– 1st Single released off of long awaited the album “The Mazter Chef” Album 2016
Afu-Ratook all the tension built up inside for the somewhat lopsided evidence of bullshit over quality music and slammed it out in the writing and the deliverance of his vocal prowess to bring the world the single
This record is not unlike some of Ra’s previous endeavors but at the same time a lyrical sculpture of a version or verbal gymnastics spine tingling metaphors that he has yet to unleash until now. Afu-Ra quotes “I want to unveil a single to and for my hardcore Hip Hop supporters that will give us all hope that the art of a battle rap mc is not dead but a technique of the future”.
Many might and will be true with their statements that this title was used before on so and so’s record however the impact of this record will be quite different.
This record is yet another staple of the brute force dexterity that Afu-Ra possess’s as he prove. This song crafting skills and MC abilities as he fires off a heat seeking missile of a track as the first single of his fifth solo album.
“Body of the Lifeforce”, “Lifeforce Radio”, “State of the Arts” and “Body of Lifeforce part 2” were classic bodies of work in their own write as well-being being critically acclaimed by many.
Traveling the world, pushing the message of self-inspiration and spiritual guidance ́Ra always feels like he has something left to do that has never done before.
“Wake these heads up that are awoke but sleeping”.
Traveling through the barrage of internet confusion and mediocre talents, PHILTY PRO handed ́Ra this gym of an instrumental and the two of them went to work immediately.
Afu-Ra is excited about his entire body of work but just as much is very proud to deliver to the world the “COBRA CLUTCH”
** CHECK OUT OUR RECENT PODCAST INTERVIEW:
Full length interview with legendary
Hip Hop artist, AFU-RA!
PODCAST July 2016: By Kaz Turbill @Acehighentertainmentco
Including Career Highlights, News, Touring & New Music 2016 – Cobra Clutch (+ video preview), Afu Ra’s long awaited 5th Album release: The Mazter-Chef https://www.youtube.com/watch?v=sOh6ysB19b8
– 1st Single released off of long awaited the album “The Mazter Chef” Album 2016
Afu-Ratook all the tension built up inside for the somewhat lopsided evidence of bullshit over quality music and slammed it out in the writing and the deliverance of his vocal prowess to bring the world the single
This record is not unlike some of Ra’s previous endeavors but at the same time a lyrical sculpture of a version or verbal gymnastics spine tingling metaphors that he has yet to unleash until now. Afu-Ra quotes “I want to unveil a single to and for my hardcore Hip Hop supporters that will give us all hope that the art of a battle rap mc is not dead but a technique of the future”.
PRESS RELEASE:
Hip Hop Artist AFU-RA [NYC]
PODCAST INTERVIEW: AFU RA & Kaz Turbill
– July 2016 @acehighentertainmentco
Discussing AFU-RA’s career from his debut album release in 2000 “Body of the Life Force” with hit tracks “Whirlwind Through Cities”, the 1st ever single release by Afu-Ra and the hugely popular tracks “Defeat” and “Equality”, all of which received the attentions of millions of underground hip hop fans and media alike.
Today there are multiple versions available online with YouTube versions gaining over 2 million views each one video posts. With strong ties and affiliation to the legendary Gangstarr duo, DJ Premier produced these tracks on Afu-Ra’s debut album and numerous others throughout his now 5 album releases and many collaborations and singles which also featured the late Gangstarr emcee, GURU.
Afu-Ra “Whirlwind Through Cites” is the 1st ever single released by Afu-Ra. A timeless track from the first ever full length studio recording from Gangstarr affiliate AFU-RA, hailing from Brooklyn NYC. https://www.youtube.com/watch?v=eeuLcPRSctU
Another hit track was soon released, titled “Defeat” (2000) and ft. Gangstarr’s legendary hip hop DJ and producer, DJ Premier. You Tube Link: https://www.youtube.com/watch?v=dMVVie9uX8I
With the album and artist creating such a buzz straight off the bat, the success of this fresh, new hip hop emcees in 2000, the artist and music, had strong impact of the hip hop community in USA and internationally. With strong sales and radio play, Body of the Life Force and Gangstarr’s newest affiliate, AFU-RA and his 1st ever full length album, singles and music videos were effectively gaining the attention of the global hip hop community; cementing a place in the hip hop scene, interest and success came the timeless hip hop hit “Equality” ft. Reggae singer Kymani Marley
Afu over the last 16 years has gone on to produce a total of 5 studio albums, including the soon to be released, long awaited 5th album “The Mazter Chef” due for release this fall in 2016. It has been 4 years between albums, with Afu-Ra releasing the sequel to his hit debut album, titled Body of the Life Force II back in 2012. While his loyal fans and the wider hip hop community have been waiting a while to hear new music from the NYC rapper, it is hugely powerful, exciting and skilful and will be guaranteed to please his diehard fans and critics alike.
With the 1st single “Cobra Clutch” already released and accompanied by an official music video as a teaser for “The Mazter Chef” it has been received well by the hip hop community who were left in anxious to hear more.
** JUST RELEASED… 2nd SINGLE NOW OUT!!
The Mazter Chef Album: AFU-RA 2016
Gangstarr Foundation: 3 Evil Masters
AFU-RA ft. JERU THE DAMAJA & BIG SHUG
So on the 17th July 2016, on what would have been the 55th Birthday of late Gangtarr emcee and hip hop legend, GURU, DJ Premier released the 2nd single from the new Afu-Ra album to hip hop heads around the globe. A collaboration by the Gangstarr Foundations emcees.
“3 Evil Masters” Afu-Ra ft, Big Shug & Jeru the Damaja – 2nd single release off “The Mazter Chef” Afu-Ra 2016
In this post he paid his respects to his long-time partner in the game, GURU who was such a pillar of the hip hop industry for many decades, legendary hip hop artist loved by so many across the globe. Primo expressed the greatness of the loss of GURU who he described as having a huge contribution and influence on the music for so many decades, unrivalled skills. This are talents and appreciation shared throughout the scene globally, an icon and legacy that would never die and would remain a part of the foundations of hip hop culture. With the Gangstarr Foundation and DJ Premier left to carry on the Gangstarr brand, Premier dropped the latest GSF hit on the world, a solid production that goes hard, titled “3 Evil Masters”. This tracks by Afu Ra, ft Big Shug and Jeru The Damaja is now the 2nd release off of the long awaited soon to be released album by Afu Ra, which will be available soon for purchase throughout the globe in-stores and online.
