Sunday 09 November 2014

Why musicians say no to Spofify
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Dublin (CNN) -- Album sales are at an all-time low in the United States. Vinyl sales are at their highest for 15 years. Everybody says streaming is the future, yet major artists are pulling out of streaming services. And in tech-oriented Japan, CDs still account for 85% of album sales. The current state of the music industry is anyone's guess.


Technology is transforming the way music is created, shared and enjoyed, and where we will go from here is hard to predict. The latest shock to the system is Taylor Swift's decision to break up with Spotify, the popular music streaming service that has 40 million active users -- one quarter of which are paying subscribers.

With the release of her latest album, entitled "1989," Swift -- arguably music's most popular artist at the moment -- requested that all her back catalog be removed from the service. The move, which would be risky for most other artists, helped boost sales of the album to 1.3 million units in its debut week, the best performance in the industry since 2002. With no legal option other than buying, fans obliged.
Music making is for everyone. Technology has made it cheaper, accessible and more powerful.
Eric Wahlforss, Soundcloud

Spotify says that over 70% of its revenues go to artists, but just between $0.006 and $0.0084 is paid for each play, depending on the artist. Others before Swift have pulled out: Thom Yorke famously described the service as "the last desperate fart of a dying corpse," and his solo works are not available for streaming. Other no-shows include The Beatles, who have an exclusive deal with Apple.

Read: Never cook again -- now you can print your own pizza

And yet, Spotify is now earning some artists more money than iTunes in Europe, as was revealed at the Web Summit technology conference in Dublin by Willard Ahdritz, CEO and founder of Kobalt, a company that represents thousands of musicians. That means that streaming is becoming, in some instances, more profitable than album sales.

Predicting the hits

Elsewhere in the digital world, social media is becoming a dominant contributing factor to the popularity of an artist, and it's also generating a huge amount of data that can be a powerful tool for trend analysis. Public social data is like a crystal ball that can help the music industry predict who's going to become the next big thing.

A company called Next Big Sound specializes in precisely these types of predictions. By tracking streams and collecting data from the Internet -- new Twitter followers, Facebook likes and Wikipedia page views -- the company says it can estimate the likelihood of an artist making it into the Billboard Top 200, which charts album releases, over a year before it happens.
App captures soundtrack to your life
Digital video transforms skateboarding
Hello, smart home?

Making the charts is not easy. Speaking at the Web Summit, Alex White of Next Big Sound pointed out that in the last year, only 961 artists made the Billboard Top 200, and just 204 of those were entering it for the first time. The Billboard Top 100, which tracks singles rather than albums, is an even more exclusive club: out of 249 artists appearing, just 43 were debuting.

Despite the charts favoring established artists, it's never been so easy to make, share and discover new music. "At the end of the 90s you needed a full blown musical studio to make real music," said Eric Wahlforss, co-founder of streaming service Soundcloud, "now all you need is a laptop. Even an iPad can be enough. Music making is for everyone. Technology has made it cheaper, accessible and more powerful."

Read: Creepy toy lets babies post on Facebook

Soundcloud was launched in 2007 and allows users to upload their music and embed it anywhere, offering a powerful tool for discovery. It has evolved significantly over the years, skewing its balance in favor of listeners and introducing algorithms that spot protected material. "We care a lot about copyrights and we have automatic filters that can block content on behalf of copyright holders," said Wahlforss. "We want to go to a billion monthly listeners, and welcoming major labels is a key point of the journey there."

The service, which currently boasts 175 million monthly listeners, has just announced a licensing deal with Warner Music, and is introducing a paid subscription model next year. "If you have those numbers, naturally you want to generate revenue, and that's what we're focusing on at the moment," said Wahlforss.

A matter of taste

Even though music discovery has evolved rapidly in recent years, there is still no consensus on which technology is the best to analyze someone's musical taste. According to Kevin Lee, who was among the founders of the Beats headphones brand, we might need to start from scratch. "Even with all this music, at any given time I still only have about five to 10 songs that I love and listen to, but I have to believe there may be 100 that would really touch me in the same way," he said. "I feel we need a new technology that can figure that out."
This is an experimental and exciting period. So, let's experiment and see what works.
Bono, U2

Lee now heads Sol Republic, a rising brand of audio products, and thinks that in the future we'll have headphones capable of analyzing a user's emotional response to a song, and then suggesting something similar. "It takes three seconds for you to know whether you like a song or not. There's something about our ears and our body and our mind that figures that out so quickly, and we need to find a technology that can do that for us," he said.

