Gender: Male
Status: Single
Age: 42
Sign: Pisces
City: Hollywood / Minneapolis
State: Minnesota
Country: US
Signup Date: 4/3/2006
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Monday, November 30, 2009
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BusyBoy Productions just launched a new website www.busyboyproductions.com. We are focusing more on are film production services but we still welcome new music artist. We are getting ready to launch a couple of big television shows, so keep checking back for updates. Thanks, Jack Paar CEO BusyBoy Productions
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Thursday, November 19, 2009
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TACKY JACKS
NOV. 22nd at 12 pm
Orange Beach, AL
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Thursday, November 19, 2009
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TIPSEAS STEAM SHACK
NOV. 21st at 6 pm
Orange Beach, AL
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Thursday, November 19, 2009
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Tuesday, July 14, 2009
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Category: Movies, TV, Celebrities
Limos arrived and gala guests walked the red carpet in their best dress for an evening of fundraising and celebration at the RiverCentre in St. Paul Sunday. The star-studded gala raised more than $5 million.
It was all part of the Starkey Hearing Foundation's So the World May Hear Awards Gala 2009. The event brought in the support of such celebrities as retired astronaut Buzz Aldrin, "incredible hulk" Lou Ferrigno and golf legend Arnold Palmer, among many others. The gala featured the comedy of Master of Ceremonies Billy Crystal, a huge baseball fan who ended up taking home a baseball autographed by Babe Ruth and Lou Gehrig.
The event also featured musical performances by Gladys Knight, Tony Bennett and an hourlong show by Sir Elton John — who wore his familiar red glasses performing hits including "Tiny Dancer" and "Rocket Man."
The Starkey Hearing Foundation was founded in 1984 by CEO Bill Austin of Minnesota-based hearing-instruments manufacturer Starkey Laboratories. Austin said he never gets tired of watching the children he helps hear for the first time. "It's like a drug," Austin said. "I'm addicted to helping people." Since 2000, his foundation has provided more than 340,000 hearing aids to people all over the world who would otherwise not be able to afford them.
A high-ticket auction included opportunities to accompany hearing-aid outfitting trips to locations such as Egypt, Turkey, Panama and Vietnam. The highest single bid, of $250,000, was for a trip to outfit 5,000 people with hearing aids in Kenya. An estimate at the end of the night put the amount raised at $5 million, allowing the foundation to provide the gift of hearing to an estimated 50,000 people.
Video Produced by BusyBoy Production
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Wednesday, July 08, 2009
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Current mood:  satisfied
Category: Music
TECHNOLOGY CHANGING THE MUSIC INDUSTRY BY JEFF PRICE, TUNECORE FOUNDER Technology can change things. And in the case of the music industry, it destroyed it. The two major shifts that have occurred are: Distribution of your music into stores where people can go to buy it How people discover music distribution of your music into stores where people can go to buy it A quick description of what the music industry has been for the past 100 years provides a background on how things are changing. Assume you live in New York and you make a watch you want to sell. You take your watch to the nearest watch store and ask the owner if you can sell it in their shop. They agree and ask how much you want to get paid if it sells. You tell the owner $10 You return to the store a month later, your watch is gone, the owner hands you $10, however you have no idea how much the watch sold for. Maybe it was given away, maybe it was sold for a million dollars. The next day you get a call from Joe at Joe Smith Watch Distribution. Joe tells you he is a watch distributor from Chicago who can help you sell more watches. If you are interested, you can send him all your watches and he will store them, insure them, inventory them and more. In addition to warehousing, he also tells you that he has a sales force of 40 people that walk all around the country to watch stores showing the new watches to the owners and he mails out a paper catalog each month to 4,000 watch stores. Back at his warehouse, he has 20 more people that pick, pack and process the orders. If a watch is damaged, it is sent back and Joe Smith fixes it. Each time a watch leaves his warehouse, you will get paid regardless of if Joe gets paid. Finally, Joe will provide you opportunities to market your watch in the store. For example, it will be displayed up front when people walk in. In return for all these services, Joe asks to be paid 25% of the money earned from each watch sale. If a watch sells for $10, Joe will get paid $2.50 and you get the rest. This is the music industry – only instead of watches, it’s CDs, and record labels hire people to make their "watches". it’s about distribution and shelf space The music industry is about distribution. Record labels make the "thing" to give to the distributor. The distributor puts the "thing" in the store. The record label then markets the "thing" to create demand. Stores have a limited amount of shelf space and can only have a limited number of CDs in stock. If a CD is not on a shelf, it cannot sell. Therefore, having a powerful distributor is important as it can force CDs onto the shelves (but the little guys get shoved to the side). Digital stores like iTunes, Napster, Rhapsody, eMusic, etc., have changed all this. To start, they have unlimited shelf space. This means everything