CREATE NAME … THROUGH … feel free to post this Article in your … onyour website, and forward it to your friends and / or … you post or … publ
CREATE NAME RECOGNITION THROUGH AWARDS
Please feel free to post this Article in your newsletter, on your website, and forward it to your friends and / or business associates. If you post or otherwise publish this article, please ensure that the copyright as well as the author’s entire bylines box remain intact. We would highly appreciate a courtesy copy of your publication and / or a website link. Please E-mail to: email@example.com
CREATE NAME RECOGNITION THROUGH AWARDS Copyrights Nily Glaser, Gan Publishing and a-wedding Day.com 2002
An AWARDS program is one of the best and easiest ways to create a Name Recognition for your business.
Do you have an AWARDS program? In other words, do you AWARD deserving web sites within YOUR CATEGORY?
The following is the introductory information for web site owners that wish to receive The Web Site Recognition Awards program, sponsored by A-Wedding Day. It can be adapted to any category of web sites by replacing A-wedding Day with your specific name or category as follows:
The Web Site Recognition Awards program, sponsored by YOUR NAME or CATEGORY, is designed to recognize excellence and enrich the YOUR CATEGORY community. Receiving this Award and placing it on your home page, tells visitors that your site rates merit.
Any personal, individual, business or organization’s web site that would be of interest to YOUR CATEGORY (field) is eligible to receive this Award. Submission is by recommendation or inquiry. Anyone, including the owners, may recommend sites fitting YOUR CATEGORY for consideration of this Award.
To recommend your favorite – YOUR CATEGORY – related site, just E-mail us. If you are the owner of a web site, you may also furnish us via email, with any or all of the following: a letter of introduction, supportive recommendations or testimonials, a brochure on your company and a business card, a newspaper or magazine article about your web site and/or a press release. We will be happy to refer you as an Award winning web site.
Each web site will be carefully reviewed for merit. Awards are presented when a qualified recipient’s web site is identified as deserving of the Excellence Recognition Award. We do not issue rejection letters. If you do not hear from us in a reasonable length of time, you are welcome to re-submit the web site for re-consideration.
A candidate’s web site must contain some YOUR CATEGORY related content. Content on sites should be complete, useful, interesting, and visually impressive. We frown upon broken links, blank or long loading images, misspelling of words and grammatical errors.
A web site worthy of recognition is:
* Well designed with good use of space * Has valuable content * Is easy to navigate * Has good color harmony * Is appealing to a universal audience * Provides a valid contact email address
** Web sites must be family friendly and children safe. If a child should not view the site, neither would we.
Sorry web sites that contain any offensive, derogatory or adults only content will NOT be accepted.
Recommend your favorite YOUR CATEGORY related site today!
** If you offer awards to adult web sites, delete this.
This is not another call for … ’cause it already came, and will be even louder in next few months and the years to come. Let me … my band, my sacred legend of Rock’n Roll, or only p
This is not another call for recognition ’cause it already came, and will be even louder in next few months and the years to come. Let me introduce my band, my sacred legend of Rock’n Roll, or only part of it, since Rock’n Roll is the legend…As one. This is called PEARLCOPPER.
Women love PEARLCOPPER. And many Rockstars and Rockers find a leading edge in Him, like Jeff Beck, for example. Any questions? Fast, intelligent, sincere, energetic, honest, outgoing and loud Rock’n Roll hero. And He calls his way…PEARLCOPPER. You can see women hanging out there at bars on Tuesday or Friday night looking also for real music, or at concert at your local music hall or at festival, sitting on the grass with friends in company of guys…smoking pot and drinking beer. That’s what women want. That’s what everyone wants. Stunning and rare onstage PEARLCOPPER live concert is what every women, beside all Rockers, want to see, be part of it all. ‘For Rock’n Roll is important cultural movement. It saved society. Drugs, drag and Anarchism were introduced to Rock’n Roll as a fashion; not what Rock’n Roll is.’
One-man Progresive Rock band formed and sustained with musical and visual original creativity by Mark Spiewak.
