Against Closed Eyes In Marketing

The Dark Knight, which is persona of Christopher Nolan’s Batman picture show series is followup to the action-hit Batman Begins (2005). Christian Bale recapitulates the character of the caped crusader - Batman in this action movie.The moving picture stresses on Batman’s battle versus a new scoundrel, a mad delinquent named Joker (Heath Ledger), who is the genius of many organized criminal offenses in Gotham City.

Rambo (2008) is the fourth installment of the popular franchise of the identical title leading Sylvester Stallone as Vietnam War veteran John Rambo. After twenty years since the final cinema of the well-well-known action movie series, Vietnam war veteran John Rambo has moved back to northern Thailand, and become a boater at Salween River in Myanmar. He accompanied a group of mercenaries for a resue mission to assist the individuals of a crumpled hamlet. The mission goes well until the Burmese army assaults the hamlet, killing innocent villagers and some fellow members of missioners. When the missioners fail to come back after ten days, their pastor comes to Rambo, tells him what has transpired, and asks for his assistance in guiding hired mercenaries to the small town to rescue other survivors who had been snatched by the Burmese. Despite the fact that he already sworn off all forms of violence, he had no choice but to help the kidnaped mercenaries from the enemies. He recognises what he must do and this is his well-nigh risky mission to yet.

Star Wars is an action science fiction moving picture made by George Lucas during the 1970’s and was finally expanded and grew one of the most favorite cinema franchises through time. It possesses several factors that are associated to the archetypes of the fantasy genre such as Jedi knights, princesses, robots, starship and other animals, as well as the futuristic scenes of the universe.It was inspired and shaped by some known science fiction motion pictures like Akira Kurosawa’s The Hidden Fortress, Yojimbo, John Ford’s The Searchers, and the first Flash Gordon series.

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Though the horoscope isn’t a literal science, mathematics is an integral conception of reading a horoscope. In contrast to fave opinion, a reading of a romantic horoscope or a birthday zodiac horoscope is no piece of cake. The cerebration of daily or weekly horoscopes need the understanding of the date of a destined example or event, which is interpreted into borough Universal example and farther into borough sidereal time. Meditation is a mind control by which one try to get outside the rash, feelings mind into a deeper state of leisure or consciousness.

Meditation frequently involves turning attention to a single point of reference. It is known as part of many faiths and has been practiced since antique. Meditation is also accomplished external spiritual conventions. Various meditative disciplines cover a large range of religious and / or psychophysical practices that might stress different goalfrom success of a higher state of awareness, to bigger focus, creativeness or self-awareness, or merely a more relaxed and relaxed mindset. Astrology first abstract the wannabe predictor should do is remove the concept that all kinds of astrology is legend mingled with the paranormal which crapper only be accepted by mystics soaked in occult lore.

Today, whatever astrology is presented this way, but this isn’t true conventional astrology.
Did you go through that astrology was considered power in man’s early history? And whatever still do, with excellent reason.

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MEDIA CONTACT:
Tareesha Adams
Toll-free 866-853-8539
Email: media@atlantatalentmagazine.com

A NEW MAGAZINE IS UNDERWAY TO PROMOTE ATLANTA TALENT

A Tremendous Opportunity for Undiscovered Performers to Receive International Exposure

ATLANTA May 2, 2005 Today JAPCi Publications announced that it is currently developing Atlanta Talent Magazine®, a how-to entertainment career guide providing maximum industry exposure for rising stars. This indispensable resource and exposure platform caters to entertainers, industry professionals and entertainment related companies in or from the Metropolitan Atlanta area and its surrounding Georgia counties.

Currently, the electronic prototype of Atlanta Talent Magazine can be viewed on the world wide web at www.AtlantaTalentMagazine.com. JAPCi also announced that just one year after publishing the online prototype, the website already generates more than 20,000 viewers each week. Print distribution will begin in January 2006.

“Thank you for making me a star” wrote 10-year old Ti-Yanna Trotman of Heritage Elementary School after reading an article in Atlanta Talent Magazine complimenting her stellar performance in a recent school play.

THE MISSION
——————–
[1] To display the region’s most talented models, singers, rappers, comedians, actors, dancers, poets, producers, DJs, writers, musicians and bands.; [2] To also display the region’s most dynamic and highly respected entertainment industry professionals who make things happen behind the scenes. [3] To connect these exceptionally talented individuals with entertainment companies seeking ripe artistic or experienced talent.

