialog

• Fixed: Memory leaks in in_mp3, in_wm, gen_dropbox, ml_local, ml_pmp & tagz.w5s

• Fixed: New veion check can’t be disabled when anon statistics is enabled

• Fixed: Rare crash when closing vis window

• Fixed: Various issues when starting/stopping/switching vis plugins

• Fixed: [Agent] Systray icon not showing if ‘Play in Winamp’ removed in Shell Options

• Fixed: [enc_flac] 24-bit FLAC encoding

• Fixed: [gen_jumpex] Shell Options, B Hotkey, Send To menus & other misc bugs

• Fixed: [gen_ml] Library button resize glitch

• Fixed: [in_cdda] Potential cddb Disc null pointer crash

• Fixed: [in_flac] Albumartist & Ensemble fields not cleared when deleting Album Artist

• Fixed: [in_flac] Track restarts when updating metadata

• Fixed: [in_mp3] Potential ID3v2.0/2.1 crash issue

• Fixed: [in_mp4] Empty genre metadata field (eg. when transcoding from flac to m4a)

• Fixed: [in_mp4] Long hangs on slow network drives

• Fixed: [libsndfile] AIFF buffer overflow vulnerabilty (thanks milw0rm/secunia)

• Fixed: [ml_disc] Potential crash on exit

• Fixed: [ml_disc] ‘Use uppercase file extensions’ ripping option not being respected

• Fixed: [ml_history] Tracking still updates if playback stopped before specified time

• Fixed: [ml_local] Broken ‘Create Playlist’ button functionality in local media

• Fixed: [ml_local] Remove missing files broken with some older/corrupt databases

• Fixed: [ml_wire] Columns sometimes hidden in Downloads view

• Fixed: [ml_plg] Multiple ‘Failed to initialize’ error messages

• Fixed: [ml_pmp] Crash when deleting playlists/files from a P4S portable device

• Fixed: [ml_pmp] Metadata hooking, transcoder, autofill and other bug fixes

• Fixed: [nde] Albums with % in title not displaying tracklist in local media views

• Fixed: [out_ds] Logarithmic volume control dB display glitch

• Fixed: [pmp_ipod] Deletion of non-existent files from database

• Fixed: [pmp_ipod] Reading of Play Count statistics

• Fixed: [pmp_ipod] Various database, albumart, playback & disconnection issues

• Misc: More miscellaneous general tweaks, improvements, fixes and optimizations

• Misc: New “Send Feedback” item in the Help menu

• Misc: Note that changes made to the ml database are not backwards compatible!

• Misc: Removed some older Milkdrop presets and added some newer ones

• Misc: Separated vlb.w5s and nsvdec_vp3.dll decode from in_mp3 and in_nsv

• Misc: Separated timer from gen_ff into timer.w5s

• Updated: Gracenote CDDB/MusicID v2.6.0.6

• Updated: libpng 1.2.35

• Updated: Sonic Burning Engine v4.10.32.502

• Updated: [gen_jumpex] JTFE v1.0.4

• Updated: [in_mp3] Fraunhofer Decoder v4.3

• Updated: [lame_enc] LAME 3.98.2

• Updated: [vis_avs] AVS v2.82

Winamp 5.551

• Fixed: [libsndfile] CAF Processing Integer Overflow Vulnerability

• Updated: libsndfile 1.0.19

http://www.softwarefreedown.com/Winamp-5-551-Build-2419-PRO-Latest-Veion-ML-Mar-10-2009-_48312.html



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Virtual Auditions Use the Web to Find Talent

Saturday, November 21st, 2009
John Gill asked:


FindMeSignMe.com has launched to give real meaning to private online auditioning.

Everybody’s heard of Internet celebrities: people whose odd pages or eccentric opinions have made them the **** of short-lived jokes. It’s only recently that the Internet has become a venue for publicity based on real talent. Early examples like MySpace (originally created for bands to promote their music, in case you didn’t know) showed promise but suffered from three flaws. First of all, they were quickly meshed into general-purpose social sites by a flood of new users, boosting the signal to noise ratio to the point where there wasn’t much point in agencies surfing for talent.

