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Video marketing is the most effective online marketing tool

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We know that for your video to be successful, it must speak to your marketing objectives, have a strategic distribution plan, and engage viewers so they’ll watch it and share it. We cover all of these bases, from the development of the video concept, to the production of the video, to the final syndication plan. Videos allow viewers to experience, feel and emotionally involve themselves with your products or services. That’s precisely why video is such an effective persuasion tool.

Our videos will prompt the users to take action and to make buying decisions that are favorable to your brand. You can also generate very prospective leads by prompting the viewers to provide you with their name and email address. You can send detailed information about your products and services to your viewers who opt-in for further information about your products or services after watching the videos.

Call to Action Videos can boost conversion on both landing pages and sales pages if done correctly. You’ll be able to “speak” directly to your audience instead of having to rely on them reading the text alone.

Video marketing is considered to be one of the exceedingly clever ways to capture the attention of the potential customers. It is really coming of age in 2012. It is a great way to get your message across to a captive audience. It is an ideal way of getting your message out to internet searchers. Video marketing is a great content multiplier, giving us hundreds of additional links for every piece of content we create.

Video marketing is solving their purpose as they do not have to read the long articles. It is so important today that the more access we have to resources for it the better.

From the development of the video concept, to the production of the video, to the final syndication plan. Video marketing is simply using videos to market yourself, business, products, brand or services. It is the use of free streaming videos to market your product and services online. It is an effective online marketing tool that will make customers stand up and take notice of your restaurant. It is an excellent tool for any marketing campaign. Video marketing is rapidly becoming one of the most effective online marketing methods of all.

Video marketing is very similar to article marketing in many ways. It is one of the newest and effective ways to get traffic to your website. It is the single most powerful traffic generation technique online today. It has definitely risen to become one of the top traffic generation strategies used by many businesses today. Video marketing can be described as the generation of different movie clips for the objective of advertising the organization’s products.

Video marketing is an emerging tool used by online companies to promote their products & services. It is the fastest growing form of online marketing. It is a good way to grow your business. Video marketing is definitely important, it’s one sure-fire way of attracting attention.

Crisher Entertainment with our skilled team offers the highest quality video production available using state-of-the-art edit suites and production gear.

Utah’s poppy dance-punk band Neon Trees

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Neon Trees is an American alternative band that received national exposure in 2008 when they opened several North American tour dates for band The Killers.

Neon Trees is an American alternative band from Provo, Utah, with origins in Murrieta, California. The band received nationwide exposure in late 2008 when they opened several North American tour dates for the band The Killers. The band was signed by Mercury Records and released their first full length album, Habits, in 2010. Their first single “Animal” climbed to No. 13 on the Billboard Hot 100 and No. 1 on the Alternative Rock chart.

Tyler Glenn: lead vocals/keyboards Chris Allen: guitars Branden Campbell: bass Elaine Bradley: drums/vocals I wanna shake up your system/I wanna rattle your bones/I wanna take you to the stars/And then I’ll leave you alone.

JJ Royal Hot Dance Mixset 08

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JJ Royal Hot Dance Mixset 08. Crisher Entertainment Podcast is streaming club remixes, pop, and top 40 tracks live from LA to time zones around world.

From Rhode Island, JJ Royal is one of today’s premier House DJ’s, Producer and Remixer. He has Remixed some of the top mainstream and underground artists such as, Justin Timberlake, Gwen Stefani, Stevie B., Clint Crisher, Ariana Nicole, Sentinela, Pepper MaShay and many many more. His remixes always seem to land on top dance charts and fill up the dance floors when played.

Besides remixing for other artist you can hear him live in top clubs and his very own original production releases on Knob Records and others.

Music Biz Icon Joe Smith Donates Awesome Audio Chats

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Joe Smith, one of the most powerful men in American music donates to the Library of Congress his conversations he recorded with some 200 great musicians.