As Afu-Ra sets to officially release “3 Evil Masters” track across Digital distribution platforms for fans to download, he will also be dropping the official music video on the hip hop world in the coming weeks. Again this video is a solid production shot by Afu-Ra and GFS crew while in Europe earlier in the year.
In the wake of the highly anticipated full-album release, Afu-Ra is now gearing up with new business associate and agent, Kaz Turbill (Ace High Entertainment Co) for an international tour, music and media releases. The Mazter Chef Album Promo Tour 2016 will kick off in the UK in October, followed by Australia and New Zealand from the 10th November and concluding with some shows in Asia in December where he will be making debut performances for long awaiting fans. This will wind up a very busy year for the New York born rapper as 2016 marks a new chapter in the career of hip hop emcee Afu-Ra and marks the beginning of many great things to come from the Brooklyn-born artist.
FOR MORE INFORMATION & TO HEAR THE FULL-LENGTH PODCAST INTERVIEW>
In this half an hour segment we discuss all things from beginning his career and releasing his first debut album in 2000, right through to new beginnings in 2016. Along with chatting about all things Afu Ra from past to present, we delve into detail about all that is to come over the rest of 2016 and beyond. We also take a look at the official music video for the 1st single off his new album “The Mazter Chef”, discuss his associations with Gangstarr over the years, the Gangstarr Foundation and the production of 3 EVIL MASTERS. Released just days ago on the memorial celebrations of the hip hop world, on what would have been the 55th birthday of Gangstarr superstar emcee GURU [17 July 1961 – 19 April 2010], this momentous GSF single has already received huge hype and attention upon its release by DJ Premier in his memorial post to his late partner in hip hop and Afu Ra discusses the coming together of these three hugely talented emcees to create what is already on its way to being a hit track around the globe.
Check out the following links and pages for more information and follow Afu-Ra and Ace High Entertainment for all the latest news and up-to-date inform*ation on his music, release dates and where to purchase, music videos, tour dates and locations, ticketing, media, merchandise and more!
TAKING MEDIA / BOOKING & BUSINESS INQUIRIES via Ace High Ent Co acehighentertainmentco@gmail.com
AFU-RA, Legendary HIP-HOP Artist & GANGSTARR Foundation Emcee, will be hitting the road to launch his album internationally, with “The MAZTER CHEF” Album Promo Tour 2016 from October 2016. Kicking off with 6 shows in the UK, with plans to head to Bristol, Brighton, Manchester, Cambridge, Newcastle & Glasgow from Saturday 1st October through until Sunday 9th October.
Cormega aka Mega hails from Queensbridge New York & is on his way to Australia & New Zealand to celebrate the anniversary of his debut release & 15 years of highly regarded hip hop releases.
Cormega is an emcee that has been highly regarded for powerful lyricism & ability to give descriptive accounts of inner city life, derived from his own experiences& struggles in the NYC streets during the 80s & 90s.
With a solid collection of albums and collaborations since his first full album was released in 2001 he has made a serious name for himself across New York & globally. MEGA has gained a lot of respect worldwide for his skilful lyricism & music, with the knowledge and understanding of both the street life and the struggles of young people hustling on the streets of New York and relatable to audiences in every city.
The Realness hit the Number 1 on the Billboard Charts [Urban Artist: Hip Hop / RnB + Best Independent Album]. It stayed #1 for multiple consecutive weeks and totalled 24 weeks in top lacement by category!
Following The Realness, The True Meaning was the first independent album to ever win a Source Award for Independent Album of the Year.
Cormega then went on to record “The Testament” which featured in Ego Trips Book of Rap, and was listed as one of the best albums in history not released.
Mega was received The “Impact Artist” Award, in the Underground Artist Awards 2004 for his contribution and impact to hip hop scene and genre.
Cormega (NYC) -The Realness 15th Anniversary Hip Hop Tour: OZ & NZ Shows!
Mega is heading Down Under for one epic adventure from late May – early July 2016! Cormega, a multi-award winning legendary hip hop artist out of Queens Bridge NYC & is rockin stages all over OZ & NZ on his long awaited, highly anticipated 1st ever tour down under!!
An Ace High Entertainment Co – LegalHustle Records Production.
CORMEGA (USA) – OZ & NZ HIP HOP TOUR!
…. THIS YEAR CORMEGA IS CELEBRATING A MILESTONE…
”The Realness” 15th Anniversary !”
This World Tour kicked in April 2016 with the first two performances in USA. Both shows in Cambridge Massachusetts and Brooklyn New York SOLD OUT!
Next up CORMEGA is heading Down Under to OZ & NEW ZEALAND, hitting Australia in late May for his 1st EVER OZ SHOW on 27th May in Melbourne.
AUSTRALIA DATES:
MELBOURNE: 27 May – Eureka Hotel
ADELAIDE: 29 May – HQ Complex
SYDNEY: 2 June – The Bald Faced Stag
BRISBANE: 8 June – New Globe Theatre
MELBOURNE: 19 June – Grumpys
PERTH: 24 June – Astor Theatre
NEW ZEALAND DATES: AUCKLAND: 29 June – Neck of the Woods CHRISTCHURCH: 30 June – WunderBar WELLINGTON: 1 JULY – Meow
The impact of personal computers, the Internet and new digital media formats on the music industry, copyright laws and consumer behaviours.
[Written Dec 2012 by Karyn Scottney-Turbill - Masters in Media & Comms: Monash University]
ABSTRACT:
Advances is digital technology have revolutionised the very way in which media is distributed and consumed. Digital media innovations have immensely improved the initial quality of audio and visual recordings, as well as subsequent reproductions (Goel, Miesing, Chandra, 2010, p1p1), and have bought about revolution within the music industry, as the debate over legal and illicit downloading rages on. Such new technologies have rapidly altered consumer behaviours, and the industry has been forced to redevelop existing business models, facing serious losses in the retail sector.
FROM CDs to MP3s: Piracy & the Transformation of an Industry –
As such advances in technology lead us to an “era of unprecedented knowledge, cultural reproduction and dissemination, we are challenged to reconsider the fundamentals of copyright law” (Fitzgerald, 2008, p2), and are left to analyse the consequential effects of digital technology and new media. Developments in information sciences in the 1980s, including the introduction of personal computers, made digital technologies like the Internet a reality. The subsequent creation of the MPEG-1 Audio Layer-3 (MP3) format, soon lead to the birth of Napster, the outbreak of the phenomenon of peer-to-peer (P2P) file sharing, Internet pirating, iTunes, and rendered the compact disc all but obsolete (MP3 Developments, 2011, p1-3), with MP3s now the preferred medium. While some prospered from the transition, others believe this technological revolution caused the near death of the music industry (King, 2002, p1and Kravets, 2007, p1).