Second, they weren’t interactive in relevant ways. Sure people leave comments on guest books, but establishing a rapport requires a regular channel of interaction, and a comfortable, intimate environment to meet in – even if that environment is visible to thousands.

Third, these sites made no consideration for the other side of the industry: the agents and other individuals who are actively looking for talent. By failing to give them tools to sift through thousands of users, sites like MySpace were relegated to the role of a poster with a bit of demo tape mixed in: things to refer people to after handshakes and face to face networking, but not often a means of introduction.

2008 is showcasing the next generation of talent on the Web. FindMeSignMe.com is part of the new wave of online talent networking. It groups talent by field and gives them a way to upload pictures, music and video. The site has an explicit focus on talent, so it’s not going to drift away from its core function. What really makes FindMeSignMe.com unique, however, is its support for virtual auditions.

Virtual auditions are one of the newest talent networking tools. Thanks to the advent of streaming video and high broadband *********** rates across North America, agents, producers, directors and bands looking to fill a spot can now audition people from anywhere in the world. In Canada, the concept hit the limelight last April when Canadian Idol opened up virtual auditions for people who couldn’t make auditions in person.

FindMeSignMe.com features a regularly updated list of virtual auditions that any member can apply for. This is one of the tools talent seekers can use to interact with fresh talent. This way, the network always keeps agents and other people looking for talent involved. With tools like this, talent networking is moving beyond the “virtual poster” into an active community where geography is no longer a barrier to getting discovered. FindMeSignMe.com can fill roles for bands and movies and everything in between.



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Free Mp3 Downloads, Not Agents

Friday, November 20th, 2009
Herbert Flintoff asked:


For the longest time, many have been afraid that technology will begin to replace people in terms of function. In a way, it already has for the music industry. With the tough cash situation that most people face nowadays, an increasing number of artists are taking to doing promotion themselves. And they’re discovering that free MP3 downloads – once seen as a scourge of the industry – could be one of the best ways to do it.

The Anti-Agent Argument

Agents have been part of the entertainment industry since its establishment. They’re the ones who are supposed to know the right people, talk to the right contacts and get you the right gigs. Traditional wisdom is that having a smart and snappy agent is as good as an express lane to music industry fame.

Yet hiring an agent to manage you or your band can get costly. Not only do you have to pay a retainer in most cases, but you’ll also have to split an artist’s already meager income with yet another person. It’s thus no surprise that more and more artists are gravitating towards the nontraditional method – offering MP3 downloads to interested listeners.

Why Free MP3 Downloads?

First and foremost, they’re free. That makes people more open to listening to new music and discovering new artists. Although 99 cents – the standard online retailer price of a paid MP3 download – isn’t far off from free, it’s a huge obstacle for listeners. Not only do they have to pay, but they also have to go through the motions of buying something online. They have to do so many things just to try listening to some unheard-of artist.

At the same time, your music is likelier to get spread around. Because you’re not tying the listener to the copyright laws typical of big recording companies, there’s a better chance that your stuff will get played at big events. Even individual transfers from one person to the next are facilitated by the fact that there’s no big corporation or agency looming over everyone’s shoulders with an infringement suit.

Downloads and Agents: Same Difference

When you think about it, your agent and a bunch of free MP3 downloads can end up with the same results. Like an agent, the whole point of offering MP3 downloads is to get new listeners for your music. You also hope that all that music going around and getting played will attract enough attention among the record labels, or at least among the crowd that’s willing to pay you for your music.

Free MP3 downloads and agents do have the same goals and functions, especially for fledgling musical acts that are yet to break into the mainstream. The only difference is that the latter costs more money and takes away a bit of control from the ones who make the music. No matter what naysayers might argue, look into the option of offering free music: it might just be your ticket into the big league.