DEVELOPMENT STAGE
——————–
Initial phases of research, development and analysis are complete for the new periodical. JAPCi will now begin building business and marketing plans in order to pursue investors, partnerships, sponsorships and joint ventures.

ABOUT THE EDITOR
——————–
Managing Editor Joy Adams possesses a balanced blend of education, creativity and business expertise. She has a solid track record in corporate sales, a Bachelors Degree in Marketing and Accounting; and experience managing talent where she successfully secured a contract with Ebony Magazine’s Fashion Fair road show. Joy is passionate about the performing arts, business excellence and helping others.

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MEDIA CONTACT:
Tareesha Adams
Toll-free 866-853-8539
Email: media@atlantatalentmagazine.com

About the Author

Adams conceived Atlanta Talent Magazine in 2002 and incorporated in 2004.

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By: Richard Dolmat

Now that you’ve spent hours and days and weeks and months recording your musical masterpieces (and you’ve also read my article “Tips for a Great Recording Session”), you have arrived at my favorite time in the studio; The Mixdown.
But don’t think your job is done yet! The mixdown is just as important as recording. As an artist, you have to approach the mixdown from an artist’s point of view and stay on the ‘creative’ side of the fence where it’s still possible to shape and mold your songs throughout the mixdown process.
Remember the old “Yin-Yang” principle which states, “whenever you turn something up, something else disappears. Furthermore; whenever you turn something down, something else gets louder”. This applies to EQ, levels and almost anywhere you have two or more tracks.

The Beginning Of The End

STOP!! Don’t even think about starting your mixdown on the same day you finish tracking. Take a day off, have a break and then come back refreshed with a new perspective.

Now back to business…

First of all, let’s “zero the board”. This is simply the action of bringing all the faders to the bottom (-∞) and centering all the pan knobs and effects sends.
I know what you’re thinking, you’re thinking “but our mix sounded good when we were tracking!”.
OK, but did the mix actually sound good or were you just accustomed to hearing it that way? That’s why zero-ing the board is important. It flushes your memory and allows you to start from scratch. It might even be better to mix a song that you finished recording a while back.

1. Get Kicked.
This is where I prefer to start. Other people like to start with the vocals and build around them. But I’m more rhythm based and prefer to start with the kick drum.
One tricky part of any mix is getting a good gain-stage structure where you don’t clip the master faders at the end of your mixing session when all your instrument faders are raised. We must be careful to keep watching the master bus clipping lights to make sure they never get into the red. Here is why the kick is a good place to start.
Play your songs and watch the master bus VU meters. This is probably the only time you will “mix with your eyes”. As you’re watching the master VU meter, slowly raise the kick fader until the master meter reads about -7dB. If you are a four piece band, then you can leave the kick there and move on. But if you have a really dense tune, then you may have to lower the kick to -8dB or so (to leave room for all the other instruments as they come up).
Now you are set to mix. The kick should be the only channel that you set levels by watching. Every other channel mixed into the song will be with your ears relative to the kick.

2. Moving On
From now on, it’s pretty much a free-for-all. Some people like to move on to the bass next, in order to find the balance for the low-end of the song. Other people like to keep working on the drum kit “as a whole” before moving to other instruments. I prefer to move onto the drum kit over-head mics.
They say that a great drum kit sound can be captured using only two over-head mics, and a kick mic. And it’s true. Some of my tunes only use three mics on the final mixed versions, even though we had used up to ten mics for the recording of the kit.
If you placed your over-head mics properly (i.e.: so the snare sounds centered in the stereo image, and not skewed to the left or right speaker) then you will have a better stereo image of the drum kit when the mix is finished. Otherwise you might have to do some fancy panning or EQ to get a balanced image with the drum kit.
You can now bring in the rest of the kit underneath the over heads to fill out the sound. I prefer to leave EQ and effects to the very end of the mix, after all of the instruments are playing. Try to place your toms in the same panning position as the overhead mics recorded them. If your floor tom in the overheads is to the right at 3 o’clock then pan your individual floor tom fader to the same position.
And don’t forget to check your phase between your mics pointing down and your mics pointing up.