Joe Smith, one of the most powerful men in American music donates to the Library of Congress of conversations he recorded with some 200 of the most important musicians and record industry figures of the 20th Century, including Paul McCartney, Bob Dylan, David Bowie, George Harrison, Little Richard, Barbra Streisand, Paul Simon, Ahmet Ertegun, Jerry Lee Lewis, Tony Bennett, B. B. King, Quincy Jones, Ray Charles, Bo Diddley, Les Paul and Ella Fitzgerald.

Smith recorded the talks for his 1988 book, Off The Record. The 238 hours of recordings will be accessible in the Library’s Capitol Hill reading room, and some are slated for streaming later this year on its website.

I first met Smith nearly 40 years ago, when he invited me for breakfast. As president of Warner Brothers Records, he was already one of the top players in the industry. (His colorful early career had included stints as a sportscaster, a radio disc-jockey — theme song “We’re Gonna Rock With Joe Smith” by the Valentines! — and a record promotion man; post-WB, he went on to helm Elektra/Asylum and Capitol/EMI.)

By contrast, I was in my early 20s, just a year or so into my job as editor of the music trade journal Record World, a position I attained by default after, in little more than a year, everyone above me on the masthead quit or was fired.

This was to be my first one-on-one with a major-label chief, and what a label it was. The Warner roster — the music biz equivalent of the 1992 U. S. Olympic “dream team” basketball squad — boasted Neil Young, James Taylor, Randy Newman, Van Morrison, Joni Mitchell, the Grateful Dead and Jimi Hendrix. (Norman Greenbaum, too!) Smith and Mo “Chairman Mo” Ostin cultivated a Southern California-cool working environment and a deep commitment to long-term artist development. One top exec at chief rival CBS Records refused to mention Warners by name, referring to them instead as “those fuckin’ rabbits. ”

My internal butterflies grew in wingspan and airspeed after my boss explained that a summons from a record company titan means either that he’s pissed that one of his records has lost its bullet on the charts, or, best-case, he wants some glowing editorial coverage.

To my great relief, Joe wasn’t mad or demanding. Instead, he was curious about my plans for the magazine. The truth was that since I hadn’t quite gotten the hang of the job, my strategy began and ended with the desperate hope that each issue would hit the streets with all the pages in the right places.

But Joe listened intently to my blathering, and ended our meeting with this advice: “Your magazine has potential. But you’ll never make it unless you promote yourself. ”

Off The Record (edited by Mitchell Fink, my predecessor at Record World) is a good read, but listening for hours to these relaxed, candid exchanges is a once-in-a-lifetime gold mine.

Most astonishing is the way these icons express the sheer wonder they felt when they first hit it big. If you think the greatest stars were born with self-confidence, check out Ruth Brown (“How did I get here?”), Ellie Greenwich (writing while riding the elevators of the Brill Building) or Peter Frampton (recording with his rock & roll heroes when he was 14) and Little Richard (“I didn’t even know I had hit until I heard my record (“Tutti Frutti”) on the radio”).

Speaking of Little Richard, Bob Dylan tells Smith that he was inspired by Little Richard (along with Carl Perkins, Jerry Lee Lewis “and those guys”) before he knew anything about folk music. Joe says, “I met Dylan when nobody knew him, and Albert Grossman (who managed Warner act Peter, Paul and Mary) schlepped him to the Hollywood Bowl. ”

I caught up with Joe recently and asked him how he got so many superstars to participate and to speak so unguardedly. He said, “The fact that I had been a very visible part of the record business for so many years gave me a certain amount of currency with most artists and their representatives. I stressed that this wouldn’t be a tabloid piece — they understood that my only agenda was to get down their words for posterity. ”

In addition to his passion and fine ear for both music and conversation, Smith was the most hilarious MC ever to grace the dais of an otherwise soporific charity dinner. His sharp one-liners knocked his self-important peers down a peg and created the feeling, if only briefly, that the industry was a fractious family tossing affectionate insults around the dinner table as opposed to a ruthless fight to the death.