The music industry “attributes an erosion of sales after 1999 to the illegal copying and sharing of digital files and has taken steps to tighten copyright laws and prosecute violators” (Goel, Miesing, Chandra, 2010, p1), with the losses all but crippling business. In 2009, the International Federation of Phonographic Industry (IFPI) estimated a staggering 95% of downloaded music, within that year had been downloaded illegally (BBC, 2009, p1 and Gloor, Rolston, 2010, p1), without payment to the creators or industries producing it. Yet, others “attribute the downturn to a lack of innovative products and futile efforts by the industry to retain a business model made obsolete” (Goel, Miesing, Chandra, 2010, p1) by progressing technologies, as this is merely a transitional stage of progress, and unavoidable. They believe that such innovations are only capable of destroying business if the industry continues to resist such advances, rather than embrace them (Leckenby, 2003, p25 and Goel, Miesing, Chandra, 2010, p1). This cannot be said for Apple however, who has since secured a strong hold over the industry. Their innovative and successful attempt to secure the new media market was initiated by the introduction of the Apple iPod and the simultaneous roll out of iTunes, their own digital music store in 2003 (Mumbi Moody, 2010, p2).
Underlying the term new media, fundamentally is the digitisation of media and, such new media technologies “come about based upon a ‘platform’ of traditional media which have preceded them” (Leckenby, 2003, p25). This is dubbed “the ‘Transference Phase’ of media development” (Leckenby, 2003, p25) and digital radio is a brilliant example of this, with the successful shift from analogue radio waves to the increasingly popular channels available online and through digital media devices. With the continual reign of digitisation, of the Internet and of new media technologies, many sectors of the media and entertainment are being forced to endure profound transformations within their industries.
Innovations in technology have always led to progressions in the music industry, causing periods of transition to new formats, from existing methods of audio engineering. The industry has come a long way since Thomas Edison’s phonograph revolutionised the world in 1877 and from the introduction radio of in 1923 (Audio Engineering Society, 1999, p4). This medium, originally invented for military communications during the First World War, became the feature of the domestic space from the 1920s (MP3 Developments, 2011, p1-3).
SONY WALKMAN - Pioneers in personal, portable media devices
Before digital technology became a reality in the 1980s, innovations in analogue technologies continued to transform music, with the invention of ‘long players’, or LPs in 1947 (MP3 Developments, 2011, p1-3), and the introduction of the first pocket transistor radios by Sony in 1954 (Audio Engineering Society, 1999, p15), noteworthy as being the first portable, personal media devices. Other notable advances were made by Phillips, who created “the first Compact Cassette tape format, offer[ing] licenses to the world” (Audio Engineering Society, 1999, p15) in 1963, followed soon after by the introduction the Walkman, by rivals Sony, in 1981 (MP3 Developments, 2011, p1-3). That same year, Phillips came back, inventing the Compact Disc, which saw the death of the audio cassette and later, the rise of the ‘discman’ (Audio Engineering Society, 1999, p15). However, the biggest threat and challenge yet to traditional models of production, distribution and reception came about from advances in information sciences during the 1980s.
The development of the 16-bit personal computer, rolled out by IBM in 1981, and followed by Macintosh with their Apple Mac in 1984 (MP3 Developments, 2011, p1-3), initiated the “digitisation of production [which soon] spread through all of the major cultural industries” (Hesmondhalgh, 2007, p 242), paving theway for the Internet and marking the gradual and progressive shift toward the Information Age. Apart from the creation of the personal computer and Internet, one of the most significant innovations altering the music industry, was the invention of the MP3 format in Germany in 1989 (MP3 Developments, 2011, p1-3).
[Image: IBM COMPUTER 1981]
This new media became widely available to consumers in 1998, when MP-3 players, devices to play downloaded audio files (Audio Engineering Society, 1999, p15), hit markets worldwide. MP3s have a lossless quality and the simple format and ease of distribution means the digital medium became rapidly popular and simply the preferred medium of audio consumption (Hesmondhalgh, 2007, p 245 and MP3 Developments, 2011, p1-3).
Then in 1999, in America, a nineteen-year-old college student’s development “proceeded to redefine the Internet, the music industry and the way we all think about intellectual property” (Tyson, 2000, p1), with the invention of his file sharing software, Napster. Once boasting “eighty million registered users, the revolutionary software” (King, 2002, p1), encompassed a search engine of MP3 files, derived from other user’s computers, peer-to-peer (P2P) file sharing tools and Internet Relay Chat (IRC) to locate and communicate with other Napster users (Tyson, 2000, p2). This new concept of peer-to-peer file sharing meant users, when accessing music via Napster were in actual fact downloading MP3s from another user’s machine. Collectively, these users had access to thousands of music tracks, and the ability to illegally and freely download them. This sent shockwaves through the music industry, seriously rivaling their previously unchallenged powers of production and especially distribution, and, in doing so, drastically reducing their profits. According to Jeff Tyson (2000) this ‘decentralised approach’, means there was “no central server maintaining the index of users, [and] no easy way to target and stop the use of the program” (Tyson, 2000, p2), presenting an exceptional, unprecedented dilemma to both the industry and the advocators of copyright law.
However, within the first year of its’ introduction, the Recording Industry Association of America (RIAA), representing an alliance of record labels in the United States, began judicial action against Napster. The RIAA, in their filings, argued Napster “should be held liable for enabling millions of users to share music for free, depriving artists and the publishers and producers of music of revenue they are entitled to under copyright statutes” (CNN, 2000, p1). This was seen as the most fundamental case “involving the application of copyright laws to Internet activities” (CNN, 2000, p1) and was presented before a three-judge panel of the 9th U.S. Circuit Court of Appeals. While the RIAA had the obliteration of Napster firmly in their sights, the wheels of progress remained in motion, and in 2000, Internet provider AOL’s Justin Frankel “released Gnutella, a new file-trading application, into the world” (King, 2002, p1), which AOL subsequently co-opted. Yahoo and Microsoft followed suit, with their own versions of file sharing software (King, 2002, p1), and an already agitated industry was left to face the reality of the infiltration of peer-to-peer file sharing and the seemingly unstoppable dominance of illegal downloading.