Apple bought Beats earlier this year for $3 billion, in a strong statement about the significance of headphones in this industry: because we listen to so much music through our phones, hidden away in our pockets, it's what's on our heads that counts. But Lee thinks that headphones have become too ubiquitous. "I hope people will discover this thing called the speaker," he said. "Right now you need a large, expensive speaker to get good sound, but we had the same problem with headphones and we solved that. I'm confident that we'll manage to shrink speakers in size without compromising sound quality: when we figure that out, people will change the way they listen to music at home."

One thing, however, does seem likely: "Streaming is the way of the future," said Soundcloud's Eric Wahlforss.

At the end of the Web Summit, sharing the stage with the final panelists, U2's Bono joined the discussion, defending Spotify's royalty model, and arguing that streaming is, indeed, what lies ahead, even amid the many uncertainties. "The remunerative bit still has to be figured out," he said. "This is an experimental and exciting period. So, let's experiment and see what works."

Read more: Never cook again -- now you can print your own pizza

Read: Creepy toy lets babies post on Facebook
Posted by: warchilin66
on 2018

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The RSR TRiP Radio Uploader is a place where musicians can upload their music and photo's and get your music played on the radio station on the internet for FREE! We also offer career consulting and facilities for every musician from recording facilities to rehersal studio's. We offer also offer professional engineering and recording on many levels. We have the ability to take a project from the ground up. The "RSR TRiP Radio Uploader" is the perfect place to host your music and photo's You can upload one song for now. If you require uploading more songs you can contact us. In the near future we will have Premiun Hosting accounts. Premium Accounts offer More space for song's and photo's. If you would like custom page's you can contact us about setting up your site with me and I will discuss possibilities for your site. We are planning on offereing different levels of accounts depending on the hosting space that you will need. The rates we plan on offereing will be comparable to many other services but we believe we can offer better service at a cheaper rate.

Stay Tuned!

Posted by: Slinger
on 2018

foundation work .
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Foundation work is who WE are today. Team Slinger feels a strong sense of responsibility to help make our world a better place! The things we do below are to ALLOW us the privilege of giving back to our world through our advocacy of many charitable organizations in the United States and throughout the world. This company has been set up BY musicians for musicians and film artists. We are founded on the premise that we have been blessed and have a moral responsibility to give back to our world. Our goal is to alleviate pain and suffering & encourage organ donation, aid with disaster relief and be our brother’s keeper. Our mission is to save the world and we would like you to be a part of our mission. Our primary endeavor is to draw musicians and film artists to our site so that they can participate in their own success, but our secondary motive is to encourage these same artists to give back to their worlds through advocacy of charitable causes. We have an army of artists from all aspects of the entertainment field working to promote their vision to help change the world .Our network speaks for itself, they are the finest the entertainment Industry has to offer.
How Will You Make A Difference ?
Posted by: Slinger
on 2018

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Cover Story

The Rise and Inglorious Fall of Myspace

By Felix Gillette June 22, 2011

In 2006, Jeremy Jackson—the buff, bronzed former Baywatch child star—couldn't imagine a world without Myspace. He was a single, underemployed actor in Los Angeles, an exhibitionist in need of an audience, and Myspace filled almost every need. He spent hours every day on the edgy social network, which was known as a pop music hub where artists such as Lily Allen and My Chemical Romance helped launch their careers. Jackson had more than a thousand "friends." He sold trucker hats and flirted with women. His profile page was decorated with Trojan Magnum XL condoms. He was the poster child for the Myspace lifestyle.

But things changed.

"I tried to cling to Myspace for a long time, hoping that someone there would come up with some idea to keep it alive," says Jackson, 30. "But my assistants and business partners finally beat it into my head that it was a dead horse. It's done. It's a joke. If you do stuff on Myspace, you just look sad."

Podcast: Behind the Story

Jackson still hustles for attention on the lower rungs of fame—he currently stars in season five of Celebrity Rehab, in which he battles his addiction to growth hormones for cable television viewers. But he now does his digital communing on Facebook and Twitter. He hasn't checked his Myspace page since 2009.