Smith said one major-label president was “to the record business what surfers are to Kansas,” and ended a B’nai B’rith dinner honoring the infamous, mob-connected Roulette chief Morris Levy by noting, “I just got word my wife and children have been released, so goodnight everybody. ”

At age 84, Joe has lost none of his comic timing. When I reminded him of the good deed he’d done for me so long ago, he paused for a beat and said, “Yeah, I sure am a great guy, aren’t I?”

Follow Michael Sigman on Twitter: www.twitter.com/majorsongs

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Fred Willard: Sex Crimes Counseling Or Lewd Conduct Charges?

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Fred Willard will be allowed to enroll in counseling courses to resolve a lewd conduct arrest that cost the actor a television job.

The Los Angeles City Attorney’s Office determined Friday that Willard’s case was eligible for a diversion program that will keep him from being formally charged with lewd conduct if he completes the required courses, said spokesman Frank Mateljan.

Willard, best-known as the announcer in the film “Best in Show,” was arrested Wednesday night on suspicion of committing a lewd act. He was taken into custody by police doing a routine check at a Hollywood adult theater.

Hours later he was fired as the narrator of “Market Warriors,” a show produced by Boston public television station WGBH.

The actor will pay $380 for the diversion program, which is run by a private vendor and may include sessions on decision-making and sex-related crimes. Mateljan said the program will determine which components Willard has to complete. The decision was first reported by the Los Angeles Times.

Mateljan said the case against Willard is viable, and the actor could still be charged if he does not complete the diversion program.

Phone and email messages left for Willard’s attorney, Paul Takakjian, were not immediately returned. The actor said in a video posted Thursday by celebrity website TMZ that it was a misunderstanding and denied wrong doing.
Willard, 72, was nominated four times for Emmys for guest roles on TV’s “Modern Family” and “Everybody Loves Raymond.” In Pixar’s 2008 hit “WALL-E,” he voiced the character of Shelby Forthright, the CEO of a ubiquitous big-box chain called Buy’n’Large.

In addition to “Best in Show,” Willard has also appeared in other Christopher Guest mockumentary films, including “This is Spinal Tap” and “Waiting for Guffman. ”

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Kirsten Dunst in Bachelorette

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Kirsten Dunst is in Bachelorette a Leslye Headland play, where three friends are bridesmaids to a girl they used to ridicule in high school.

Bachelorette is a 2012 American comedy film written and directed by Leslye Headland, adapted from her play of the same name. It stars Kirsten Dunst, Lizzy Caplan and Isla Fisher as three troubled women who reunite for the wedding of a friend (played by Rebel Wilson) who was ridiculed in high school.

“Bridesmaids 2” may never happen, but at least there’s “Bachelorette.” Based on writer/director Leslye Headland’s own Off-Broadway play, “Bachelorette” focuses on three mean girls (played by Kirsten Dunst, Isla Fisher and Lizzy Caplan), who get invited to the wedding of the overweight girl they tormented in high school with taunts of Pig Face (Rebel Wilson, a “Bridesmaids” co-star, fills the role). High on coke and bitter with jealously, the girls do something mean (tear her wedding dress in a fit of mockery), and then spend the rest of the evening trying to get it repaired before the bride finds out.

James Marsden, Kyle Bornheimer and Adam Scott co-star. (The characters played by Caplan and Scott are romantically linked, making “Bachelorette” the “Party Down” reunion you’ve been waiting for.)

“You just roll with it,” Dunst said of filming the romp. “You hope that you’re working with somebody who is chill and not weird and is like, ‘Can I touch you here? Can I touch you there?’ No! Let’s just go for it and get it over with. ”

Yeah, it’s a far cry from Dunst’s previous work. “I’ve wanted to do a comedy but it’s hard sometimes because people don’t see you in a comedic way, even though I did most of my teen roles in comedies,” she said. “This was perfect time and a perfect script.” Just not perfect for Dad.