‘But where to start with this voice that created legend of Rock Star’s own. Whether on the streets of the most ‘civilized’ cities in this fucking world, or on sacred European land, where he visited castles and streets, or in Venice, where his legend was sacrificed in the shadow of ancestral light…’ (Part of prologue from ‘Blood of Rock’n Roll’ book which PEARLCOPPER is writting)
How would that be to watch another coming of true legend, then watch and experience my original performance, like watching shaman swaggering about the stage with shocking and amazing Rock music filled with apocaliptic sound – sound saturated, overdrived and compressed in linear parts of seconds, then expanding into spectrum of uncommon and deconstructed guitar tones and riffs, ranging from amazing collage of smooth tunes to gut-splitting sound. I deconstruct the common guitar tunes and flight. It’s like watching soundscape of symphonic elements with apocaliptic sound, rhythm and melody – mostly original, on my own… My idea of Rock, Rock’n Roll and, finally, Hard Rock is to shock, and even disturb the audience, and sooth it at certain momentum. It’s all filled with passion, rage and faith.(For the future of Rock’n Roll, World’s Peace and Confidence)
Currently, I’m working on my epic scale debut album ‘Sabbath NesT’ that includes ‘Rhythm of Time’ song-Apocaliptic version, from which I created another version of it – Bridge version. Both symphonies are in their way energetic and powerful that contain that apocaliptic grandiose within perspectives of classical music. Moreover, the Bridge version gives more insights, and shows more detailed layout of soundscape,by allowing more space and free time between life, or dance of sounds. Both songs gave a background to creation of ‘Sabbath River’ song which consists of more structural as well as psychedelic and innovative soundscapes, mixed with few common riffs of Rock’n Roll and Classical music which are redefined. A real breakthough. In addition to guitar and synth, there is total flight, life and fire of drums. Whether it’s solo drum, accompaniment or drum hurricane, it’s all to bring it all together, like all at once… The guitar part and guitar solo part in ‘Sabbath River’ is one of the most creative of all guitars in history of Rock’n Roll, ranging for nearly thirty minutes, crushing into everything there is left – when the legend of vision of sound is approaching the peak..Swaggering with electric guitar about the stage on the horse, like black Stallion, then among the fans.
Is Rock’n Roll loosing ‘Its’ identity?
‘Making Rock’n Roll alive in the shithole of human degradation…Or however you want to call it, whether social or moral meltdown.’
‘Gothlieb happend to be inspired by Indian rock-carvings. His lifetime fascination with Theirs and This myth made him convinced that Art is timeless. Another human considered music as timeless. He ‘conquered’ the world by creating his own way in Rock’n Roll, or only part of It – since Rock’n Roll is the legend as one…To become alived in younger generations since the last wave of It. And It would never be the same as with the bravest wave of Rock’n Roll…And sacred.’ (From ‘Blood of Rock’n Roll’ book which PEARLCOPPER’s writing…It’s in ending writing process, and at least, it’s for sale.)
Check it out for your own drive. The message. The sound and silence. And the rage of PEARLCOPPER at:
Want to book PEARLCOPPER? Submit booking proposals for your concert, tour or special event to PEARLCOPPER.
Contacts: Mark Spiewak-PEARLCOPPER at firstname.lastname@example.org
Inc. magazine is … in the process of judging sites for its … business Web award winners. Since I was a judge last year, I … offer some … on how and why to enter y
Inc. magazine is currently in the process of judging sites for its annual small business Web award winners. Since I was a judge last year, I thought I’d offer some observations on how and why to enter your Web site for prestigious awards like this.
First, there were less than 800 entrants in six categories. If we eliminate entrants that were clearly not ready for serious consideration (rampant misspellings, garish color schemes, unfunctional links, no business focus), you may have had a one in 50 chance of winning — and much, much higher odds in certain categories.
Second, it’s essential to read the entry instructions carefully. Every question or item asked for in the instructions is there for a reason, and you run the risk of disqualification if you don’t provide all the requested information.
In the case of the Inc. awards, some excellent sites were removed from the running because they did not answer the questions asked in the entry procedure. Even after being e-mailed for more information, they still did not address the questions. I couldn’t tell whether they did this because the answers might not have placed them in a favorable light or because they had a cavalier attitude toward the judging and thought they could set their own terms for the competition.
Third, for a Web site award, make sure you don’t schedule a site upgrade during the judging period. This happened in more than one instance, believe it or not. A couple of companies that might have won were eliminated from the running because their sites weren’t available at all during the week that the judges were viewing the finalists. Inc. bent over backwards to give sites a second chance when judges complained they couldn’t access some finalists. Even so, this factor knocked a couple of promising candidates out of the picture.
Fourth, take your own competence seriously. The sole proprietor category was sorely lacking in quality entrants, and if you had entered a site that was clear, functional, readable, decent-looking and businesslike, you could very well have had an excellent shot to win.