At its December 2008 peak, Myspace attracted 75.9 million monthly unique visitors in the U.S., according to ComScore (SCOR). By May of this year that number had dropped to 34.8 million. Over the past two years, Myspace has lost, on average, more than a million U.S. users a month. Because Myspace makes nearly all its money from advertising, the exodus has a direct correlation to its revenue. In 2009 the site brought in $470 million in advertising dollars, according to EMarketer. In 2011, it's projected to generate $184 million.

In February, News Corp. (NWS), which bought Myspace and its parent company, Intermix, in 2005 for $580 million, started officially looking for a potential buyer at an asking price of $100 million, according to a person familiar with the sale process. Yet even in the midst of a frenzy for social media that has seen LinkedIn (LNKD) valued at $6.4 billion and Groupon rebuff a $6 billion takeover offer from Google (GOOG), barely anyone wants to buy Myspace. On June 9 the News Corp.-owned tech blog reported that a group of investors led by Activision Blizzard (ATVI) chief Robert Kotick was closing in on a deal. "Getting people to come back to something that in their minds has become less useful is an incredible challenge on the Web—just ask AOL," says Richard Greenfield, an analyst with BTIG. "Myspace has become an eyesore for News Corp."

It's an eyesore for users, too. Many Myspace pages appear to be host bodies for the worst kinds of advertising parasites. On the upper right-hand corner of the page for Zaiko Langa Langa, an African band Googled at random, a photo of a blonde in a tight T-shirt appears, asking, "Want a Girlfriend? View Hundreds of Pics HERE!" (It's an ad for a dating site called True.) Farther down, someone has posted footage of nearly naked jiggling buttocks. There hasn't been an update from the musicians in weeks.

Mismanagement, a flawed merger, and countless strategic blunders have accelerated Myspace's fall from being one of the most popular websites on earth—one that promised to redefine music, politics, dating, and pop culture—to an afterthought. But Myspace's fate may not be an anomaly. It turns out that fast-moving technology, fickle user behavior, and swirling public perception are an extremely volatile mix. Add in the sense of arrogance that comes when hundreds of millions of people around the world are living on your platform, and social networks appear to be a very peculiar business—one in which companies might serially rise, fall, and disappear.

Danah Boyd, a senior researcher who studies social networks at Microsoft Research (MSFT), attributes their instability to the way users can bind themselves by race and class, taste and aesthetics. Influential peers pull others in on the climb up—and signal to flee when it's time to get out. "The thing about user adoption and user departure is that it's not a steady flow," says Boyd. "Think of it as, you're knitting a beautiful scarf, and you're knitting and knitting, and you get a bigger and bigger scarf. Then someone pulls a loose thread at the bottom. And it all unravels."

In 2007, News Corp.'s belief in Myspace was best represented by architecture. The company was considering a redevelopment plan that would have moved its headquarters to the far west side of Manhattan. Sketches from the time show an alternate vision of the company's future anchored, front and center, by a gleaming Myspace pavilion. The other elements of Murdoch's old-media empire—the Wall Street Journal and New York Post newspapers, the Fox News television network—would be scattered around the company's new beating heart.

Posted by: Patty Pinkstaff
on 2018

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THEY ARE SCAMMERS!!! Post here if you went thru similar experiences>> WARNING!
I want to share with the music community what some bands including myself and Fans have been victims of: Scamy and fraudulent practices from reverbnation.
REVERBNATION then got pissed off and block us out from being able to log on our band account. The thing was that songs were still for sale there and we had no way keep track of sales and EVEN GET PAID.

Fans contacted Reverbnation but they ignored them. Who is going to keep fighting for a $1 or $2 songs... not worthy your time. The band (us) felt bad. We individually emailed songs to the people who contacted us.

Posted by: Slinger
on 2018

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Tech HBO

HBO thinks it can grab 5 million cord-cutters with new service

November 6, 2014, 8:48 AM EST

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But the company doesn’t think it will upset pay-TV model

This post is in partnership with Time. The article below was originally published at

By Victor Luckerson, TIME

HBO has made its expectations for its upcoming streaming service a bit more clear. In a quarterly earnings call for parent company Time Warner ( TWX -0.47% ) , HBO CEO Richard Plepler said that the premium cable network is looking to pull in between 4 and 5 million new customers who don’t currently subscribe to cable with its new online-only offering. In October Plepler estimated that there are 10 million broadband-only households in the U.S., a cohort he called “low-hanging fruit” that could easily be persuaded to buy HBO.