“Bachelorette” debuted at the Sundance Film Festival in January to a polarized response from critics. Audiences will get their say when the film arrives in theaters on Sept. 7.

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What’s Underneath Daniel Radcliffe’s Invisibility Cloak?

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Been obsessing over Emma Watson’s pixie cut and haute couture looks to notice that her “Harry Potter” co-star Daniel Radcliffe is quite style-savvy himself.

Confession: We’ve been way too distracted obsessing over Emma Watson‘s pixie cut and haute couture looks to notice that her “Harry Potter” co-star Daniel Radcliffe is quite style-savvy himself.

While we certainly tip our hats to Hollywood’s most stylish men, Radcliffe’s array of pinstripe suits, patterned silk ties and sharp footwear deserves the spotlight. Since the release of the first “Harry Potter” film in 2001, the hot young actor’s wardrobe was filled with British flair. But in recent years, Daniel has swapped his tousled, boyish locks and oversized T-shirts for a slicked back hairstyle and tailored blazers.As Radcliffe shows us, suits are not just for formal occasions – the look is taken from the third image in the look book. It’s not just where you wear suits, it’s how you wear them. The casual grey suit – amped up with the smart Mr. Porter waistcoat – is filled with sophistication. With the right watch and polished, brown shoes, wearing a suit will no longer feel like a chore – a laborious exercise before work – but something, in fact, to be embraced.

To celebrate Daniel Radcliffe‘s 23rd birthday on Monday (July 23rd), we’re taking a look at his style transformation over the years. Aren’t you glad the invisibility cloak was just a prop?

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Zaki Hasan Reviews: The Dark Knight Rises

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Eight years on, a new terrorist leader, Bane, overwhelms Gotham’s finest, and the Dark Knight resurfaces to protect a city that has branded him an enemy.

Four years ago, after watching The Dark Knight and having my mind suitably blown, I said repeatedly that I’d be absolutely content if they never made another Batman movie again. So perfectly did the filmmakers hit the nail on the head with what precisely a big screen Batman opus could accomplish that there was simply no way to ever top it. So why bother trying? Sure, there were some dangling plot threads unresolved, with our hero on the run from the police after taking the blame for several crimes he didn’t commit, but that was okay. He’d get out of it somehow. He is Batman, after all. We just didn’t need to see it. Ever.

After watching director Christopher Nolan’s much-anticipated trilogy-capper, and even after appreciating a great many things about it, I still stand by that earlier sentiment. The Dark Knight Rises is resonant emotional, and sometimes beautiful, but it’s also overlong, overstuffed and oftentimes frustrating. It manages to pack in enough moments of true cinematic mastery to make it worthy of watching and appreciating, even as it takes a series of baffling and unnecessary storytelling detours that only weaken the overall experience and make this trilogy land just short of the greatness it could have had.

As we join the action in this installment, eight years have passed since the Joker’s brief reign of terror through Gotham City left several police officers dead, and beloved DA Harvey Dent criminally insane (and also dead, natch). In the aftermath of those events, a new law passed in Dent’s honor has given the authorities unprecedented powers to eliminate organized crime in a way that’s made Gotham virtually crime-free for nearly a decade. The trade-off is that the Batman, having allowed himself to be scapegoated for Dent’s crimes, has disappeared entirely, with his millionaire alter ego receding from public view into a life of secretive seclusion.

Of course, things can’t remain so sedentary for long, and when criminal mastermind Bane (Tom Hardy), a masked brawler with ties to the Batman’s own history, executes a plan aimed at bringing Gotham to its knees, Bruce Wayne is forced to give up his latter-day Howard Hughes act and suit up for the greater good. Also along for the ride this time, in addition to dependable utility players Gary Oldman (Commissioner Gordon), Morgan Freeman (quartermaster Lucius Fox), and Michael Caine (trusted manservant Alfred Pennyworth), are Joseph Gordon-Levitt as a beat cop named Blake, Marion Cotillard as Wayne’s business associate Miranda Tate (with some secrets of her own), and Anne Hathaway as a burglar who’d be called Catwoman in any other movie, but is only ever referred to as Selina Kyle here.