According to Anne Stuart, senior writer for Inc., material about their awards is among the most-read stuff at their Web site throughout the year, with awesome click-throughs to the winning sites. The only cost of entering this sort of competition for such a publicity bonanza is the effort required to submit a considered and complete entry.
Adds Dan Janal, author of several books on publicity and founder of PR Leads, “You will get mindshare from the judges, who are very important, influential people who could write about your company or tell their audiences in speeches. I know — I’ve judged many contests and have found many interesting companies as a result.”
Remember this the next time you spot an announcement for an award competition. A blue-ribbon credential — and attention from the media and the public — may be closer than you would assume.
… June 30, 2004 — The … “coolest little adult video chat site on the web” just got a little hotter: it could be awarded the Best Amateurs site during the Best Adult Awards cerem
(Toronto) June 30, 2004 — The self-proclaimed “coolest little adult video chat site on the web” just got a little hotter: it could be awarded the Best Amateurs site during the Best Adult Awards ceremony at this year’s Qwebec Expo.
LiveCamNetwork.com is a video chat site that features, unlike many such sites, a roster of its own chat hostesses working from clean, well-lit studios. “We’re aiming to make up in quality what we don’t offer in quantity,” said webmistress Jen. “And we always have fun, sexy girls on. Not thousands, not like those other places, just a dozen of what I think the awards will justify us in saying are the best darned chat hostesses on the net.”
“That’s great, incredible,” said Office Gnome, the site’s Studio Manager. “If we win it would do a lot for us in terms of exposure. And what an ego boost!”
Office Gnome also trains the hostesses, teaching them as much what not to do as what makes a good chat hostess. “It’s a personality thing. On iFriends, you can’t be yourself. Those chat farms usually have a performer sitting in front of four or five computers. We have full video and audio, and we’re on a network that brings visitors to the model. So talk and appearance are very important.”
And who will have to prepare an acceptance speech? “Oh, who knows at this point? This is on September 4th,” said Office Gnome. “When we win it’ll be a shared award. Every one of these chat hostesses is partly responsible for making us what we are.”
Best Adult Awards A … … 6, 2004 It was a flurry of traded business cards and … shaken hands, expert … and snapped photos and … It was an adult tradesho
Best Adult Awards A Hit
(Quebec) September 6, 2004 It was a flurry of traded business cards and appointments, shaken hands, expert seminars, and snapped photos and g-strings. It was an adult tradeshow. It was the first Qwebec Expo.
But the heart of the Expo, Michel Plantes brainchild and labor of love, was the Best Adult Awards. Created to honor the Best Adult Webmasters and Websites, the ceremony was literally held together by Plante, who is also CEO of 3XWebDesign.com. Plantes sweat and dedication were in evidence from beginning to end.
Though the beginning of the Saturday, September 4th show was a little shaky, what with the display on-screen not quite matching the nominees being listed off by presenter Eric of GammaBucks.com, it was soon fixed and the rest went smoothly. Part of the fun came from presenters being called from among audience-members to read out nominees and present awards in a display of communal camaraderie and support at flubs and unrehearsed jokes.
Together, hosts Malezia and Chuck V, she with her stunning looks and he with his smooth demeanor, as well as DJ Franco Fabi and live rock band Zone 51, elevated the show to a professional sheen and pace.
2much.net founder Mark Prince, one of the show sponsors and nominees, was there. It wasnt a huge expo, he said. But because the Internext just happened and Labour Day weekend is upon us, the Expo came off amazingly well, against rough odds. Michel did an incredible job. And it was very productive. Its going to happen again, and become an important show.
Though Plante has said there will be another BAA next year, it is still too early to announce the date. A full list of Best Adult Award winners , which was also sponsored by TAG Network, EarnCoin and YNOT Masters, is expected shortly.
A new GRAMMY category enables creators of sonic … … such … … as BT, the Crystal Method, Paul … and Deepsky, to compete against similar artists instead of
A new GRAMMY category enables creators of sonic masterworks, including such influential innovators as BT, the Crystal Method, Paul Oakenfold and Deepsky, to compete against similar artists instead of having to fit into other musical categories – a report by The G-Man.
Until very recently, the aural excitement of a BT album like “Emotional Technology,” a Crystal Method album such as “Legion of Boom,” or a Paul Oakenfold album like “Creamfields” could get overlooked in the GRAMMY balloting.
In fact, you can find spine-tingling electronic pop and dance music being made in all parts of the world that might easily miss out on a chance to have the kind of high-intensity spotlight that results from a GRAMMY nomination.