By allowing people who don’t pay for cable to access its content, HBO is engaging in a high wire act that has never been attempted before in the pay-TV industry. The company wants cord-cutters to buy its service, but it doesn’t want the people who already pay for cable to dump their subscriptions in favor of an HBO-only product. That would upset the pay-TV distributors, who currently handle customer service for HBO and often lower the subscription cost to entice new subscribers.

Plepler believes the doomsday scenario where HBO inadvertently hastens the collapse of the cable bundle won’t happen. In fact, he said the company actually sees greater potential upside in convincing more cable subscribers to add HBO to their current plans. HBO wants to add 10 to 15 million such subscribers in the coming years. “This is not binary. It’s not one or the other,” he said. “I see nothing but upside for us, nothing but upside for the consumer, nothing but upside for the distributor.”

Others in the industry are not so sure. After HBO announced its intention to launch a stand-alone service, NBCUniversal Chief Executive Steve Burke said, “It’s going to be a challenge for them to not cannibalize what is already a really, really good business.” (NBC is a division of Comcast ( CMCSA -0.42% ) , the country’s largest cable provider.) Plepler said HBO continues to have a strong relationship with Comcast and intends to work closely with broadband providers to launch the new service.

Even without the cord-cutters, HBO is bringing in a lot of money. The network generated $1.3 billion in revenue during the third quarter, a 10% increase over the same period a year ago. Operating income declined 4% to $380 million. Time Warner as a whole saw revenue rise 3% to $6.2 billion for the quarter, beating Wall Street analysts’ expectations. Adjusted earnings were $1.22 per share, also beating projections.

Posted by: Slinger
on 2018

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So this a test from the mission control center on telling all of you to get ready for SLINGERS new launch coming out soon on Universal music group.. We also have many new Technologies that we will be showing to the world . Slinger band will be playing the Festival of Hope concert and kicking off world tour. Our website platform will be doing band competitions for the festival of hope on our website. Were going to unleash a new music app that will change the music world so stay tuned for that .We also will be bringing reality rock n roll shows to our site as well you will be able to check out whats going on behind the scenes beamed back to my network .We will have 30 radio stations that will be carrying battle of the bands world wide. We will be giving real prizes to the winners from the competitions we will be doing so bands can win real prizes .When you come to our website and sign up for an account we will give bands free radio play on our stations .There will be so much more to come so stay tuned.,
Posted by: Slinger
on 2018

Tuesday 13 December 2011

Mark Berry Attack Records and Filmworks
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Mark Berry is at the forefront when it comes to producing/developing new and emerging talent in the international music scene. Mark's multi-platinum award winning production /mixing /engineering credits include some of the biggest names in the music industry such as David Bowie, Duran Duran, Billy Idol, Boy George, The Killjoys, I Mother Earth, Kool & the Gang, Yes, The Headstones, Voivod, Burton Cummings, Talk Talk and many, many more.

The Beginning:
Originally from Brooklyn, Mark began his music career at the Institute of Audio Research (IAR) in New York City in 1972. At the young age of 17, Mark was commuting into Manhattan at night, learning the inside ropes of making records and recording up and coming basement bands. After graduating from IAR, Mark was drawn to the Brit sound and was off to London, England, where he soon arrived on the doorsteps of AIR Studios, one of the world's most renowned recording facilities, owned by Sir George Martin. "I just flew over and started walking the streets of London looking for a job, stopping in every studio that I took off the back of my favorite albums," he remembers. Mark soon met Nigel Walker, who was working as an assistant to producer John Punter on an Alan Clarke (lead singer of The Hollies) solo project at AIR. "That ended up being my first job in the business, working with John Punter. Getting cigarettes and coffee for the guys and just watching and listening in the background, absorbing everything." Not only did Mark gain a considerable amount of expertise in engineering and mixing records but also invaluable experience in classic rock production and orchestral techniques working as an assistant under Sir George Martin. Sir George was responsible for producing arguably the most influential band in the history of rock 'n' roll, The Beatles. Working with George started out simply recording classical records in the different cathedrals around London for the chamber choir group The Kings Singers. He soon began setting up and assisting on various George Martin and Paul McCartney sessions.

Mark's experience led to his first major engineering assignment; Carly Simon's No Secrets album, which included the international smash, "You're So Vain", and would become his very first of many engineering and mixing credits. Hanging out with Mick Jagger for the background vocals on "You're So Vain" and then going over to Olympic studios for the mixing of the Rolling Stones live '72 tour tapes was certainly the highlight of his early years, and all before the age of 19. However, this was only the beginning for Mark. "I'd say the most amazing session had to be Live and Let Die. Performed by Paul McCartney and Wings, "They had a 63 piece orchestra in there and I felt like I had emptied every ashtray known to man before the end of that one." (In fact, Live and Let Die is one of the very few songs from the Bond films to be nominated for a Best Song Oscar.)