The RIAA was eventually successful and “accomplished its goal of serving Napster with a copyright infringement lawsuit” (King, 2002, p1), but by this point Napster was already a global phenomenon, and easily replicated. Seven years after litigations began, Bertelsmann, one of Germany’s largest media conglomerates was forced to pay “the National Music Publishers Association one hundred and thirty million dollars to settle the Napster case’s final copyright claims” (Kravets, 2007, p1). Bertelsmann was found to have financed Napster, “thereby allowing Napster to continue allowing millions of users to pilfer music” (Kravets, 2007, p1), and was the final junction served in the case against Napster, originally filed in 2000. During the trials, Napster was forced to cease its operations as a free file sharing network and has since been re-launched as a paid music provider. Yet the basic peer-to-peer model it initiated was now unstoppable (Kravets, 2007, p1). In 2010, following the successes of litigations against Napster “the company operating LimeWire file sharing service was found liable for copyright infringement” (Gloor, Rolston, 2010, p6), in another noteworthy case filed by the RIAA, four years prior, in 2006 (Gloor, Rolston, 2010, p6).
Such digital technologies, deemed new media, were set to challenge copyright laws of a number of nations, which in the case of the United Kingdom, had remained unchallenged for three hundred years (Hough, 2011, p1). Copyright infringements are taken very seriously by creative industries and judicial systems. The laws of “copyright apply to works which are still within the period of copyright protection [and the] duration of copyright varies according to the type of copyright material” (Music Australia, 2008, p1). Copyright laws state that the “use of copyrighted material without permission may constitute infringement” (Herreman, 2009, p9) invoking cases of various liabilities against each defendant. Most consumers however, in their ‘format shifting’ of music… from personal collections onto MP3 players” (Walsh, 2006, p1) are unbeknown to the fact they are actively committing such offences.
In light of advancing digital technologies and the popularity of new media devices, some governments have since reviewed Copyright laws, reforming them to discount such behaviours. Such steps have been taken by the Australian government, who in 2006 announced that “transferring music from CDS onto iPods and other MP3 players [would] no longer be illegal” (Walsh, 2006, p1), with the federal cabinet’s ruling defining a momentous change to Australia’s long standing copyright laws. Member of Parliament, Philip Ruddock, in making the announcement, went on to warn of the repercussions of the illegal downloading of copyrighted content. He announced that police would have the authority to issue hefty fines and courts the “powers to award larger damages payouts against internet pirates” (Walsh, 2006, p1), demonstrating the combined work of the police, legislative forces and creative industries, in their tireless attempts to wage a war on illegal downloading.
Many involved in such debates over the legality of copyright infringements, believe Internet Service Providers (ISPs) should be monitoring illegal file sharing and downloading, taking action against offenders, or if not, at the very least, reporting them (Gloor, Rolston, 2010, p6). In 2010, the United Kingdom took such steps, with the introduction of the Digital Economy Bill; a ‘three strikes’ system to be employed by Internet Service Providers, notifying users of violations regarding the downloading unlicensed materials. As the explanation suggests, such violators will be given three written warnings, before disconnecting there services, temporary, or in the cases of serious or repeat offenders, on a permanent basis (Gloor, Rolston, 2010, p7). Other countries have since followed suit, with their own versions of such bills of culpability, including the United States, with the introduction of the SOPA Act in 2011 (The Shontell, 2011, p1).
The actions of the music industry in recent history have highlighted a clear unwillingness to accept what they see to be the converse results of digital formatting. Many have refused to adequately remodel existing business structures to suit the current digital climate, also in denial of the pros of such new media technologies. The exception has of course been Apple, who has not only embraced such new technologies, but has used innovations in digital formatting to accelerate business and profits, and, in doing so, surpassing their once dominant competition. According to Bill Werde, editorial director at Billboard, such moves have secured Apple “80 percent, 70 percent market share in that digital space” (Mumbi Moody, 2010, p2), attained through their online music store, iTunes. Regardless of Apple’s efficacious re-modeling and on-going success in the digital market, other sectors of the industry continue to resist the transition, with few attempts to produce a reasonable online retail market model.
Tony Wadsworth (2009), chairman of BPI has worked tirelessly with governments in their efforts to counter pirating, which is occurring in plague proportions. However, in light of the undeniable benefits that also come with such new media innovations, stated that such developments have “meant music is consumed in more places in more ways than ever before” (The Independent, 2009, p1), which of course is invaluable. Nevertheless, he reiterated the importance of artists and producers getting paid what is due, to ensure fair use and to guarantee the future of the industry (The Independent, 2009, p1).
The outrage of lost profits and issues of piracy have underpinned the slow progression of the industry, to embrace new digital formats. The International Federation of the Phonographic Industry (IFPI) “represents the recording industry worldwide, with a membership comprising some 1400 record companies in 66 countries and affiliated industry” (IFPI, 2012, p1) and attributed the profit losses from the retail sector, to a seven precent decline of the world music market in 2008. According to the IFPI, even though digital sales were increasing, they failed to parallel increasing losses from CD sales (IFPI, 2012, p1).
Many notable musicians have joined the debate, and English pop star, Lily Allen on her MySpace blog claimed that “illegal file-sharing was making it “harder and harder for new acts to emerge”, (The Independent, 2009, p1). While there is some truth to this, digital technologies and new forms of social media should not have their role in discovering new talent discounted. The Internet and new media sites such as YouTube and other popular social media networks have actually “been one of the most powerful tools used by artists to share their content… introduce[ing] millions to artists, musicians and personalities that would have never been discovered” (Manarino, 2012, p1) without such services. Moreover, as Manarino (2012) rightfully highlighted, “creators of every genre have discovered the ability to market and publish themselves in a way where they [can] garner viral attention” (Manarino, 2012, p1), meaning such new, digital technologies, in having the ability to put the control of the production of content in the hands of the consumer, have in fact been crucial to the discovery and popularity of many new artists.
Downloading digital music has “seen the return to the singles-driven business of the 1950s” (Anderson, 2004, p10), with consumers now able to avoid the unwanted content upon whole albums. Consumers now have the power to select what music they want, when they want it. While most within the music industry were busily concerning themselves with the detriments of the phenomenon of peer-to-peer file sharing, waging a war against illegal downloading, Apple was getting on with business, and, in 2003 it rolled out its online music store, iTunes. This new concept, “with its’ simple interface, its’ simple concept — 99 cents per song” (Mumbi Moody, 2010, p2), along with the simultaneous introduction of the “revolutionary MP3 device, the iPod (Mumbi Moody, 2010, p2),” were originally rolled out for Apple Macintosh systems only. Thus, initially the success and any future profitability of this innovative marketing concept were drastically underestimated.