3. Big Bottom
Now I like to add in the bass. Nothing too important here if you have good source audio. I’m also a huge side-chaining fan. I LOVE to side-chain the bass with the kick so the low end frequencies wouldn’t fight for space in the mix. It just makes things sound “tighter”. Sometimes you may have to eq the lowest of the lows out of the kick in order to make a little more room for the bass to sit in the mix.

4. Pads and More
Here is where I add the “pad” type of sounds. These are sounds that usually have longer sustains and hold the chords of the song. Sounds like strings, sustained electric guitar chords, synth pads, and maybe even some rhythm acoustic guitars are great foundation instruments.
I like to lay these instruments on top of the drums and bass tracks we have already mixed. You can get very creative with the panning of these sounds and create a wide stereo field. This will help make your mix interesting by allowing your lead instruments and vocals sit in the center of your stereo image, attracting attention to themselves.

5. The Vox
Let’s finally add the vocals. I usually start off with the lead vocal, and then place all the harmony and background vocals underneath the lead. Sometimes, you can end up putting the vocal a little too high in the mix, and a great way to check this is to turn your monitors way down and listen to the mix at an almost inaudible level. This way of listening to your mix will surprise you, but you have to be confident and trust your ears. If something sounds disproportionately loud at this quiet level, then it is too loud. If you must, then you can compress the vocals too, but that really depends on the song’s style. Maybe a few fader rides are a better choice then some static compression.

6. The Rest
You can start adding effects and other fancy shmancy things to your tune. Get funky with automating some pan knobs, fade-in some pads etc.. Here is a good time to get creative.
It’s also a very good time to actively listen and re-adjust your mix. Is the kick too loud? Should I put some higher frequencies on the bass? Should I compress the backing vocals more? Is the coffee finally ready?
When you feel you have a good mix, burn it to CD and listen to it EVERYWHERE! In the car, in the bath, at home, on the TV set, at your friend’s place etc., and make a lot of notes. And at the end, if all your notes cancel out, then you are finished!

©2005 Richard Dolmat (Digital Sound Magic)
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About The Author
Richard Dolmat is owner, engineer and producer for the Vancouver based recording studio Digital Sound Magic. Visit his site at: http://www.digitalsoundmagic.com

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Copyright 2005 Kent Thompson

Call Centers have been around for a while, but haven’t been widely deployed in the network marketing community. This is beginning to change. The results of those groups who use call centers have been stagering. Let me explain how call centers can help your network marketing efforts.

Home-based businesses involving network marketing have some major problems. The main one is that often times prospects who join have no idea how much work it takes to build a large group of people under them.

This is a major problem because when people join, they might try it out for a few months and then quickly become overwhelmed and then quit when they don’t see the results they were hoping for. This means that all the time that the network marketer spent in getting that person to join has now been wasted.

Let me explain what a call center is, and I’ll use the Coastal Call Center as an example. The coastal call center is filled with professionally-trained sales staff, who do 95% of the work for the network marketer. The coastal call center staff will answer the phone, present the business plan to prospects calling in, do all the follow-up, and eventually close the sale.

With the coastal call center model, a network marketer’s main responsibility is simply to advertise, and get people to call the coastal call center phone number, with a tracking code that identifies which network marketer referred the prospect.

From the surface it may seem like the only person this benefits from the call center model is the network marketer, since they no longer have to do the grunt work of answering phones, presenting the plan and following up.

However, there is another often overlooked benefit to this. It actually helps sales tremendously because prospects are now told that they don’t have to do anything except advertise. Now, advertising and marketing may not be the most appealing idea to the prospect, but it certainly beats having to do everything else along with advertising!

If your network marketing organization is not using call centers, you may want to consider opening a call center. Your group will quickly embrace the idea that they no longer have to do all the work themselves, and you will see increased sales as a result!