Mark also assisted and worked on several projects such as the groundbreaking Roll Over Beethoven for Electric Light Orchestra, Grand Hotel for Procal Harem, Climax Blues Band and Live - Smoke on the Water by Deep Purple. During his tenure at AIR studios, Mark worked under the tutelage of renowned British rock engineers/producers such as Bill Price (Sex Pistols), John Punter (Japan, Reflex, Bryan Ferry, Roxy Music), Steve Nye (Roxy Music), Alan Harris (T-Rex, Marc Bolan, Mott The Hoople), Geoff Emerick (The Beatles), Chris Thomas (Elton John, The Pretenders, Pink Floyd, INXS), Jeff Lynne (ELO, Tom Petty, Traveling Wilburys), Martin Birch (Iron Maiden, Deep Purple) and Tony Visconti (David Bowie) to name a few.
Return to New York: The Birth of Hip Hop to Independent Producer
With some celebrated credits in hand, Mark returned to the states in the mid 70s. He began freelancing around New York at some of the top recording studios like Electric Lady, Record Plant and the Hit Factory. In 1977, Mark was approached with the position of Staff Engineer and in-house A&R/producer for Vanguard Records (Joan Baez, Buffy Saint-Marie, Country Joe & the Fish) where he worked for over nine years.

While at Vanguard Studios, Mark continued to engineer and mix projects for several of New York's top dance/pop producers and became heavily involved in the early 80s New York hip-hop movement working with artists and producers such as Soul Sonic Force ("Looking For The Perfect Beat"), Planet Patrol ("Play At Your Own Risk"), Awesome Foursome ("Funky Soul Makosa"), New Edition ("Candy Girl"), Jellybean, Arthur Baker, Freeze ("AEIOU"), Eddie O'Loughlin (Next Plateau Records), John Robie, C-Bank ("One More Shot"), Tommy Silverman (Tommy Boy Records), Importe 12 Records, Man Parrish (the groundbreaking "Hip Hop Be Bop") and many, many more.

During this time Mark felt the explosive pulse of New York City street rhythms and his A&R skills directed him to discovering and producing up and coming dance acts such as Alisha, who after enormous success with Vanguard Records went onto sign with multi-national labels RCA and MCA/Universal, respectively. International deals that Mark put together for her. Mark's hit productions for Alisha included the #1 dance singles "All Night Passion" and "Too Turned On" along with the international pop smash "Baby Talk," which went on to become a worldwide chart-topping hit, remaining on the Billboard pop charts for over four months. Alisha became the most successful Pop/Dance act on Vanguard, selling in excess of 2M albums and 12" records worldwide.
The Mid 80s: Dance Remixes & Rock Productions
Mark moved into the area of 7" radio and 12" dance and rock mixing and re-mixing for major multi-platinum artists such as David Bowie, Duran Duran, Talk Talk, Cameo, Toto, Yes, Billy Idol, Boy George, Kool & The Gang, Stephanie Mills, Jimmy Barnes, Animotion, Joan Jett, to name a few. During this time, Mark's "ahead of the times" engineering and mixing skills contributed significantly to the international success of these acts.

Mark's New York entertainment attorney and longtime friend, Paul Schindler (Madonna, Joan Jett, Kiss, Rick Rubin, Russell Simmons, Def Jam Records) of Grubman, Indursky & Schindler at the time put a meeting together with Michael Gudinski. At that time Michael was president of Australia's largest independent record company, Mushroom Records. Mark went onto produce and mix multi-platinum records for some of Australia's biggest acts including; Kids In The Kitchen, Pseudo Echo, Jimmy Barnes, Indecent Obsession, Eurogliders, Machinations, The Chantoozies and many, many more.
New Horizons: The 90s
In 1991, Mark moved further towards rock production and signed with Steve Scharf for producer management in NYC and relocated to Toronto. In that same year, Mark remixed multi-platinum hitmakers, Glass Tiger (EMI) and produced the hit album Get Off for platinum Canadian act Haywire (Attic Records).