Just one look at the bloated list of characters whose arcs we follow should clue you in that The Dark Knight Rises treads dangerously close to what I will now and forevermore refer to as “Spider-Man 3 Syndrome,” where so many new and divergent plot and character threads are introduced and require attention that the one character who ends up getting left behind is the one we’re ostensibly supposed to care the most about. It’s almost as if Nolan lost interest in his lead partway through the proceedings and decided to cast his gaze elsewhere to keep himself engaged. Thus, we’re saddled with interminable stretches of a Dark Knight movie with no “Dark Knight. ”

Another way the Spider-Man 3 comparison (one I make with no pleasure) rears its head is how Nolan’s Bat-series has been compressed and compacted into a trilogy, regardless of necessity or appropriateness. As I said a few weeks ago while discussing the much-loathed final installment of the Sam Raimi Spider-series, “there’s no Sherwood burial or flight to Avalon for Batman or Superman or their ilk.” That’s what separates these modern myths from their literary forebears. Batman has been beating back the Gotham underworld since his 1939 debut in Detective Comics #27, and he’s in no danger of stopping anytime soon. These are stories that, by their very nature, don’t end. They can’t.

Of course, the needs of filmic storytelling are different from those of serialized comic books, so it’s understandable that Nolan approached the project with a clear beginning, middle and end in mind, with an elegiac tone to the proceedings as the air of finality begins to settle in. It’s not his reasons I fault, but rather the execution. Without dipping my toes too far into spoiler territory, there’s a difference between closure and closing, and by choosing to make The Dark Knight Rises not just his last Batman, but the last Batman, Nolan essentially tells the story that should never be told, and does so in a way that leaves the status quo so cracked that the only way to put Humpty Dumpty back together is to reboot the thing yet again. Which is a shame.

With all that said, and even taking into account my issues with some storytelling choices, from perplexing character beats (in a particularly egregious lapse, one key figure disappears with nary hide nor hair for the entire middle, only to re-emerge without explanation during the closing moments) to baffling plot points (Bane’s whole plan for Gotham doesn’t really withstand much scrutiny), the script by Nolan, brother Jonathan, and David Goyer, is rarely, if ever, dull. And again, Nolan’s preternatural abilities as a director are on full display. From the harrowing opening scene with Bane freed from captivity on an airplane, to the entire third act, with its sprawling shots of Gotham cops taking on Bane’s men, and Batman’s snazzy new jet flying high over the cityscape, there’s rarely a moment that’s not visually engrossing.

Also, as is expected with a cast like this, the performances are uniformly good. Bale and the other returnees are of course fine, even though it feels like we barely get to spend any time with them. Bale in particular feels like a spectator to his own story, with Bruce Wayne flitting in-and-out, and making only two or three appearances in his full Bat-regalia. On that point, another qualm I have is how, if we follow the movies’ internal timeline, Bruce was Batman for about six months to a year between Batman Begins and The Dark Knight, after which he went into hiding for eight years, and then re-emerged for another day or so. That doesn’t really give him very much time on the clock to grow into the “legend” they spend so much time telling us he is.

If anyone emerges as a genuine star here, it’s Gordon-Levitt, the de facto lead for much of the second act (and about whom a last-second reveal is likely to elicit either gasps or groans). Hardy too disappears into the role of Bane, who no longer has the drug-induced super strength from the comics but does get to recreate the character’s most iconic four-color moment. The one knock on Hardy is one he has no control over: unfair comparisons with the late Heath Ledger’s unforgettable, Oscar-winning take on the Joker last time. On the other hand, Cotillard and Hathaway are left underserved, doing the best they can with nothing parts. Hathaway in particular is fine, but is done zero favors by a script that seemed to include Catwoman more as merchandising obligation than storytelling necessity.