About the author:

Author Kent Thompson is a member of the coastal call center. Find out how you can make $1000 per sale in a home business where the coastal call center does 95% of the work for you, and all you have to do is advertise. Visit http://RunAdsForCash.com

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Khoom Fay are traditional Thai lanterns, with a bamboo frame crossed by thin tissue paper. The hot air is admitted by a hot fire pod that comes connected to the lanternThey ascend gracefully, and make a wonderful spectacle, particularly when released at regular time intervals to form a chain of ignites rising into the sky. Nighttime or daylight they genuinely make an impact. For Daylight releases I observe that the colourful lanterns are to a greater extent taking and the nighttime becomes a bright white glowing Thai Lantern but that is just my own individual view.Cautiously take out the Thai Lantern, without tearing the delicate paper. Ensure the lantern is fully extended, and not wrinkled or falling sideways. This is greatest complete by taking the top of the lantern, softly lifting it a couple of ft, then dropping it acutely. Air pressure will expand the unit.Have a helper light the wick whilst you declare the lantern straight. After a few seconds the lantern will feel lighter, then rise step by step. Just lead it and let it go by itself, do not attempt to throw it up into the air. Now unwind and relish the showThese lanterns are attached for use by experienced pyrotechnic operators. Wear fire retardant clothing and gloves, and have on standby a bucket of H2O.

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It’s no secret that virtually everyone loves music in some form or other. After all, it is the universal language, and we all participate in it to some degree from the cradle to the grave. It starts with our Mothers’ lullaby, ends with our funeral song, with a zillion other stops along the way.

But what is music, anyway? What makes it tick? We all love some form of it and dislike other forms of it.

The country-western fan may not like jazz, but he or she sure loves the sound of pickin’ & grinnin’. And the jazz fan feels just the opposite.

And that’s as it should be. If we all liked the same kind of music, there just wouldn’t be the variety that is available to us now. We can choose from musical styles ranging from heavy classical and opera to rock to children’s songs to Broadway musicals to gospel music to the blues.

Each has its place, and each seems on the surface to be drastically different than another form of music. The key word is “on the surface.” But beneath the surface of all music is a commonality that is organic to all forms and styles of music.

So what does all music have in common?

At least 3 things - sometimes more, but never less:

1.Melody
2.Rhythm
3.Harmony

The melody is the part of a song or composition that you whistle or hum - in other words, the tune of the song. In one sense, it is the most visible of the 3 elements, because melody is what identifies a song. Without melody, it would be difficult to even conceive of a song or piece.

In musical notation, the melody is almost always written in the treble clef - also known as the treble staff. It consists of a horizontal line of notes that move up and down on the clef as the tune moves higher or lower.

Rhythm is the beat - the swing - the throb of the music. It happens in repeating patterns, depending upon the type of music. It is like a horizontal line of beats which occur at regular or semi-regular intervals. A waltz, for example, basically consists of a heavy beat followed by two lighter beats. So we say that a waltz is in triple meter - one strong beat followed by two weak beats, then repeated.

A march, on the other hand, generally consists of a heavy beat followed by a light beat, then another heavy beat followed by another light beat. (I’m simplifying, of course - there are many varieties…) So a march is in duple meter - as you might expect since we have two feet and we march in left-right-left-right patterns.

All rhythms are some combination of triple meter and/or duple meter, and the possibilities are endless - from boogie to R&B to mambos and sambas and bossa novas and….on and on.

Harmony, the 3rd aspect of music, is the musical background of a song - the chords, or intervals “behind” the melody. Without harmony, a song sounds empty - like a vocalist singing without an accompanist - or accapella. Music doesn’t HAVE to have harmony to function, but in actual practice it almost always does, even if it is just the interplay of two melodies, as in counterpoint.

You could spend a lifetime learning all the nuances of music, but it its most basic form, it is these 3 elements combined together; melody, rhythm, and harmony.

About the Author

Duane Shinn is the author of the book-CD-DVD course titled “How To Dress Up Naked Music On The Piano!” which is used by pianists around the world and can be found at http://www.pianoplaying.com

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Chinese Lanterns are very fashionable this season and the team at Chinese Lanterns have really revelled whipping out the camera to get lots of pic’s of these magical objects Well in all honestness we have been utilizing digital cam’s as opposed to film due to the ease of operation and adjustments of the photo’s;Snappy edit and instant playback of shots as well as the power to take shots in the 1000’s in one excursion! The capacity cap of my old polaroid 24 shots camera seems archaic by comparability. I recently purchased a new camera and can assure you it was an involved and long process. There are many different facets of the purchasing conclusionto come to grips with not to talk of the reviews that tend to oppose each other to some extent. It’s easy to get overcome by it all. From my experience it pays to have a good resource site such as dPreview on speed dial it breaks the camera’s into families such as compact, prosumer etc. It also features user established content and some well written articles on the different models. At the end of the day no amount of reviews or spec’s can make the conclusion for you. You really need to get one in your hands to know what feels right for your style of photography

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The 2005 World Series of Poker started its 36th year bigger and better than ever at the RIO! Hotel and Casino in Las Vegas, Nevada. At the mid point of the tournament series, Events #1 through #22 have been completed. If you were not fortunate enough to be in Las Vegas for this mega event, here are some of the updates, results and highlights for you.