can be in stock. In addition, digital stores are never out of stock – they have virtual unlimited inventory that is replicated on demand. No more need to make CDs and ship them to a warehouse and then re-ship them to a store in hopes the store takes it out of a box and puts it on a shelf. Instead, the music is delivered once to a server and then sits there until someone buys it. It can be found instantly whenever a customer searches for it. When it is bought, the buyer gets a perfect digital copy of the original—nothing comes off the shelf, it’s still there for the next customer to find and download. In the old model, every CD in a store can be returned at any time for a full refund. A sale in the digital world cannot be returned. You know exactly what you sold with no concern of dreaded "returns." These three changes: unlimited shelf space, unlimited virtual inventory and no returns, make the big warehouses and sales staff obsolete. This means that the four major labels – A.K.A. the four major distributors – have invested tens of millions of dollars into a soon to be obsolete infrastructure as now it’s just a matter of getting your music and art digitally delivered once to a store like iTunes. So who gets access to digital distribution, and under what deal terms? keeping your rights and getting all the money from the sale of your music aggregators Companies called "aggregators" have sprung up offering artists and bands access to the digital stores. It’s a valuable service but the price they demand is out of date, old school and exploitive. First, they demand exclusive control of your master recordings (digitally) – like a record label - for a period of time (called a Term), usually three to five years. Unlike a record label, they do not: advance you money to record; provide you tour support; help you find a studio, record, mix and master an album; mail out posters to gigs; run print or banner ads; hire independent radio promotion and mail out the CDs to radio; hire a publicist and mail out the CDs to magazines; help you make your art; front the money and make stickers and buttons; pay for band photos; pay for the manufacturing of your CDs; provide you CDs to sell at your gigs and many, many, many other label functions. Second, just like a physical distributor, they take a percentage of the money you earn from the sale of your music each time your music sells. But, unlike a physical distributor they do not: pick, pack and ship orders; have a warehouse staff; insure inventory; have a national sales staff; advance you money. With the launch of TuneCore, for the first time in the history of the music industry, any artist or label can have their music available in the places music buyers go to buy and discover music without having to give up any rights or revenue from the sale of their music in a non exclusive arrangement that can be cancelled at any time. Technology has changed the way the industry works; it is time to change the business model as well.Music is not food, shelter, or clothing, but everyone wants it and everyone needs it. For the most part, unlike a floor wax or an SUV, people like it when they are being asked to listen to music. The principles to marketing yourself are very basic: you make music, give it to others to listen to and hope they tell others about it. In the old model, most people primarily discovered music in one of three ways: Radio Print magazines like Rolling Stone Viacom owned properties like MTV, VH1, BET etc These three outlets would choose what songs they played, what videos they showed or what bands they wrote about from a limited pool of artists pushed to them by the labels. If you were not on a label, you were not in the pool, and therefore you had virtually no opportunity to get exposure from any of these outlets. In the new model, everyone has a voice that can be heard – via the net – around the world. In particular, mp3 blogs are extremely effective in getting your music out to the masses. One person from anywhere on the planet can talk about you on his or her blog and provide a link to download your song for free. If people like it, it spreads, and soon you have 10 blogs, 50 blogs, 1,000 blogs all talking about you with links to your music. Free video distribution sites like YouTube are also changing the game. Consider the now famous "Treadmill Dance" video by the band OK GO. Using only a store-bought camera on a tripod, four guys danced on treadmills took the online video sites by storm, and propelled the band into the Billboard Top 50. In the old model, music was discovered from the top down when it was heard on commercial radio, seen on TV and read about in magazines. Today you have the same distribution and broadcast power right from your computer, you to the world, bottom up. Fans discover music and now have an outlet to share their ideas, passions and musical loves with the world—and the world is listening. Look to bands like Arcade Fire, OK GO, Secondhand Serenade, Kelly, Tapes ‘n Tapes, Clap Your Hands Say Yeah, Birdmonster and many more, and you’ll see the new model in action. In other words, you no longer need a label to reach the world. And you no longer need to give up your rights or the money generated by the sale of your music to get global distribution and marketing. Welcome to the new world – we at TuneCore are thrilled to be part of it! to pay for advertising programs in stores; fix broken CDs to be re-shipped out; guarantee you will get paid even if the store does not pay them; mail out a catalog, etc. Technology has changed the music industry, yet aggregator deal terms are still stuck in the old school model of exploiting the songs and artists. In effect, you work for them. You cause the music to sell and they take money from these sales while controlling your rights. The new model is about serving the artist, not exploiting them.