The Dark Knight Rises isn’t quite a swing-and-a-miss, but it can’t help but feel like it. And even if is, I’m still sad to see this series end. Maybe it’s just that the earlier movies were simply too high a bar for any filmmaker to top, even the man who made them. Said I of The Dark Knight in ’08: “Not just a perfect comic book movie, not just a perfect Batman movie, but darn-near a perfect movie, full stop.” That remains true today. Given that, and given how Inception in 2010 raised our expectations for Nolan even higher still, I suppose it’s altogether expected that his final Batman entry glides us back down to Earth, a reminder that the figure behind the camera, just like the figure behind the cowl, is indeed just a man after all. B-

Follow Zaki Hasan on Twitter:www.twitter.com/zakiscorner

Christina Hendricks Reveals Her Fav LA Vintage Stores

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Actress Christina Hendricks doesn’t just wear 1960s fashion when she’s playing Joan Holloway on “Mad Men.” Vintage is a way of life for her.

Actress Christina Hendricks showed off her vintage fav’s with Laura Brown on episode two of BAZAAR’s YouTube show “The Look. ”

Actress Christina Hendricks doesn’t just wear 1960s fashion when she’s playing Joan Holloway on “Mad Men.” Vintage is a way of life for her.

The redheaded beauty showed off her vintage faves with Laura Brown on episode two of BAZAAR’s YouTube show “The Look.” The two start at Hendricks’ favorite vintage store, My Ulrika (on La Brea Blvd.), and then head to her go-to hat store, Ariane (on Melrose Blvd.).

From a metallic coat to a gypsy straw hat to the largest necklace we’ve ever seen, it’s clear that Hendricks has a both bold and refined style. Perhaps her best piece of advice was, “The secret to wearing a hat is that you have to commit to it. You have to commit to these feathers!”

The actress explained that she first started shopping vintage when she was only 10 or 11 years old because there weren’t many shops in Twin Falls, Idaho. “I learned to create my own looks, often times tragic,” she admitted. She also shared that she went through more than one fashion “phase,” including wearing black leather jeans every day. “I had my goth phase, which was pretty dramatic,” she said.

When she was a model in New York, she was so broke that her outfits were a combination of cheap clothes from Strawberry and great vintage finds from stores in Vermont where “a lot of people didn’t want the stuff that I wanted,” she said.

Hendricks reflected that being on “Mad Men” changed her style to more tailored silhouettes and pencil skirts instead of the 1920’s “baggy, floral, lacy things that probably weren’t the most flattering on me but they were just so gorgeous I just wore them anyway. ”

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Christopher Nolan Responds To ‘Dark Knight Rises’ Shooting

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Christopher Nolan has spoken out about the horrifying events that took place at a midnight screening of his film, “The Dark Knight Rises. “

Christopher Nolan has spoken out about the horrifying events that took place at a midnight screening of his film, “The Dark Knight Rises. ”

“Dark Knight Rises” director Christopher Nolan has broken his silence on the shooting that took place at a screening of his film in Aurora, Co. In a statement which Nolan says is on behalf of the cast and crew of the film, the famed director expresses “profound sorrow at the senseless tragedy” and explains that “the movie theatre is my home. ”

Here’s his full statement:

Speaking on behalf of the cast and crew of The Dark Knight Rises, I would like to express our profound sorrow at the senseless tragedy that has befallen the entire Aurora community. I would not presume to know anything about the victims of the shooting but that they were there last night to watch a movie. I believe movies are one of the great American art forms and the shared experience of watching a story unfold on screen is an important and joyful pastime. The movie theatre is my home, and the idea that someone would violate that innocent and hopeful place in such an unbearably savage way is devastating to me. Nothing any of us can say could ever adequately express our feelings for the innocent victims of this appalling crime, but our thoughts are with them and their families.

TV networks announced Friday that they were pulling advertisements for the movie. Warner Bros., the studio behind the film, was reportedly editing the trailer to remove depictions of gun violence.

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