Records were being made from the start as 662 casino employees entered Event #1 which was the “Casino Employee No-limit Hold’Em” tournament. The number broke the record set last year, which was 279 entrants. Andy Nguyen, a poker dealer from Binion’s in Las Vegas, won this event earning a payday of $83,390. Things really picked up as Event #2 “No-Limit Texas Hold’Em” began with an astounding 2,305 players signing up to play. For comparison, the 2004 WSOP Main Event had 2,576 players in it. Allen Cunningham was the recipient of a WSOP gold bracelet and $725,405 for winning this one. Event #3 “Pot-Limit Hold’Em” had Thom Werthmann pocketing $369,535 by overcoming tough play from Layne Flack in the heads up match at the final table. Another WSOP record was set when 21 year old Eric Froehlich became the youngest person to earn a WSOP championship bracelet by winning Event #4 “Limit Hold’Em” and an additional $361,910 for his efforts. Pat Poels who quit his full time job to become a professional poker player won event #5 “Omaha Hi-Low Split”. His paycheck that day was $270,100. Isaac Galazan won Event #6 “No-limit Hold’Em” a shootout tournament by defeating a determined Harry Demetriou and took home $315,125 for becoming champion.

Event #7 “No-Limit Hold’Em with Rebuys” was won by 24 year old poker tournament millionaire Michael Gracz, picking up an additional $594,460 for the win. But Michael said he would give up all the winnings just to have the WSOP bracelet, that’s how much it meant to him. Event #8 “Seven Card Stud” had online qualifier Cliff Josephy claim the victory and $192,100. Erik Seidel picked up his 6th WSOP bracelet and $611,795 after winning the Event #9 “No-Limit Hold’Em” tournament. Reza Payvar who saw a marathon 13 hour heads up match to the end, won Event #10 “Limit Hold’Em”. Reza, who received $303,610 and a WSOP bracelet, stated he dedicated the win to his father who passed away last year. Reza missed the 2004 WSOP to be with his father who had cancer. Online qualifier Edward Moncada won Event #11 “Pot-Limit Hold’Em” receiving his first WSOP bracelet and $298,070. The winner of Event #12 “Pot Limit Omaha” was Josh Arieh who earned his 2nd gold WSOP bracelet along with a $381,600 payday.

In his 58th major tournament win, T.J. Cloutier picked up his 6th WSOP bracelet by winning the Event #13 “No Limit Hold’Em” event and pocketing $657,100 in the process. Event #14 “Seven-Card Stud High-Low Split” lasted 36 hours, but in the end Steve Hohn picked up his bracelet and $156,985. Steve even endured a 4 1/2- hour heads up battle with Mike Wattel at the final table to capture this tournament victory! Mark Seif was able to place a desired crown on his poker resume by winning Event #15 “Limit Hold’Em Shootout” and $181,330 in his wallet. The champion for the Event #16 “No-Limit Hold’Em Shootout” tournament was Anthony Reategui, proving himself the best of 780 players for the title of champion and $269,100. Quinn Do ended up with $265,975 for winning Event #17’s “Limit Hold’Em” tournament. Denis Ethier came from behind as the final table’s short stack to win Event #18 “Seven Card Stud High-Low Split”. Denis was rewarded with $160,682 for his effort. And Barry Greenstein became the champion of the Event #19 “Pot Limit Omaha” tournament gaining another $423,405 and a bracelet. Barry in his true humanitarian form dedicated his win to a terminally ill cancer patient named Charlie Tuttle. For Event #20 which was “Pot Limit Hold’Em”, Brian Wilson won $370,685 for his efforts at the WSOP.

Todd Brunson, son of Doyle Brunson was the winner of the Event #21 “Omaha High-Low Split” tournament. Todd won $255,945 and entered World Series of Poker history, as he and his father became the only father and son to win championship bracelets. And Mark Seif captured his 2nd WSOP bracelet in a week plus $611,145 to boot by winning the Event #22 “No-Limit Hold’Em” tournament.