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Music Industry Jobs In Management

Wednesday, November 18th, 2009
gregory van duyse asked:


If you are interested in business management, then there are quite a few music industry jobs that you can choose from. Some people love to be involved in music but may not have the talent to be a performer or writer. For those types of people, a business management job may be a better fit. Here are just some management music industry jobs that you can pursue.

 

Concert Promoter

This person organizes, advertises, and promotes all different kinds of concerts, tours, and other live musical events. Their main job is to get the word out and drive traffic to the concert so that they can make money for not only themselves, but also for the band or artists that are performing.

 

Personal Manager or Agent

A personal manager or agent will represent a band or an artist and will oversee just about every aspect of the band’s or artist’s career. They are the person that deals with financial decisions, such as how much they are going to charge for an appearance and also deals with the performer’s image as well. Their sole goal in their job is to make the artists successful.

 

A&R Coordinator

The artist & repertoire coordinator works for a record label to help find new talent for the company to sign to their music label. The search for new artist in clubs, showcases, and contests, and listens to demos that people may send to the company.  The A& R coordinator may also have the duty of finding songs for the artists to sing on their records as well. Most of the time with larger record labels, the coordinator will have assistants underneath them to help with search.

 

If you have a knack for business and management and you love music, then you should look into music industry jobs in the management area. The above are just a very small sampling of the many jobs that you can pick from.

Personal Manager or Agent

A personal manager or agent will represent a band or an artist and will oversee just about every aspect of the band’s or artist’s career. They are the person that deals with financial decisions, such as how much they are going to charge for an appearance and also deals with the performer’s image as well. Their sole goal in their job is to make the artists successful.



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Oakville Guitarist Washbrook & Dana Stone “Dirty Ice Cream Music” label

Tuesday, November 17th, 2009
Washbrook \”Dirty Ice Cream Music\” Indie label asked:


Dana Stone and Rick Washbrook meet in 1972 thats about 37 years ago at school in Aurora Ontario.   In fact Dana Stone was a student of Washbrooks later in his teens. They went on to being good friends through the years.

 

In there early 20’s they lived together with a band called the Stoves in London.  This is when Washbrook attended record production and engineering at Fanshaw Collage.  Dana Stone was sound man and publicist for the band.

 

Dana Stone himself is a Wonderful singer and writes well crafted songs. He has 3 CD’s out under his label. Has been in the music business all his life diving into many facets of the industry.

 

Washbrook booked most of his shows for the 23 years he played live or worked with an agent. But Dana was always there to advise him.

 

In 2006 Dana Stone decided to help Washbrook get his music out to the public and radio stations. They sure do make a good team. They have released 7 CD projects. The reviews on Washbrooks CD projects and his guitar playing are great and he has received many quotes.

 

Moe Koffman said.

“Rick Washbrook has what it takes to go to the top”

 

Liona Boyd says about his Tribute to Lenny Breau “A Gypsy’s Bed”.”A wonderful evocative and unique tribute to the genius of Lenny Breau.Washbrook creates a relaxing mood,great tone and feel”.

Guitar Player USA Jude Gold said.  “Washbrook plays beautiful guitar”

Washbrook expresses he is so thankful to Dana Stone for his kindred spirit and friendhip all these years.

When Washbrook fell low in his mid 40’s after many years of performing, and lost many family members and his wife. Washbrook became very ill on many levels.

Washbrook says.

“It is Dana’s hand that reached out to board me on that sail boat… to get me away and be free and clean, encouraging a fresh positive new outlook towards my career and future. I am so great full to Dana. My heart is alive and you cant always say in life it’s because of an old friend.Good Friends are hard to come by. I am very fortunate to have him as a friend and be under his label “Dirty ICe Cream Music”.

Please visit Rick Washbrook’s web site for info, songs, bio, and photos. www.washbrookmusic.com

Contact Dana Stone at dirtyicecream@sympatico.ca

Contact Rick Washbrook at rwashbrook@hotmail.com

 



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