Mark also discovered and produced I Mother Earth (EMI) and was the man behind their instant signing buzz that brought 11 international A&R people to Toronto in the fall of 1991 in a bid to sign the emerging band, all based upon a 5-song master that Mark produced at Metalworks Studios. The rest is history as IME went onto become one of the biggest alternative bands in Canadian rock history during the 90s. This rock production brought him to a chance meeting with Hugh Dillon, lead singer for Canadian rock outfit, The Headstones and Mark went onto produce two platinum albums, Picture of Health and Teeth & Tissue for the band through MCA/Universal. Burton Cummings, lead singer for the Guess Who then tapped Mark to produce and mix his live solo unplugged effort for Universal Music Canada, Up Close & Alone - another multi-platinum production.
Mega Canadian rock manager Pierre Paradis from Montreal tapped Mark to produce and engineer the critically acclaimed Outer Limits (MCA/Universal) for Voivod, recorded and mixed entirely in Los Angeles. This is arguably one of Mark's most compelling productions with the 17-minute opus "Jack Luminous".

The mid 90s saw the advent of the Internet. This got Mark to thinking that it was control of media content that would determine the future of the entertainment industry.
He was right.
With start up capital from a small publishing company controlled by Canadian media giant Alliance Atlantis, he went on to release, via Attack Media Group, some of the very records he was hired to produce, along with securing them insertions in some of the biggest TV shows and feature length films in the entertainment business. While creating quite a buzz with his new talent (that the majors were as usual ignoring), Mark was putting together international licensing and insertion deals for masters that he was involved with either as a producer, co-publisher or master owner.

Present Day - Having a lot of fun building his own company:
Mark is presently at the helm of the Attack Media Group (AMG). AMG is a fully independent media company with an international mandate for promoting/marketing new and emerging artists and film/DVD content on the international scene. Literally starting in his bedroom 11 years ago, AMG's rock and urban record division has over 60 masters that are distributed in North America, South America, Europe and Asia.

AMG owns and controls the international audio, video and merchandising rights to 144 audio CD masters through its children's division, AMGKidz called The Ellery Mysteries featuring the goofy dog character Ellery and his sidekicks, guiding kids through educational mysteries they must solve. A DVD animation series is currently in development.

AMG controls the worldwide master rights to the very first Frank Sinatra single called "Our Love" recorded in 1939 at the age of 19. With broad ancillary rights associated with the master, AMG has a feature length MOW in development with one of Canada's most respected directors.

Attackin' Tunes, AMG's music publishing division is 50% owned by one of the world's largest independent music publishers, Cherry Lane Music Publishing, Inc. (Black Eyed Peas, Fergie, John Legend, Icon Productions [Mel Gibson], John Carpenter, Roger Corman, Elvis Presley catalog, John Denver catalog, NFL Films, NASCAR). Attack's music can be heard in major network and cable TV programs such as Dawson's Creek, America's Most Wanted, Roswell, MTV, ESPN, Fox along with the high profile features Coach Carter (MTV Films) with Samuel Jackson, Gang Tapes (Lions Gate) featuring Coolio, Harvard Man (Lions Gate) with Sarah Michelle Gellar and Poolhall Junkies (Gold Circle) featuring Christopher Walken and many more. Attackin Tunes does the theme music along with "bumpers" and "stingers" for Girlz TV, Bang TV, Teens Dating and Health & Beauty TV, internationally. They have done an extensive amount of music insertions in the extreme sports programming area for major cable and television networks, like ESPN. Attackin' Tune's client MDM can be heard in The Making of The Matrix Reloaded in the DVD and the accompanying TV special in the Freeway Chase Scene.

Mark is the executive producer of GTV (Graffiti Television) and controls a 10 volume DVD series on the worldwide phenomenon of Graffiti. AMG recently partnered with a major New York based film production studio to launch and to produce this very exciting international urban lifestyle web series coming in March 2010.

Mark’s latest venture is, an interactive website for worldwide music supervisors and filmmakers. The entire Attackin' Tunes/Sabrina's Songs music publishing catalog (along with joining subscribers) is available on the internet and all insertions can be handled and licensed online like the very first Frank Sinatra single ever recorded or the very first Biohazard album. AttackTrax inserts hundreds of songs into feature length films, short films, documentaries, television/cable programs, extreme sports DVDs, exercise DVDs and many more that require music behind a client's visual content. Some of the biggest names in the entertainment industry come to AttackTrax including ESPN, MTV, Sony, Tri-Star, Disney, FOX, Warner Brothers, WB, Alliance Atlantis, plus many more.