Over the next eight years, Apple went on to sell “three hundred million iPods and ten billion tracks via the iTunes Store, leapfrogging Wal-Mart and Best Buy as the world’s biggest music retailer” (Knopper, 2011, p1). This gave Apple the supreme and unchallenged power to set the pricing and the standards of the industry’s inevitable shift to online markets. In 2007, chairman and chief executive of Warner Music Group when assessing the importance of iTunes to music fans due to its dominance, commented that “while Apple’s stock went from eight billion dollars to eighty billion dollars, [theirs] went in reverse” (Knopper, 2011, p1), highlighting the need for others in the industry to find their own competitive business models, for the digital age.
In recent years, in the face of profits lost from illegal downloading, artists and industry professionals have made successful attempts to bolster profits derived from other resources. According to statements made by Tony Wadsworth, chairman and chief executive of EMI, in 2008, “live gigs, merchandising, advertising, digital licensing, broadcast – had grown from £121.6m (11.4% of total revenues in 2007) to £195m (18% of the total in 2008)” (The Independent, 2009, p1). He also stated that “the future business model of this industry might not be based on transactional music sales for much longer” (The Independent, 2009, p1), drawing attention to innovations such as Guitar Hero, as an example of the emergence new profitable ventures. He also mentioned popular rock band Radio Head’s success in their own marketing attempts, selling their latest album online, for as little as the consumer was willing to pay. According to Wadsworth, this move gave them not only a profitable share in their music downloading, but also a newly found popularity from the subsequent media attention (The Independent, 2009, p2).
Regardless of the debates about illegal file sharing, fears about the future of an industry and uncertainties in pricing, it can be said, we are at the point in our creative histories, where there is simply not enough shelf space, nor radio waves for the content that has already been produced, or to suit the desires of every consumer (Anderson, 2004, p4). Furthermore, considering the cost of stock purchasing, leasing, overheads and staffing, “an average record store needs to sell two copies of a CD per year to make it worth carrying” (Anderson, 2004, p2), when the reality, according the RIAA is, less than ten percent of major label CDs become profitable (BBC, 2009, p2). Whilst the directors of long standing, traditional music businesses have resisted progress, refusing to benefit online consumption, the “market that lies outside each retailer is getting bigger and bigger” (Anderson, 2004, p7). The CEO of one digital jukebox company, stated that of the tens of thousands of songs available on his site and others, there is a demand for each and every one of them (Anderson, 2004, p5), impossible for any physical outlet to stock. Therefore these ventures remain unmatched by current fiscal models in retail.
Supporting this argument are the executives at “iTunes, Amazon and Netflix [who] have discovered that the ‘misses’ usually make money too” (Anderson, 2004, p6), stating that over history more mediocre songs have been produced, than hits. Their ability to carry thousands and thousands of these titles, without the overheads of physical retail outlets, swiftly adds up to be highly profitable. According to Wadsworth, as fast as the hugely popular file sharing domain, Raphsody adds tracks to its library, those songs find an audience” (Anderson, 2004, p6), leaving many wondering why others within the industry continue to resist these new digital formats. The progressive shift to new digital media has already occurred, and the digital realm is dominating, like it or not. The question now, is whether they will be able to make such substantial changes to their business dealings, before the digital market destroys them.
Advances in digital technology, have caused the “multiplying distribution channels, declining entry barriers for content producers” (Lewis, 2008, p1), making file sharing software possible and piracy easy. Moreover, “continuous technological advancements, and mounting competitive pressures” (Lewis, 2008, p1), have led to the transformation of entertainment industries, but none more so than the music industry. Music consumption has been revolutionised by the creation of the MP3 and file sharing software, and the industry has been forced to face piracy head on, in the reality of their ever plummeting profits. The Internet has challenged traditional business structures and supplier, consumer relationships within the music industry, rendering retail distribution models almost obsolete. Like Apple has demonstrated, an adequate business structure, suiting the digital climate of the new Information Age, needs to be employed in order to maintain a market share (Knopper, 2011, p1). Moreover, in light of the successful growth of many online music stores, it has been proven that others in the music industry can still win, in the ongoing war, waged against Internet piracy.
Fitzgerald, B, 2008, The Future of Copyright, European Intellectual Property Review, April 2008Sage Publications, viewed 23rd May 2012, http://eprints.qut.edu.au
As the phenomenal growth of digital technology continues, the impact of today’s information laced, technologically based economy also greatly increased the rate and growth of cybercrimes and the capabilities of hackers and cybercriminals (ACM, 2012, p1and IT Business Edge, 2013, p1-5). With the rapid growth of social networking and other cloud-based systems, focus on security and privacy issues has heightened and will continue to be an issue of increased focus (ACM, 2012, p1). Concerning are issues also relate to the countering of such attacks as the “unauthenticated nature of the Internet makes attribution difficult and furthermore has implications on accountability” (ACM, 2012, p1) and continuous developments in cloud-based systems counter the successful implementation counter security measures.
Cloud computing has become a significant part of contemporary society, however “security, interoperability, and portability are cited as major barriers to broader adoption” (NIST, 2013, p1).The widespread implementation and functionality of cloud computing structures are increasing user capabilities and while this is advantageous, it is also extremely dangerous. Now through cloud-based computing systems the scale of harm one can do to many is increasing exponentially (Dorrier, 2013, p1). Historical privacy and security issues that resulted from the creation of the Internet have increased at an exponential rate due to the widespread adoption of cloud computing models. Thus, such concerns and risks relating to cloud systems have become topical issues for the ICCP Foresight Forum (Donohue, 2009, p1-4). Such policy issues raised include “from portability, competition, and innovation to security, privacy and accountability” (Donohue, 2009, p1-4) which are core contemporary issues of cloud computing practices.
Cloud computing technologies have revolutionised the contemporary world with their functionality and online storage and networking capabilities. However, “destructive non-state actors, terrorists, criminals and internationally weak authoritarian regimes can leverage the same tools”(Dorrier, 2013, p1) as developers of cloud-based technologies, but for dangerous and terrifying purposes. Furthermore, deployment of a successful attack on a cloud system enables control over the cloud interface, granting hackers’ unlimited access to stored data and in addition to absolute control over a user’s account (IT Business Edge, 2013, p1-5 and ACM, 2012, p1). Nowadays attacks of cybercrime, scaling up to incidences of cyber warfare can be deployed by any user with access to a computer or even smart phone and the expertise and motivation to resource such instruction from the endless resources now available to them online.