But this year, the National Academy of Recording Arts & Sciences (NARAS), the organization that controls the GRAMMY Awards, has changed everything for electronic artists with the introduction of the “Best Electronic/Dance Album” category.
“This is an exciting event for everyone in the world of electronic and dance-oriented music,” stated producer/mixer Carmen Rizzo, who is a NARAS Los Angeles Chapter Trustee. “It is fitting that such a vital form of music receives some of the recognition it deserves.” Appearing at a pre-concert party to officially announce the category, Rizzo added, “As someone involved in the creation of this music as well as a listener, I feel this is a giant leap forward.”
NEW GENERATION OF MUSICIANS. The attraction of music with a technological slant crosses many boundaries. Brian Transeau, or BT, as he is professionally known, is a classically-trained musician who embraced the electronic music world at an early age. “This is what my heroes Debussy, Stravinsky and the like were looking for,” BT stated. “Technology-based music is the only idiom that packs such infinite sonic possibilities,” he added.
Jason Bentley, widely known for his hosting of radio programs on KCRW and KROQ in Los Angeles, is involved with electronically-generated rhythmic music in many ways, as radio personality, club DJ, music supervisor for films (including the “Matrix” series), and producer. “It was high time for the industry to acknowledge electronic and dance music with this album category,” Bentley stated. “For a long time, the electronic and dance categories have been in stealth mode in the USA, so it is exciting to be a part of this new effort to shine a light on a vital aspect of the music industry.”
Ken Jordan and Scott Kirkland, better known as the Crystal Method, were both pleased at the announcement. “From my first year as a voting member of the GRAMMY Awards, several of us from the electronic music genre have been working towards this goal. We never thought it would happen this fast and were just thrilled with the result. We’re just so happy that this style of music can now be recognized by our industry’s premiere awards show,” Jordan stated.
AN EMERGING FORCE. The acceptance of dance and electronic music around the globe has been phenomenal, except in the United States. “It’s somewhat similar to the situation with soccer,” Bentley stated. “Soccer is a global force with millions of followers, intense fans, and tremendous marketing resources, but it is just not as widespread in the U.S. The same thing may be said about dance and electronic music, which makes this GRAMMY category so much more important.”
Bentley sees the emergence of underground dance music into the mainstream as healthy and inevitable. “A lot of people who started getting involved in this music in the eighties and nineties are now taking their place in the business. People like BT, Carmen Rizzo and the others who worked on the committee at NARAS represent something of a changing of the guard.” Bentley, drawing on his background as producer, music supervisor and DJ, is totally committed to this form of music. “This has been my rock and roll, my punk rock, my movement. This was always something that moved me, and it is gratifying to see so many people, performers and companies coming together to back it.”
BACKERS AND SUPPORTERS. Among the sponsors of the event were BPM magazine, DTS, Life’s Good, and musical equipment manufacturer Roland, which had several pieces of gear on display, including their SP-606 Sampling Workstation, the MC-909 Sampling Groovebox, and the new MV-8000 Production Studio.
“Electronic music is finally garnering the respect and recognition it deserves, and we’re excited to be a part of that,” says Doug Hanson, Roland Director of Product Management and Marketing. “It is an exciting time for this genre and we look forward to working with BPM in the future to co-develop events that will generate additional public awareness of this music style,” Hanson added.
The official announcement of the new GRAMMY category came during a reception at the Spider Room prior to a show at the Avalon Hollywood featuring sets by Oakenfold, Junkie XL, the Crystal Method and BT.
More than 250 attended the reception, including DJ/producer DJ Irene; DJ/producer the Angel; Second Sun’s Antoine Toupin and Adam Cavarelli; the Postal Service’ Jimmy Tamborello and Jenny Lewis; James Lamb of Skychurch; DJ/producer David Alvarado; producer David Aude; Jason Blum and Scott Giaquinta of Deepsky; Jes Brieden of Motorcycle; DJ Eve Falcon; producer Charles Feelgood; DJ Mea Fisher; Jan Johnston; DJ Christopher Lawrence; Tommy Lee; DJ “Colette” Marino; and DJ producer Richard “Humpty” Vission.