With an unprecedented number of players participating, it seems records are being broken and WSOP history is being rewritten almost daily. Recently the WSOP officials revised their total prize pool estimate from $60,000,000 to $100,000,000 because the amount of people entering the tournaments has surpassed even their highest expectations. When this tournament series becomes televised, the world will have a lot to watch.

About the Author

Tom Howze is a webmaster for 9 sites that relate to 2005 World Series of Poker and World Poker Tour events, updates and information.

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ACTORFEST® New York sends our thoughts and prayers to the Americans in the Gulf Coast.

Back Stage®
Presents the 14th Annual
ACTORFEST® NEW YORK
October 29, 2005
9am - 5pm
New York Marriot Marquis
1535 Broadway

New York, NY (August 31, 2005) - ACTORFEST® NEW YORK 2005 is an opportunity for actors to PROACTIVELY improve their career. ACTORFEST®, “a trade fair for actors and actresses” (New York Times) is the country’s most significant conference dedicated to bringing together the business’s most influential agents, casting directors, managers, producers and directors with actors.

ACTORFEST® is an opportunity for actors, from across the country, to learn from experts, essential career planning in regards to film, TV, theatre and other performing arts disciplines. Career Seminars, moderated by an entertainment industry professional, include Auditioning for Film & Television: Warming Up to Cold Readings; Switch Hitters: Actors Who Work Both Stage and Screen; Pursuing the Indie Film Scene: The Actor’s Angle. Attendees can interact with agents, casting directors, managers and niche professionals in Focus Sessions such as Be a Smart Actor; Getting an Agent: You Have a Say in the Matter; Stage & Screen Auditions: Insights & Tips; The How’s, Why’s, and When’s of Joining the Unions; Making It in Voice-Overs; How to Prepare for a Sitcom Audition; Breaking Into Daytime Drama; How to Make a Positive Impression with a Casting Director.

The Free Exhibit Hall, a place for actors to mingle and network, consists of over 90 booths of industry professionals from all aspects of the business from acting services and coaches to web development.

A portion of the proceeds from ACTORFEST® go to Adopt-a-School, a joint program with Inside Broadway, Broadway’s Not-for-Profit Educational Organization. This program was initiated, by ACTORFEST®, four years ago to support New York City’s public school children by promoting arts in education and building relationships between individuals, groups, corporations and their local communities.

ACTORFEST® (www.backstage.com/actorfestny)
When: Saturday, October 29 from 9am - 5pm
Where: New York Marriott Marquis (Times Square, 1535 Broadway, 5th floor).
Cost: The Exhibit Hall is FREE and open to anyone. A package of classes is $45 and includes one Career Seminar and one Focus Session.
Registration and Information: www.backstage.com/actorfestny, 646.654.5706, actorfest@backstage.com.

Back Stage, the industry’s foremost informational business resource for the aspiring and established actor, is proud to present this unique event, which provides career resources and encourages career development for individuals pursuing the performing arts.

Sponsors: FOCUS FEATURES, National Sponsor; JETBLUE AIRWAYS®, Gold Sponsor; PROCTER & GAMBLE PRODUCTIONS, producers of As The World Turns and Guiding Light, Silver Sponsor; INSIDE BROADWAY, Benefit Sponsor.

FOR MORE INFORMATION: PLEASE VISIT OUR WEBSITE AT www.backstage.com/actorfestny. ACTORFEST® New York is produced by actor/producer Jeff Riebe, the Career Seminars and Focus Sessions are produced by Back Stage Editor-in-Chief Sherry Eaker. They can be reached at 646.654.5706, actorfest@backstage.com. Press contact is Katie Rosin, Kampfire Films Marketing and Public Relations, 917-562-5670 or krosin@kampfirefilms.com.

# # #
About the Author

Katherine Rosin has been working in the New York film and entertainment industry since 1995. Ms. Rosin is thrilled about joining the team of her most recent clients: Our Name is Mud, a paint-your-own pottery studio and national ceramics merchandise distributor; FAD, a production company which provides motion content for various venues; “Fitness for Wellness”, a fitness DVD, and Actorfest, a one-day event for actors to help them take control o

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