Furthermore, the central function of cloud systems is resource pooling and while such multi-tenanted models are time, cost and user effective, such structures also greatly limit the users control and knowledge of the location of resources provided upon a cloud or the destination of data and sensitive information (IT Business Edge, 2013, p1-5). Cloud computing with its “shared multi-tenancy environment aggravates the traditional security threats” of historical computing and networking practices (ACM, 2012, p1) Pooled resources include storage, applications and processing, memory, network bandwidth and a range virtual platforms and servers (Metz, 2010, p1-2). Thus, individual users and companies using cloud-based systems, no longer hold the power nor have the ability to manage the outsourcing of resources or location of anything placed upon a public or community could, or within the public resources of a hybrid cloud (Anderson, 2010, p1 and Metz, 2010, p1-2). This is a serious issue considering individuals are now accustomed to public cloud models and the majority of professions only have the expenditure and resources to use such platforms over safer private cloud computing models.
Image (2): Key Issues relating to virtual ‘cloud computing’ systems
In early 2013 when addressing Congress, US Director of National Intelligence, James Clapper presented major concerns in the form of a ‘Worldwide Threat Assessment Statement’ (Dorrier, 2013, p2). Here he voiced serious concerns about the dangerous capabilities such technologies present, enabling states, organised groups and individuals, methods to deploy extensive, severe forms of cyber-attacks (Dorrier, 2013, p1). Cloud computing resources are enabled and managed through various control interfaces and as with all network-based systems, they rely on various security measures to protect applications and user information (Adar, Bernard and Huberman, 20??, p1and ACM, 2012, p1). However networking and storage capabilities have also amplified the development and capabilities of surveillance technologies, encryption applications, malicious software and as a result have led to the explosion of information mining techniques and diverse, lucrative data markets (Adar, Bernard and Huberman, 20??, p1). The storage of sensitive personal information in databases and software scattered upon these network systems and subsequently the globe, is highly concerning. Thus cloud computing systems are only truly beneficial and viable if such real privacy and security concerns are properly addressed and effectively managed (Cavoukian, 2011, p2).
Of particular concern for average users is the reality that their digital identities are created by online activities, including information from emails, banking and credit card purchases. Social media, gaming and online shopping accounts along with other information entered by users on various Internet sites all contribute the data available and our digital identities, profiles that are subsequently created (Cavoukian, 2011, p2). These activities leave a “trail of personal information that, if not properly protected, may be exploited and abused”, thus issues relating to digital identity have become a fundamental challenge for contemporary society (Cavoukian, 2011, p2). While this particular site is seemingly harmless, an example of new data collecting applications can be explored by users through Intel’s “The Museum of Me” and some of the results of this data collecting application are exhibited in Image (4) (Intel, 2013, p1)
Adding to concerns about the data and sensitive information stored on and passed on through virtual cloud services are real apprehensions relating to data control, with confusion over the ownership rights of data that is uploaded onto a cloud (Notely, 2011, p1). As these concerns continue to boil, without the implantation of updated legislation or proper reforms to digital copyright, data and service provider regulations, reservations over user privacy, security and data control upon cloud-based systems have been heightened. In addition to these fears are issues relating to the control of data crystals and collection of small traces of sensitive information, data that can form a user’s digital trail and profile, during mandatory identification procedures and online, cloud-based activity (Notely, 2011, p1). While generally speaking, users are free to share their own personal information upon clouds and thus with their providers and related third parties, businesses must not disclose any personal or business information of clients, employees or other companies. However such provider terms are not restricted by current privacy legislations, meaning such policies do not apply to marketing companies and certain categories of personal data, obtained by cloud providers. This means partial customer files and uncategorised business and employee information may be freely uploaded by business and subsequently used by third parties and the service providers with access to the structural layers of a cloud system (World Privacy Forum, 2013, p1-2).
Even more troubling is the lack of policy preventing contractual changes, allowing provider to change the terms and conditions of use, often without notification, let alone the agreement of users. Such self-governing terms laid out by service providers do not apply however to federal agencies however, as the “Privacy Act of 1974 imposes standards for the collection, maintenance, use, and disclosure of personal information” (WorldPrivacyForum, 2013, p2). Thus personal information contained in Federal files may violate the Privacy Act of 1974, particularly when no set disclosure agreement exists between these bodies and cloud service providers (WorldPrivacyForum, 2013, p2).
Launches in Oakleigh, Sunday 27th April 2014 (12:30pm)
In support of the Federal Government’s National Pain Strategy, which commenced in 2010, Wanda Cook and Associates are launching an art exhibition and community event from Sunday 27th April to Saturday 3rd May 2014.
As Wanda continues on her own journey of managing persistent pain, she has spent a great deal of her own time creating awareness of this cause and with her previous a career as a nurse, she has been running numerous workshops focusing on pain management strategies through the techniques of Kikqua Therapy.
When discussing Wanda’s own plight, she opened up about her own journey with severe and persistent pain.
“It has been a long and drawn out process, as a consequence of workplace and motor traffic injuries with the most harmful effects actually occurring by inhumane dealings of insurers and the disenfranchised process of legal systems that bounce injured workers around as mere commodities from bureaucracies and red tape with little to no checks and balances. The consequence of my story are available on Pain Australia’s website and my self-directive recovery and educative stories are available on Kikqua Therapy website with linkage to the interactive practise and studies as hosted by Kikquaonline website”.
There are many alternative in the pain arena but no ONE fix for all and no “cure” at this stage although hope remains high as we look to the future and further support by Federal governments for the National Pain Strategy (2010) of which Victoria is yet to commit as a signatory and fully fund all of the goals.
As founder and CEO of Wanda Cook and Associates, Wanda elaborated on her involvement with the Federal Governement initiative:
“My involvement with the National Pain Strategy (NPS) was initially as what seemed a single “consumer voice” (in Victoria) advocating for the improvement of services and support to those who experience persistent pain through ‘no fault’ injury and especially where children, bear the brunt of ignore-ance, servitude and isolation”.
“Through an amazing spiritual (para-normal to some) experience I found the will and strength to re-learn and discovered when the student is willing the teacher appears”.
“I found I was not alone and was invited to take part on the National advisory panel for Chronic Pain Australia (CPA) – a not for profit consumer organisation advocating and leading the consumer arm of the National Pain Summit – later to become the (NPS) and a world leading model used in the Declaration of Montreal to see pain management be observed as a Human right”.
Now Wanda with the assistance of KaZbAhMeDiA is hosting a week long art exhibition and community event.