Brian “BT” Transeau In on the creation of trance music, BT is involved with artists in many genres, having worked with *NSYNC, Sting, Sarah McLachlan, Tori Amos, Madonna and Seal. As composer for motion picture scores (“Fast and the Furious,” “Monster”) and as recording artist and performer, he is often cited as representing music of the highest quality. “BT mounts mesmerizing journeys with his compositions,” Peter Gabriel has stated. “He is not only a virtuoso programmer, but an extremely gifted musician,” Gabriel added. BT has as his goal the marriage of “melody, harmony and memorable songwriting with the most bleeding-edge technology possible. These are the things that excite me,” he added. http://www.btmusic.com
Jason Bentley Host of the nightly “Metropolis” program on KCRW-FM in Los Angeles, Jason Bentley is always on the frontier of pulse music. Coupled with his work as a music supervisor for the “Matrix” films, he has been instrumental in promoting the success of such inventive artists as The Chemical Brothers, Groove Armada, Jamiroquai, Jazzanova, Massive Attack, Portishead, and Roni Size. Even while on the NPR station, KCRW, he also hosted “After Hours with Jason Bentley” on commercial powerhouse KROQ-FM. Additionally, he held an A&R; (artist and repertoire) position at for Maverick Records (often referred to as Madonna’s label). As if this wasn’t enough, he regularly appears as a club DJ. http://www.midiman.net/artists/en_us/JasonBentley.html
The Crystal Method Ken Jordan and Scott Kirkland are the Crystal Method, an electronic band that filters its rock through hip-hop, soul and pop. Firmly entrenched in Los Angeles by way of Las Vegas, the CM duo has collaborated with Stone Temple Pilots and Velvet Revolver lead singer Scott Weiland as well as former Rage Against the Machine guitarist Tom Morello. You’ll find DJ Swamp on one of their songs, but that’s reportedly a pseudonym for Beck. Less well known publicly, but held in high regard in the music industry is another collaborator, multi-instrumentalist and producer Jon Brion (Fiona Apple, Aimee Mann). With impressive sales figures and extensive worldwide appearances, they have had their songs on soundtracks to such films as “Spawn,” “South Park,” and “Lost In Space.” http://www.thecrystalmethod.com
Paul Oakenfold He began in hip-hop, then worked as an A&R; man and had phenomenal success, signing the then-unknown Jazzy Jeff & the Fresh Prince as well as Salt NPepa. Summering in Ibiza, he virtually began the world renown of that location in terms of dance club action. Some say he’s the most respected and most popular DJ in the history of the world. Others just say he’s great. http://www.pauloakenfold.com
Carmen Rizzo A two-time GRAMMY nominated producer, remixer and writer, Rizzo has created an exciting blend of electronic and Middle Eastern music in working with an amazingly diverse group of artists, including Paul Oakenfold, BT, Delirium, Sinead O’Conner, Grant Lee Phillips, Seal, Alanis Morrisette, Ryuichi Sakamoto and Cirque du Soleil. As a producer and mixer, he has collaborated with producers Marius De Vries, Trevor Horn, David Foster and Don Was. He is currently recording his own album. http://www.carmenrizzo.com
Deepsky Jason Blum and Scott Giaquinta are the producer/performer team known as Deepsky. Giaquinta is sometimes credited as J. Scott G., and while this writer has had many articles published as J Scott G, this is pure coincidence. Deepsky is alternately known for powerful live shows and many high-profile remixes for Seal, Paul Oakenfold, America, and the Crystal Method. They also remixed the David Bowie single, “I Took a Trip On a Gemini Spaceship” from his “Heathen” album, as well as Madonna’s “Die Another Day” single from the James Bond movie of the same name. http://www.deepsky.net
Impress users with compete and ready to run n-tier web … in under 2 minutes while … very well … VB.Net and C# . … … include role based … nice loo
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In Radio, What is … heard is not what is … … You can … the same logic applies to music videos. The music video industry is … by the major … of
In Radio, What is Commercially heard is not what is Culturally happening. You can guarantee the same logic applies to music videos. The music video industry is controlled by the major distributors of music. The marketing systems that are in place force commercial products ahead of the underground artists work right into the hands of the consumer. How do you compete with that?
Jesse Russell Brooks is the director of an underground music video commissioned by Change Everything Music in Los Angeles, CA. Once he was on board in July 2004, the small label stuck Brooks with that exact same problem to solve.
Underground Hip Hop artists have very little money compared to the commercial giants. The standard approach for many underground Hip Hop artists is to immediately distribute a music video on the internet through venues such as Ifilm.com or often to various public access shows in America. Independent agents such as The CVC Report or Royal ‘D’ Visual Marketing can distribute for your group or label and also help you try to place a music video on network TV for about $10,000. A small price to pay for the possibility of commercial notoriety.