how people discover music TO BE CONTINUED Check Back Tomorrow For More INTRODUCTION
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Monday, July 06, 2009
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Category: Music
In the “old days” things were a lot clearer for bands; whether you liked it or not, getting signed to a record label was the path to become a rock star.
Getting “signed” allowed the only possibility of having enough money and resources to record the artistic vision in your head, follow your dreams, play in front of 50,000 people, get your own Led Zepplin jet, have Sir George Martin produce your album, get great band photos, huge posters, distribution, fame and reach and CONNECT with your fans.
But now, labels are less relevant, less cool, less important, less needed. Even the labels know they need to change if they are going to survive. It use to be a BADGE OF HONOR to say “I got signed to Matador, Staxx, SubPop, Merge, Warner, Atlantic, Motown, Columbia, Sun, Epic, Interscope, Geffen, Capital! My record label can kick your record label’s butt. My label is cooler. I’m on the same label as The Beatles, Pink Floyd, Hendrix, The Who, The Police, The Sex Pistols, The Pixies, Credence, The Offspring!” It all meant something and made sense. It was all part of the dream and how to get there. What’s the path to that now? What is the NEW record label and what role should it play, if any?
For a label to continue to matter to musicians it has to serve and provide unique and meaningful opportunities. It has to release artists that other musicians respect and aspire to be. It has to shift its model to serve and work for the artist, not have the artist work and serve the label. And it has to be cool…
Which brings me to TuneCore. It’s a recent thing, but for the first time since we launched three years ago, when I tell musicians I run TuneCore they not only know what it is but many of them leave me really humbled by thanking me and calling themselves TuneCore Artists. .
Read the rest of this article and share your thoughts on the TuneCore blog.
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Monday, July 06, 2009
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Category: Music
A World Without MichaelBy Thembisa Mshaka I used to slide back and forth on the carpet-free floors at home, moon-walking in my socks. When I learned how to do it in a circle, you couldn’t tell me nothin’! I used to open up my high school locker to a collage of him made from fanzine posters. I wore my button of him wearing his yellow vest with the pride of an innocent crush. My aunt Lainie and I partied to the 45 of ‘Don’t Stop Til You Get Enough’ from the Off The Wall album; it usually fell into rotation somewhere between ‘Rapper’s Delight’ by the Sugar Hill Gang and ‘Shake Your Pants’ by Cameo. My best friend Maliika Chambers (now a college professor) and I stared for hours at the Jackson’s Victory poster in the closet of my room. As a young Muslim girl, I wasn’t allowed to put images up on my wall in the house. But on the walls of my walk-in closet, the Jacksons were the paint. The Victory Tour was my first concert, thanks to my grandfather, whose escort was the only way I was allowed to attend. I screamed until I lost my voice. I still remember my Victory Tour tee shirt: black, baseball-style with purple sleeves. I wore it under my school uniform. Anything to be closer to Michael. And then, there was Thriller. I actually met one of my dearest friends, and amazing fine artist, Alex Asher Daniel, at our neighborhood ‘premiere’ of the Thriller video. It happened my neighbor Jennifer’s house; she had MTV. She lived across the street from me in Altadena, CA. She also happened to be his girlfriend at the time. We were all so mesmerized, that only while recounting our ‘the first time I saw ‘Thriller’ stories did it occur to Alex and I that we’d met over a decade earlier at Jennifer’s ‘premiere’! Ten years later I could still feel the sheer awe we collectively experienced as we watched this movie of a music video, complete with storyline, suspense, special effects, score and a one-song soundtrack. Over the span of 14 minutes, he went from adorable and sweet to terrifying, but there was no looking away as he moved. He was a dancer like no other, part warrior boot dancer, part b-boy, part Bob Fosse. I terrorized my younger brother and sister with ‘Thriller’, playing the Vincent Price part of the song extra loud to scare them, lights out, windows open, curtains blowing. Heartbreak Hotel was pretty eerie too, I must admit. I wondered, the nerve of Sefra and Sue! I could never imagine breaking Michael’s heart. Then, on June 25, 2009 it stopped. First his heart. Then the world. I swear I could feel a hole tear through the Universe as