The main expo days will include the art exhibtition and sales, entertainment, food, coffee and refreshments, stalls and merchandise and live music. There will also be arts and crafts, guest speakers, massage therapy, kid’s activities and merchandise, competitions, raffles and a sausage sizzle, among other community based activities and family fun. We invite people to come down to Liddiard Gallery and Convention Centre in Oakleigh and experience this event and art exhibition on Sunday 27th April from 12pm and again on the following Saturday, 3rd May from 9:30am. As well as these expo days, a workshop will be held on Thurday the 1st May from 9:30am providing education in pain management and awareness of the National Pain Strategy. This workshop will include speakers, activities and a Q&A panel and lunch, refreshments, art and merchant sales will also be available. On Friday the 2nd May a silent auction will be run by Jonathon Eaves from Ray White, Oakleigh and this will commence from 6:30pm, with entertainment across the evening and food, refreshments and merchant sales available on the night.
Wanda Cook in response to her involvement and interest in the National Pain Strategy (2010) further stated:
“Faciliotated learning in health and community is my passion and finding methods and tools of engagement have been the driving force behind Kikqua Therapy as a program. Especially those used for culturally and lingusitcally diverse communities. Not just for English as a second language or Multiculturalism specific, but for the “real diversity” that of children, Mums and Dads, young people, aging people and those ethinically conected to lands orginating from near and far.
“Disability is not the barrier Stigma and isolation are the preventers”.
“…If seeing is believing and experiencial learning is the most lasting then come and experience KT for yourself and join us on the journey as we deliver Kikqua where Knowledge is the key question understand and apply as we explore Shades of Pain and stories by a survivor called Wanda”.
So come along to the ‘Shades of Pain’ expo on Sunday the 27th April – Saturday 3rd May and learn more about Wanda’s struggle, hear from guest speakers and support this fantastic cause. The expo days are going to be exciting, lively community events, with numerous activities, stalls, food, refreshments and entertainment to suit the whole family.
It will be an event that should not be missed!
“Shades of Pain” Exhibition & Kikqua Community Expo
Sunday April 27th (Sunday from 12pm) – Saturday 3rd May (daily from 9:30am)
So go to http://kazbahmedia.com & ENTER by following the guidelines, T’s & C’s and submitting your music and entry form via post to Black Pearl Studios or email to kazbahmediaoz@gmail.com
*
*Get your entries in NOW to have more chance to be selected as a “HOT ENTRY” and receive extra promotions during the entry period!
Black Pearl Studios in conjunction with KaZbAhMeDia present…
“SEARCH 4 PEARLS” 2014
– A fresh new MUSIC COMPETITON & hunt for Ozzie Sounds!!
*** Do you know a true PEARL that’s waiting to be discovered?? ***
** We are calling ALL musicians, singers and songwriters to enter their tracks for a REAL chance at exposure, prizes and leg up into the music industry!
SIX Categories to ENTER:
1. Under 18s [Group & Solo Entries]
2. Best Solo: Acoustic / Country / Pop / Rock / Jazz / Classical
3. Best Band: Rock / Metal / Indie Alternative
4. Best Modern Group: Pop / Dance / Modern Music
5. Modern Music solo/duo: Hip hop / RnB / Electro / DJ Production
6. Group Performance: Choir / Orchestra / Classical Duos & Groups
COMPETITION PRIZES, Sponsors & Supporters:
*** PROUDLY ANNOUNCING ***
The addition of mastering by Crystal Mastering to the major prize as well as the amazing 1st place prize for one of the categories- a pair of Genelec speakers, from our friends & sponsors at Studio Connections, with a retail value of $1300! Along with these fantastic prizes are stacks of other great #rewards, including retail goods, equipment and accessories (Ubersonic), gift vouchers, gig bookings, artist promotions and a music video recording. Plus contestants also go in the running for a recording session with Steel Guitarist Timothy J Fry (#Australian Music #Industry Awards & Steel #Guitar Australia) + hundreds of $$$ in studio vouchers that are up for grabs! There are still more great prizes & sponsors to be announced over the coming weeks… so stay tuned for more updates!
“SEARCH 4 PEARLS” MAJOR PRIZE VALUED AT $10,000+
– Studio Sessions & Recording
– CD / EP production + Promotional video of the experience
– Mastering by Crystal Mastering
– 2 Months Artist Promotions by KaZbAhMeDiA
PLUS:
* PRIZES FOR 1st, 2nd & 3rd PLACE HOLDERS IN EACH CATEGORY
* SHORTLISTED CONTESTANTS invited to the FINAL HEAT at an INDUSTRY PARTY & AWARDS NIGHT which will take place at Black Pearl Studios in late May 2014.
FINALS:
Industry Party & Awards Night – Here shortlisted contestants from each category will perform their track live in front of our carefully selected & highly experienced judging panel, made up of established musicians and industry professionals from a broad range of genres & backgrounds.
The will also get to mingle & network with industry guests & supporters, including venue owners, media representatives, managers, producers, publicists and others within the music industry
Black Pearl Studios & KaZbAhMeDiA are proud to announce the following sponsors & supporters:
Timothy J Fry – The Australian Music Industry Awards (AMIA) & Steel Guitar Australia, Australian Songwriters Association representatives Jacques Mario Gentil (Songwriter of the Year 2013) and Karen Guyment (2010 winner) and renowned Jazz Performer, Composer, Music Teacher & Department Head (Monash University), Mr Tony Gould. They will be accompanied by established singer / songwriter, Lucy Gale, her producer, John Houston (Nippy Inc. USA), Classical Musician, Pianist, Composer & Classical + Hip Hop/Electro Music Producer, Philip Gelbach.
** With more sponsors, supporters & industry representatives to attend / judge the finals to be announced in coming weeks! **
“Search 4 Pearls” Music Competition
Supporting the Australian music scene, local artists, new talents, the industry and community!
As seen in Channel Seven’s tele-movie, INXS ‘Never Tear Us Apart’
*** Follow Black Pearl Studios & KaZbAhMeDiA on Facebook, Twitter & Instagram ***
** GOOD LUCK!! **
NOTE: Artists will not be penalised for DIY or low quality recordings – We are only interested in the raw talents and real skills that entries showcase, so enter any recordings you have that showcase you at your best. We will accept MP3/WAV formats (DIY or professional recordings) via email to kazbahmediaoz@gmail.com or tracks on CDs & DVDs (homemade, live recordings or studio productions) as postal entries to Black Pearl Studios.
From CDs to MP3s.. & 4 & 5.. Hardrives replaced with cloud computing systems. Now its IaaS, SaaS, PaaS… #platforms & networks & a world powered by data centres…
From there the rest is History!!