A few weeks out of the year Mark hits the road with his Lecture & Workshop series to speak at some of the most prestigious universities and colleges talking about his position as producer/engineer/A&R scout combined with his role as chairman of a fledgling media company. A must for any up and comer in the music and film business filled with unbelievable stories of becoming an entrepreneur in the business, the pitfalls along with the massive successes. He has also spoken as a panelist and moderator at many of the world's most distinguished music conferences like NXNE (North by Northeast), CMW (Canadian Music Week), Music West, Millennium Music Conference & CHINA AV (Shanghai).

Since the fall of 1998, Mark has attended the University of Toronto, Innis College, undergraduate program and is specializing in Cinema Studies to further assist him in his move towards feature length film production. is intended as a resource guide to one of the most innovative music and film entrepreneurs around. Always opinionated and controversial, the facts speak for themselves; Mark S. Berry is a master of today's high tech equipment with vivid stereo and vocal images, strong bass and hard direct rhythms. With an eclectic variety of indispensable skills, Mark is one of only a handful of producers who can truly take a project from concept to completion and expertly handle all of the steps along the way. His experience and artistry have combined not only to create current top chart hits all over the world, but first and foremost to create state-of-the-art modern music. He is currently conquering the eardrums of record executives with his latest international productions.

[Submitted by Ken Pinkstaff]

Posted by: Ken
on 2018

Monday 12 December 2011

International Fund For Animal Welfare
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Help Build 100 Doghouses for Freezing Dogs by Christmas

IFAW is racing to build doghouses for 100 dogs that are set to spend the frigid Canadian winter outside.
The urgent request came from a concerned resident of a Northern Canadian community in which IFAW provides free wellness clinics. In his words:
"Help - I am trying to find money to build dog houses for the people who can’t even afford to feed their pets, let alone house them properly."
The temperatures are already dipping below freezing, so we urgently need to buy the materials and build the doghouses.
I'd hate to think that these dogs - some of them just puppies - will be exposed to the bitter cold and wind, shivering as they try to sleep on the ice and frozen snow.
I know some of the puppies won't survive.
Can you please help us build these doghouses to keep these dogs warm this winter?
The doghouses we want to build for them will be made of thick wood to help insulate the dogs from the cold, they'll have flap doors to help reduce wind chill, and will have rubber floors to protect the dogs against the snow and ice and frozen ground.
Your gift will help us purchase the materials to buy the doghouses and build will help our Northern Dogs program continue to provide lifesaving care to the dogs in these disadvantaged communities...and it will be used immediately and where most needed to protect and care for animals like these dogs who need us so much.
Each sturdy doghouse will cost about $100 to build in materials and building costs, and we are hoping to raise enough funds so that we will have the materials in place to build 100 doghouses by Christmas.
Will you please help with a gift of $100?
I know $100 is a lot to ask, but please know that your gift will do so much to help keep these dogs warm and safe from the harsh Canadian Winter, and it will also help us purchase blankets, medicine, and vaccines for these Northern Dogs and help rescue and care for animals in our other lifesaving projects.
Of course, any amount you can spare will be greatly appreciated and will help animals more than you know.
But please hurry. Snow is already on the ground and frigid temperatures are moving in. Many community members simply can't afford to build or buy their own doghouses. So they've turned to us for help.

Can you please help us give animals like these dogs a happy and warm Christmas by giving a gift today?

Thank you for caring,
Fred O'Regan
IFAW President
p.s. This urgent request to help build doghouses in Northern Canada is part of IFAW's Holiday Gift program. In appreciation of your generous contribution of $40 or more, IFAW will send you a gift specially-made for IFAW supporters.

[Submitted by Ken Pinkstaff]

Posted by: Ken
on 2018

The Cargo Room at Commrow
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The tropical breeze and humidity might be missing from this exotic venue--but rest assured, things are going to get hot.

During the day, Cargo is host is core fitness, yoga, and other classes, all designed to get you in shipshape. **COMING SOON**
Buster Blue at Cargo
Cargo's full bar

Everything changes when the sun goes down. Featuring a full bar and the best live music around, Cargo gets packed with over 500 people and a host of other events outside the box. See the upcoming events above, or go to Cargo's full calendar to find out who's playing and how to get tickets.

[Submitted by Ken Pinkstaff]
Posted by: Ken
on 2018

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