the Creator called Michael Jackson home. And then, his music got the world turning again. Like a healing touch or a cleansing rain, it was everywhere, filling the air, all over the web, pouring out of cars and shops and blaring through ear buds. The writer Harry Allen had a brilliant idea, tweeting: “When we theatrically screen Jackson’s music videos, this must be there: “Can You Feel It?” I’m with Harry. Sony should play all of Michael’s videos and screen Moonwalker in theaters. If Thriller knocked our socks off in a living room, imagine what it would do for this generation of young people on a movie screen. This is my request to Rolf and Barry over at Sony BMG: can you hook it up by August 29 for his birthday? Re-master the videos and show them with a theater partner, with proceeds going to a cause that mattered to Michael. I’m blessed to have known a world with Michael Jackson in it. Can you imagine a world without Michael? There would be: No Jackson 5. No Jackson 5 cartoon. Motown would definitely have been a different label. No ‘The Wiz’ as we know it. Quincy Jones would have been without his muse. No easing on down the road. Who else could have done a better scarecrow with the Reese’s Peanut Butter Cup wrapper on his nose? No mini-movie music videos. No Alphonso Ribeiro being discovered for a Pepsi ad. Without Michael, multitudes of Black people would be drinking a lot more Coca-Cola. No iconic performance of Billie Jean at the Motown 25 special. Unthinkable. Motown is 50 now; and 25 years after Motown 25, that’s the only moment of the entire show that was seared into my consciousness. No USA for Africa. No ‘We Are The World.’ Michael Jackson is the Guinness Book of World Records holder for most charitable pop star. Without Michael, countless human beings would have gone hungry, remained sick, or perished. Michael Jackson even raised the profile of the animal kingdom. It started with that adorable tiger cub inside the Thriller LP. From there, it was Bubbles the chimp. Without Michael, I bet we wouldn’t like llamas as much. Hip-hop would certainly be less radio-friendly, less fun, and much less interesting without Michael. Michael had hip-hop caught up in his rapture, from the hardest emcees to the shiny crossover acts. Without Michael, no ‘O.P.P.’ with Naughty By Nature. No ‘It’s All About The Benjamins’ for Puff Daddy and the Family. No ‘Hey Lover’ from LL and Boyz II Men. No ‘911 Is A Joke’ from Public Enemy. No ‘She Said’ from Pharcyde, my personal favorite use of Michael’s work in rap music. No ‘Breakadawn’ from De La Soul. And hip-hop soul would be missing some bangers, too. Put simply, a world without Michael, a world without his melody, would be a world less beautiful. While I must accept that he has become an ancestor, I refuse to live in a world without Michael. His songs and performances will play on forever more. What else would we be missing in a world without Michael? Share your memories and comments here.
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Saturday, July 04, 2009
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Category: Music
Why do professional recordings sound, well…professional? There are a number of reasons including high quality microphones, pre-amps, an experienced engineer and a well-designed studio space. But one of the single most important elements in a great-sounding, professional recording is the performance of the session musicians. There is a reason that the job of the session musician exists. It’s these musicians whose talent and studio experience contribute in a major way to the polished sound of a recording. Because there are different rules that apply when you’re recording an artist demo, I'm going to limit the scope of this article to songwriting demos specifically. Read the rest of the article, post your comments, and learn more about Cliff on our blog, TuneCorner.
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Thursday, July 02, 2009
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Category: MySpace
You need to get in front of people who are not your classmates, girlfriends and parents. You need to get out of town, blow open peoples' minds, show them exactly who you are and connect with new fans who will love you like friends. Because a fan who loves your band like a best friend is your most valuable resource. Touring may seem a little daunting, but you can do it and we can help you do it more efficiently and with great effect. You need a team to build any music career, and your initial team is your band itself. You’ve already got that part worked out, so now you're ready for the next step: a tour manager. Let’s hit it! Read the rest and give us your comments on our blog, TuneCorner. Thanks!
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