It’s the NEW world.. the DIGITAL world…
& it’s powerful, unpredictable & accelerating at an exponential rate!
‘How the MP3 marked the beginning of the digital world, the beginning of the end for record sales & changed the music industry forever!’
This year Black Pearl Studios in conjunction with the media and promotional services offered by KaZbAhMeDiA, are on a search for ‘pearls’ hidden among us. On the hunt for fresh Ozzie talents and new sounds, we will host a music competition, promotions and awards night with judges from the industry and several names and known faces for short-listed contestants to listen to and network with. This event will be held during May with the date to be announced prior to the closing date for entrees.
Each short-listed contestant/group will be required to perform their shortlisted track, nominated for the final heat and overall grand prize (valued at 10,000+), in front of industry guests & the panel of judges attending the awards night party. Guests will be able to vote for contestants, but the main percentage of points per entrant will be awarded by the judges, who will all be established industry professionals, including performers and producers, each with accomplished careers in music and entertainment.
SIX Categories to ENTER:
1. Under 18s [Group & Solo Entries]
2. Best Solo: Acoustic / Country / Pop / Rock / Jazz / Classical / Opera
3. Best Band: Rock / Metal / Indie Alternative
4. Best Modern Group: Pop / Dance / Modern Music
5. Modern Music solo/duo/trio: Hip hop / RnB / Electronic / DJ Production
6. Group Performance: Choir / Orchestra / Classical Duos & Groups
*** Each category has prizes for 1st & 2nd place winners**
Editorials, blogs, links & songs of ‘hot entries’ and shortlisted contestants will be added to KaZbAhMeDiA website, blog reel and blog site, Black Pearl Studios Facebook and Twitter page & KaZbAhMeDiA social networks
* PLUS ALL Shortlisted entrants for each category notified& invited to awards party @ Black Pearl Studios *
– Free studio sessions & recording + CD of studio production & DVD of Experience. As well as 2 months of artist promotions by KaZbAhMeDiA
PROUDLY ANNOUNCING: Additional services of CRYSTAL MASTERING to the Major Prize!
This competition is in support of young talented singers/musicians, schools, church & community groups, the community, local bands & will be helping to keep live music culture alive in Melbourne. Furthermore, your support will in turn support numerous groups, people and businesses within the community, as well as local artists and will assist young talents get industry exposure, recognition and public support.
*** DO YOU REPRESENT OR SUPPORT NEW, UNDISCOVERED OR UP-AND-COMING ARTISTS? ***
Please SHARE the attached PDFs and competition details.
To apply artists simply go to www.kazbahmedia.com & follow the link to the competition page and enter!
Selected artists will get additional exposure & individual promo during the competition period. These will be selected by organisers, judges & promoters, based on their potential, uniqueness/professionalism and talent.
TO ENTER:Applicants must send their song(s) via email to kazbahmediaoz@gmail.com or post to BLACK PEARL STUDIOS [9/21 Capella Crescent, Moorabbin 3189] along with their completed entry form (including artist/group bio) accompanied by one or two images of the artist(s) for any subsequent promotions.
MEDIA, MARKETING & COMPETITION PROMOTIONS:The “Search 4 Pearls 2014” competition has already been advertised in the press, publications, on social media (Black Pearl Studios and KaZbAhMeDiA on Twitter, Facebook, Instagram and Pinterest) and throughout Melbourne. It will be advertised in Beat Magazine for the next 2 weeks and this is likely to continue until the final week of the competition. With radio promotions and interviews on the ABC Ballarat, Mixx FM (Regional VIC) and community radio in Melbourne it is already gaining a great deal of attention and public support. “Search 4 Pearls” has been mentioned in a full-page editorial featured in last week’s publication of the Melbourne Observer, local press, blog sites and has been distributed a media release and throughout our own databases/networks. Competition flyers have been sent throughout music databases, to artists registered through agents such as Burgess Bookings (Global Battle of the Bands) and posters have been distributed to venues, notice boards, and displayed throughout several Tafes and Universities. Distribution of flyers, posters and promotional materials will continue and will be expanded to cover selected regional areas and the venues throughout Victoria.
Any future promotional material will include a mention of sponsor, as will emails, attachments and social media content.
SO JOIN THE LOCAL COMMUNITY & THE INDUSTRY BY GIVING YOUR HELP SUPPORT NEW MUSIC, UNSIGNED ARTISTS & AUSTRALIAN MUSICIANS & IN TURN WE WILL PROMOTE YOUR GOODWILL & GET THE COMMUNITY TO SUPPORT YOU!
Please direct all sponsorship, donations and marketing inquiries to:
*Entries for “Search 4 Pearls #2014” are now officially open & #artist + #competition promos have begun! *
I just hit the airwaves in #Ballarat & Horsham to rustle up some talent from regional #VIC. So the battle with the #country #folk for the “Search4PEARLS” shortlist is officially on!!
Don’t wait.., get your entries in early & have more chances to be selected for #promo running for the duration of competition.If you haven’t already, check it out:
Black Pearl Studios present…
“THE 2014 SEARCH FOR PEARLS”
**A Hunt for NEW OZZIE Talents in 2014**
A Fresh New #Music Competition with stacks of #PRIZES!
*MAJOR PRIZE VALUED @ OVER $10,000! *
+ Each category has prizes for 1st, 2nd & 3rd place #winners
How to ENTER:
Like @blackpearlstudios + @KaZbAhMeDiA on #Facebook
[Follow competition posts/updates]
– Send the application form + your track(s) in #MP3 (or WAV) format via EMAIL (OR #CD / #DVD via post with selected#track clearly marked & easily accessed)
**1 submission (track) per entry**
Multiple entries accepted (Read T&C’s & comp guidelines before submitting).
NOTE: We want entries that represent the skills & talents of artists & will not penalise contestants for low quality recordings,#DYI or dated productions… just enter any recordings showcasing your artistic best!Enter @ www.kazbahmedia.com
If you have any queries shoot me (Karyn) an email via kazbahmediaoz@gmail.com
*** GOOD LUCK! ***
‘LIKE’ & Follow the conversations & promoted ‘hot’ entries on @BlackPearlstudios @KaZbAhMeDiA Facebook pages. #Listen to these selected entries & #support those you like + #local artists in your #community!
[Written Dec 2012 by Karyn Scottney-Turbill - Masters in Media & Comms: Monash University]
[Image: IBM COMPUTER 1981]
KaZbAhMeDiA 