This article is about a film-maker who exploited an arena that would develop the value of a Hip Hop music video over the underground competition, without competing with the commercial giants. The power of the music video has been diminished for underground artists by the commercial industry. The consumer has become too savvy to rally around a public access music show in conjunction with one or two local radio interviews and or a club performance. In my mind, there was a piece of the puzzle missing. A modern day promotional tool that would augment the value of underground Hip Hop marketing. Jesse explained.
The International Film Festival Circuit is an untapped marketing device for underground Hip Hop artists. Absolutely Untapped.
In America alone there is roughly 1500 Film Festivals that promote and screen work to over 10 million audience members a year. These audiences members include music labels, film directors, video game designers and famous artists all looking for what is new in film and music. Right now, 25% of these festivals carry a music video category. The last 75% is looking for a way to develop a music video category and will make adjustments to accommodate the music video art form, Especially if it is Hip Hop.
The Spaghetti Junction Urban Film Festival is the largest predominantly black film festival in Atlanta, Georgia. I emailed them to find out what their position was concerning music videos. A representative replied, We do not have a category for music videos anymore. We did in previous years but did not receive any entries last year. Film-makers these days have over saturated the market with shorts and documentaries. The music video submissions simply are not there to invest the time and effort to promote a category for. If the pressure was there, we would offer grants, industry support, and find the money to make it happen.
The Film Festival Market is the point where the needs of the underground Hip Hop artists and the underground film director can both be met. Festivals offer grants and cash prizes, merit initiatives, industry jobs, interviews, contacts and free advertising for the film-makers as well as the artists. Judges may be very important or distinguished industry professionals who make themselfs available to the film makers and artists. Local and national major players such as production studio executives and radio DJs are often in the audience. If they are not, you may be encourages to invite them with an endorsement from the festival director. Film makers and Musicians participate in talk backs in front of large audiences. There are areas for free shameless advertisement and a lobby for impulse sales. Local music stores and book shops participate to boost their image and products to the community. The film festival circuit is the missing link to underground Hip Hop marketing.
The film festival circuit is unspoiled by any impression of what Hip Hop should look like or sound like. It is the opportunity for underground rap artists and their directors to not only increase their audience, but to also share words and visuals that would normally get us stamped as Too Art house or Too Conscience or To Radical or To Controversial by commercial outlets. Film festivals are made up of consumers and professionals looking towards the next creative move outside of the commercial world that may eventually broaden it.
My goal is to not only influence film makers to start shooting music videos for the festival circuit, but to also influence underground Hip Hop artists to make music videos and begin using the film festival circuit. Brooks has started an advocacy to influence festivals to add a music video category. The Queens International Film Festival has asked him to help develop their 2005 fall season with a music video category. This is the opportunity for festival directors to widen their economy and Hip Hop artists to broaden their playground. Brooks predicts that local bar bands and underground Hip Hop groups will eventually flood the America festival market with enough underground Rock, Jazz, Punk, and Hip Hop music videos that the category may begin to split into genres. Turning what use to be a venue to discover film-makers into one for discovering musicians as well.
This is a Magic Bullets that could gentrify underground hip hop and forge a way for these passionate, intelligent, articulate, young gifted and black artists to express themselves in a market that does not have to compete with the stereotypical, commercially controlled musical kingpins.
With in the past 6 months , ILLCOMs music video The Uprising directed by Jesse Russell Brooks has received 11 awards and over $4000 dollars in cash grants from film festivals in America and abroad. The video has been screened in over 20 festivals in 2004 and is presently pending in over 45 festival competitions and 5 invited screenings for 2005. ILLCOM has sold more the 10,000 units and is pending a national tour Fall 2005. The Video Link is listed below.
Jesse Russell Brooks is currently on the MakeBelieve Film rooster as a music video director in Los Angeles and is currently in pre production on his next Hip Hop Music project. He is also a public speaker and film advocate whose goal is to influence underground Hip Hop artists around the globe to make music videos and compete in the Film Festival Market.
References and Contact Information
Jesse Russell Brooks JesseRussellBrooks@gmail.com
Illcom: The Uprising Music Video Link: http://www.ifilm.com/ifilmdetail/2646463
The CVC Report: http://www.cvcreport.com
Spaghetti Junction Urban Film Festival WWW.SJUFF.COM
The Queens International Film Festival http://www.queensfilmfestival.com/